Canon: we’ve hit a roadblock. And, it’s over…

I never thought I’d write this post.  I’ve been with Canon for years; my first ‘real’ film camera was  a Canon, my first DSLR and every camera since until this week was a Canon.  I owned several L lenses; I never thought I’d be here writing about switching platforms and ‘going Sony’, but here we are and that’s exactly what I’m writing.

Three days ago, Canon marked down its 3rd quarter outlook due to weak digital camera sales.  How big was the hit? Just a minor $10 Billion dollars!  Now, I’ve been thinking about writing my “breaking-up with you Canon post” for a few days, and now with the Canon earnings outlook, I thought: “yah, I better get on this”.  I figured I should tell Canon why just a few thousand dollars of the big $10 Billion were not coming from me.  So, how did we get here?

I remember when the first few micro 4/3 cameras made it to market in 2005/2006.  “Mirrorless, bleh,” I remember thinking.   Sure these new-fangled mirrorless cameras were small and light, but micro 4/3?  I couldn’t understand why anyone would want a sensor even smaller than APS-C.  Who would want a smaller, noisier, sensor just to save a bit of carry weight?  Besides, how good could the lenses be- Canon has a history of excellent lenses?  I rightly outright dismissed the early Olympus and Panasonic cameras.  No serious photographer would really go mirrorless.

In June 2010, though, Sony released the Nex-7 and things got interesting.  APS-C sensor, 10 frames per second, OLED viewfinder, in-camera HDR, whoa. Sure the lens collection wasn’t big, but Zeiss lenses…now we’re talking!   Tempting, but still just APS-C (I wanted big, clean, pixels!).  I’m wasn’t about to dump my 5D Mark II.  The Nex-7 was compelling, but it wasn’t compelling enough.  Besides, I had a big Canon lens investment.  I wasn’t going to switch but, for the first time, I thought:  “not bad mirrorless camp, not bad.”

As one Sony Nex camera after the other was released, I thought: “Canon is going to respond- there’s market here.  I wonder what Canon will do?”  And, what did Canon do?  Canon waited a full two years after the Nex-7 before announcing the EOS M- a camera as compelling as dental surgery.  It was as if Canon said: “Let’s think of the worst camera we can make, and let’s make it mirrorless.  Maybe then those kids out there will see the error of their ways and buy DSLRs.”  Predictably, no one bought the EOS M.  The AF was slow, the ergonomics were less than impressive, and no one was interested- at least I wasn’t

Things got more interesting just a few months after the announcement of the EOS M.  In September 2012, Sony announced the first full-frame mirrorless: the RX-1.   Ok, it had a fixed 35mm f/2 lens, but still: it had a full-frame sensor (and that was a Zeiss lens boys and girls.)  What did Canon do? Canon waited a full year before releasing the less than compelling EOS M2 (a me-too 18megapixel APS-C with slightly improved AF and built-in wifi).  Mind you Canon announced the M2 just 3 days before Sony announced the A7 and A7R (24 megapixel and 36 megapixel full-frame pro class cameras that turned the world upside down).

Some would call the A7R the iPhone moment for the Canon blackberry.  I wouldn’t go so far.  Canon still has a fantastic product line, but Canon was dug in and, it seemed, worried about cannibalizing its own product line.

Sony A7II

Sony’s A7II full-frame mirrorless just made it into my camera bag

Canon, it seemed, just wasn’t seriously interested in the mirrorless market.  But, guess what, photographers were.  Specifically, I was.  I wanted a small, light, full-frame body- not to mention the host of features Sony was touting (focus peaking, manual assist, OLED EVF, the list goes on).  Canon, wants me to buy a DSLR.  I looked at the 5D Mark III many times, but I can get a larger sensor, excellent image quality (not to mention fantastic dynamic range) and a host of features from the Sony A7II.  And so, I write this as the last few bits of my Canon gear sit on eBay.  Last week marked the farewell to my 5DMKII and all my L lenses.  It also saw the purchase of a Sony A7II and Zeiss lenses (Zeiss 16-35 f/4 FE and Zeiss 24-70 f/4 FE.)

Canon: I wanted it to workout, but it didn’t.  Maybe one day our paths will cross again, but right now, I don’t see it happening.  Switching platforms was not easy and if Sony keeps on innovating like Sony has been (hello A7RII, you beautiful beast), I won’t switch back.  Canon now has 10 billion reasons ($) to build a pro-grade mirrorless camera and I hope Canon does as competition can only make things better.  Who knows, maybe I’ll pickup a Canon again someday, but not now.  Now, I’m building my  Zeiss lens collection.

Review: Sigma 35mm f/1.4 vs Canon 35mm 1.4L


Why this matters
Choosing a 35mm lens used to be easy for Canon shooters.  If you needed to freeze action, you bought the Canon 35 f/1.4L.  If you could afford to lose a stop, you bought the Canon 35 f/2L IS and saved a significant amount of money.  The 35 f/2 isn’t as fast as the 1.4L but you’d have IS.

Life couldn’t stay simple forever though;  the release of the Sigma 35 f/1.4 DG HSM complicated things.  It’s as fast as the 35L but doesn’t cost too much more than the 35 F/2 IS.  If you’re strictly looking for a 35mm f/1.4 the decision just isn’t clear anymore.  You may be thinking about the Sigma but let’s face it, it’s a Sigma and it is weighed down by the history of Sigma lenses.  Will it focus?  How durable is it?  What’s the image quality like?  Can it be as good as good a lens as the 35L?  On the other hand, is the Canon L that much better than you shouldn’t even look at the Sigma?

To answer these questions I pitted the Canon 35L against the Sigma 35 f/1.4 DG HSM and looked at their strengths and weaknesses to help others make the decision.

Both lenses are well-constructed and neither feels “cheap”, though the Canon’s construction feels more robust than the Sigma’s.  The Canon also has the magical L red ring that lets lets every photographer in the immediate vicinity know you’re sporting a “pro” lens.  It won’t make your photos any better, but they don’t know that.  Kidding aside, if your lens choice depends greatly on survivability, go with the Canon.  The build quality is what you’d expect from an L Lens: solid.  Another thing to factor-in here is Canon’s reputation for repairs vs. Sigma’s.  Sigma has made strides to improve service, but it’s hard to beat Canon’s factory repair (especially if you’re a Canon Professional Services member)

Notwithstanding, the Sigma 35 does not come across as a cheap second-rate lens as Sigmas tend to.  The lens is very well-made and its metal-plastic exterior with satin finish is well-executed.  It looks, and feels, like a high-end product.

The Canon 35L is the lighter of the two weighing in at 580g or 1.28lbs. The Sigma clocks in at 665g or 23.5oz.  I don’t think the weight difference is perceptible – though some may disagree.  I should note I was not aware of a weight difference until I looked up the specs for this review.

Weather Sealing
Neither lens is weather sealed. If this is important to you, you may want to take a look at the 16-35 f/2.8LII.  I encountered a couple of rainstorms during the testing period and I was frustrated by not being able to reach for the 35s.  Luckily the 24-105 f/4L is weather sealed and I was able to reach for that.

Image Quality & Sharpness
Wide open the Sigma is significantly sharper.  Take a look at the 100% RAW crop below (Canon left, Sigma right) and note the eye definition.  Both images were captured with a 5DMKII at ISO 800 and imported into Lightroom without any noise reduction or sharpening.

Canon-Sigma Side-by-Side Comparison at f/1.4

100 % Comparison at f1.4 Canon (left), Sigma (right

RAW comparison @ 100% at f1.4 Canon (left), Sigma (right)

The Sigma remains sharper until about f/2.8.  At this point, both lenses are almost identical.  In terms of vignetting, and chromatic aberrations, both lenses perform very well.  Chromatic aberrations are well-controlled and barely noticeable.  While vignetting is apparent at 1.4, it does subside (but does not completely disappear) at about f/2.8.  Speaking of aperture, the Canon’s minimum aperture is f/22 while the Sigma’s is f/16.

Focusing speed was similar and I didn’t note a difference between the two lenses.  I do think focus on both lenses is slower than typical Canon L lenses  (like the 24-105 f/4L or 70-200 2.8L).

The focus rings on both lenses have a nice weighty feel.  They’re both smooth enough to move but solid enough to prevent accidental movement.  I was worried about slack in the Sigma, but there was none to be found.

In terms of focus lock, while focus lock is largely driven by the camera’s autofocus system, I tested it nonetheless as there is always concern with 3rd party lenses.  Low-light focus was tested under two real-world conditions: a dark room similar to a wedding reception banquet hall and outdoors under dim city street lights.  I performed the tests twice making sure to use both lenses each time.  There was no difference between the two – neither hunted while the other locked.  Low-light focus should not be considered a factor when deciding between the two lenses.

35mm lenses are not the bokeh machines 85mm lenses are.  Nonetheless, one should have some idea of what bokeh is like when buying an f/1.4 lens.  Below are two images shot wide open.  As in the earlier comparison, the Canon is on the left while the Sigma is on the right.  I believe the Canon’s Bokeh is the creamier, smoother,  “butterier” (this shouldn’t be a word), (insert adjective here) of the two – especially in the shape of the “bokeh balls”.  Keep in mind, I wasn’t on a tripod here and the test wasn’t completely controlled, however, I did note that bokeh was more pleasing in the canon overall on multiple occasions.

Screen Shot 2013-05-26 at 6.45.50 PM

The Gestalt aka: the “living with it test”
Both lenses are top performers, but the Sigma is markedly sharper.  When I wanted the shot, I reached for the Sigma.  In the end, it was that simple for me.  I liked the Canon L but I just couldn’t reach for it to shoot wide open.  That said, the Canon is no slouch especially at f/2.8 and up.  If you’re rough on your gear or are working in an environment where you need an a robust body the 35L is the way to go.

In the end, the Sigma 35 remained in my bag.  Below are  some of the recent shots I’ve taken with it.  It’s a fantastic performer that’s hard to match wide open.

Classic Racer



The Canon 35 f/1.4L and the Sigma 35 f/1.4 DG HSM are both currently available from B&H.

 If you’re the type to try before you buy (or just want to double check this review), you can rent Canon 35 f/1.4L and the Sigma 35 f/1.4 DG HSM from


Canon confirms 5DMKIII exposure problem

Quite a bit of talk was going on about the 5D Mark III incorrectly metering under certain conditions.  The issue crops up when metering in low light conditions with the LCD illuminated. Canon just released a statement confirming the problem and it will be interesting to see how Canon plans on addressing this issue.

In the meantime, head over to Canon to get the whole story.

Jerusalem Doves

I photographed these two doves in Jerusalem back in 2008 near the Temple Mount during an excursion the Bethlehem Christmas Project team took the Old City. I only managed two frames before they flew away.