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#11
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Latest model of Canon cameras
Randall Ainsworth wrote:
In article , werdan wrote: I wonder why Canon doesn't make use of the pellicle mirror technology in their DSLRs that they used in the EOS RT. Because it didn't work well in film days? Why? |
#12
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Latest model of Canon cameras
Lobby Dosser wrote:
Randall Ainsworth wrote: In article , werdan wrote: I wonder why Canon doesn't make use of the pellicle mirror technology in their DSLRs that they used in the EOS RT. Because it didn't work well in film days? Why? Read the other posts doppy |
#13
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Latest model of Canon cameras
Rob wrote:
Lobby Dosser wrote: Randall Ainsworth wrote: In article , werdan wrote: I wonder why Canon doesn't make use of the pellicle mirror technology in their DSLRs that they used in the EOS RT. Because it didn't work well in film days? Why? Read the other posts doppy I'm coming in late and asked a civil question. No need for rudeness. Simply ignore the question if you are unwilling or unable to answer it. |
#14
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Latest model of Canon cameras
"Lobby Dosser" wrote in message newsxbQi.2844$I22.1733@trndny03... Randall Ainsworth wrote: In article , werdan wrote: I wonder why Canon doesn't make use of the pellicle mirror technology in their DSLRs that they used in the EOS RT. Because it didn't work well in film days? Why? In film days, losing a stop meant shooting 200 instead of 100 ISO film or 400 instead of 200. The noticable grain jumped up significantly each increase and different films also rendered colours slightly differently. Bbeing low noise and low vibration meant the RT was perfect for indoor concerts/recitals etc. where you are not trying to be obtrusive. The 'no blackout' meant it was good for following action in sport. Except these situations also require you to get the most out of your film sensitivity and 1 stop was critical. The fact that there is little discernible difference between ISO100,200 and even 400 on the latest Canon sensors shows that this isn't really a limitation anymore. Granted it would be a backwards step in sensor sensitivity but they way sensor development has been going, it would only be temporary one. |
#15
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Latest model of Canon cameras
"werdan" wrote:
"Lobby Dosser" wrote in message newsxbQi.2844$I22.1733@trndny03... Randall Ainsworth wrote: In article , werdan wrote: I wonder why Canon doesn't make use of the pellicle mirror technology in their DSLRs that they used in the EOS RT. Because it didn't work well in film days? Why? In film days, losing a stop meant shooting 200 instead of 100 ISO film or 400 instead of 200. The noticable grain jumped up significantly each increase and different films also rendered colours slightly differently. Thanks for the answer. I thought it might be that and just presumed I'd use faster lenses or faster film. For the uses you describe, I don't see that as a problem. Bbeing low noise and low vibration meant the RT was perfect for indoor concerts/recitals etc. where you are not trying to be obtrusive. The 'no blackout' meant it was good for following action in sport. Except these situations also require you to get the most out of your film sensitivity and 1 stop was critical. The fact that there is little discernible difference between ISO100,200 and even 400 on the latest Canon sensors shows that this isn't really a limitation anymore. Granted it would be a backwards step in sensor sensitivity but they way sensor development has been going, it would only be temporary one. |
#16
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Latest model of Canon cameras
In article DxbQi.2844$I22.1733@trndny03, Lobby Dosser
wrote: Because it didn't work well in film days? Why? The viewfinder was noticeably dimmer. People left the things lens-up on picnic tables and had holes burned in the shutter. |
#17
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Latest model of Canon cameras
In article
, werdan wrote: In film days, losing a stop meant shooting 200 instead of 100 ISO film or 400 instead of 200. The noticable grain jumped up significantly each increase and different films also rendered colours slightly differently. Bbeing low noise and low vibration meant the RT was perfect for indoor concerts/recitals etc. where you are not trying to be obtrusive. The 'no blackout' meant it was good for following action in sport. Except these situations also require you to get the most out of your film sensitivity and 1 stop was critical. The fact that there is little discernible difference between ISO100,200 and even 400 on the latest Canon sensors shows that this isn't really a limitation anymore. Granted it would be a backwards step in sensor sensitivity but they way sensor development has been going, it would only be temporary one. So what's to stop retards from leaving the things lens-up on a picnic table and burning a hole in the sensor? (They did it with the Pellix.) |
#18
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Latest model of Canon cameras
Randall Ainsworth wrote:
In article DxbQi.2844$I22.1733@trndny03, Lobby Dosser wrote: Because it didn't work well in film days? Why? The viewfinder was noticeably dimmer. People left the things lens-up on picnic tables and had holes burned in the shutter. OUCH! |
#19
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Latest model of Canon cameras
"Randall Ainsworth" wrote in message ... In article , werdan wrote: In film days, losing a stop meant shooting 200 instead of 100 ISO film or 400 instead of 200. The noticable grain jumped up significantly each increase and different films also rendered colours slightly differently. Bbeing low noise and low vibration meant the RT was perfect for indoor concerts/recitals etc. where you are not trying to be obtrusive. The 'no blackout' meant it was good for following action in sport. Except these situations also require you to get the most out of your film sensitivity and 1 stop was critical. The fact that there is little discernible difference between ISO100,200 and even 400 on the latest Canon sensors shows that this isn't really a limitation anymore. Granted it would be a backwards step in sensor sensitivity but they way sensor development has been going, it would only be temporary one. So what's to stop retards from leaving the things lens-up on a picnic table and burning a hole in the sensor? (They did it with the Pellix.) What's to stop retards from doing anything? |
#20
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Latest model of Canon cameras
Randall Ainsworth wrote:
In article , werdan wrote: In film days, losing a stop meant shooting 200 instead of 100 ISO film or 400 instead of 200. The noticable grain jumped up significantly each increase and different films also rendered colours slightly differently. Bbeing low noise and low vibration meant the RT was perfect for indoor concerts/recitals etc. where you are not trying to be obtrusive. The 'no blackout' meant it was good for following action in sport. Except these situations also require you to get the most out of your film sensitivity and 1 stop was critical. The fact that there is little discernible difference between ISO100,200 and even 400 on the latest Canon sensors shows that this isn't really a limitation anymore. Granted it would be a backwards step in sensor sensitivity but they way sensor development has been going, it would only be temporary one. So what's to stop retards from leaving the things lens-up on a picnic table and burning a hole in the sensor? (They did it with the Pellix.) You mean that some twits managed to burn a hole through the metal shutter in the EOS RT or EOS-1n RS, or just the cloth shutter curtain on an older FD mount slr (this is also a problem with cloth FP shutter RF cameras: Leica, Canon, Zorki, Fed, etc)? The same damage sould be happening to almost all P&S digicams today (instead it would be the sensor getting burned), as the sensor is always exposed to allow live-view on the LCD and/or EVF. |
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