I’ve been a bit remiss getting to this post, since I’ve had the lens back for a couple of weeks now. Anyway, here it goes.
A few weeks back I reported that my 100-400 suffered from a problem common to the EF 100-400 f/4.5-5.6L, the zoom clutch failed.
…the first indication of a problem is that you begin to see bits of black stuff stuck to your lens barrel…
For those who’ve never had this happen to them the first indication of a problem is that you begin to see bits of black stuff stuck to your lens barrel between the 100 and 135mm marks. This is actually part of the locking mechanism breaking down.
If you start seeing this, I’d suggest having the lens looked at, since it’s likely going to be much cheaper to have the clutch rebuilt without having to replace the lens barrel too. However, mine operated in that state, leaving bits of black stuff on the lens barrel for 6 months or more without any other indication of a problem. In my case I didn’t realize what was going on until the clutch failed completely and in doing so damaged the lens’s outer barrel prompting another expense to be added to the repair bill.
Being that my 100-400 was long out of warranty—and quite frankly the warranty period for Canon’s lenses, especially the L ones are in some ways obscene, but that’s another story—I elected to take the lens to a local Canon authorized shop instead of shipping it off to Canon. The center I choose, Southern Photo Technical Service, came highly recommended by several local photojournalists that I know. Doing so certainly saved me from paying for shipping. Even better, the quality of their work seems to be every bit as good as people told me it would be. Of course, these guys are building beefed up Nikon D3Ses that have custom designed shutters and tweaked AF algorithms so that has to say something about their skills.
expect to spend at least $250 if the zoom clutch fails completely
For my lens, the repair ran about $275 and took 2 weeks. It likely would have been even more inexpensive if I had known what was going on and had the clutch taken care of sooner.
I have no idea how the turnaround time compared to having Canon do the work. On one hand I didn’t have to ship the lens, so the work was started faster; on the other, Southern Photo had to order parts and that took some time. That said, Canon’s service center (at least the New Jersey one) has been very quick in the few instances I’ve had stuff go back to them. I’m betting that the time was a wash either way.
The lesson to take away from this:
Be very careful with your EF 100-400, especially in dirty or dusty environments. Dirt and sand can get in the clutch, and I think that was what started mine going down the drain. In addition, I’d probably stay away from really tightening down the zoom lock; enough to be snug but no more since that could also contribute to forcing the material to adhere to the lens barrel.
There are no home remedies for this problem; it needs to be addressed of by a service center. Even being extremely careful isn’t necessarily going to save you. My 100-400 that failed is always kept clean, and wiped down with a slightly-damp soft-cloth after almost every use. It still broke.
When something seems a bit odd, it might be a good idea to have it looked at. In this case, when the clutch fails completely it can damage the lens barrel necessitating another part being replaced.
Canon really needs to release a new 100-400 (yes even after this it’s still my favorite long lens) that is better engineered to not fail like this. Though I’d still prefer a push-pull zoom than a ring controlled zoom, at least at this focal length range.
If you’re out of warranty, and even if your gear is under warranty and you’re in the South Florida area, Southern Photo Technical Service may be a good solution for getting something fixed quickly. It doesn’t hurt that there a factory authorized service center for just about every major camera manufacturer. For example, they did a rush shutter replacement on a D2H (luckily they had the part) for a friend of mine in under 24 hours.
Christmas saw the acquisition of a Canon TC-80N3 timer remote, it’s capable of being programmed to produce long exposure and time lapse captures with intervals as short as 1 second. This was my first time running a time lapse and I think I learned a few things from it, but I’ll save that story for another time. In the meantime, here’s my first attempt at a time-lapse video.
The video is made form nearly 800 frames shot over almost an hour at 5 second intervals.
Canon’s 100-400 maybe isn’t the best-built lens, the push pull design makes the bearings and zoom lock prone to picking up sand or dust from the lens’s body. However, it is one of my favorites. I actually like the push pull zoom for a lens of the range, and my copy is very sharp.
However, for me the biggest advantage of the 100-400 is that it’s nearly identical in size to a 70-200 f/2.8. That makes it easy for me to size my bags and pack my gear; need speed take a 70-200, need reach take a 100-400.
Unfortunately, the 100-400 has a well-known tendency to suffer from failures in the zoom mechanism.
This is just what happened to me this morning at the BirdPhotographers.net meet up. Kicking the morning off and everything is running great; the lens is smooth as butter. Walk around a couple of times, and go to adjust the zoom position and bam, zoom won’t slide, zoom lock ring is stuck, and the focus ring is stiff and feels like there’s grit in it.
Hopefully the fix won’t be as expensive as I fear it will be.
If you use the camera enough, you’ll end up memorizing them without doing anything at all
It’s often suggested that memorizing the aperture number sequence is something photographers should do. Unfortunately, the people proffering this never seem to be able to articulate why all that well. If it’s such a good idea, shouldn’t it be easy to point out how beneficial it is?
When someone tells me, I should do something; in a way, it’s a sales pitch. The product is the idea, in this case memorizing the f-numbers. The price is some of my free time. The payoff is whatever the benefits of doing the thing are.
I don’t think I’m alone when I say I have a limited amount free time; that makes my free time valuable. Therefore, I think it’s reasonable to expect someone presenting an idea to actually be able to convince me of its merit.
If you know the f-numbers you can adjust the exposure more quickly, for example, if you know f/5.6 allows twice as much light as f/8 you know you have to change your shutter speed from 1/60th to 1/30th.
Not very much of an argument is it?
Even worse, I’d say the way it’s presented is a bit disingenuous. Those full stops make everything nice and easy; substitute f/7.1 and f/3.2 and it’s not so easy anymore. Doing that also makes it apparent that you need to memorize more than just the whole stops which is often the only thing mentioned by the proponents.
Since what needs to be remembered is already snowballing, why stop there? Why not memorize the shutter and ISO speeds too?
Moreover, you don’t adjust exposure settings in a vacuum. You do it with a camera and cameras provide several solutions that involve no memorization at all. In fact, 3 technologies come to mind that have largely render memorizing f-numbers unnecessary.
Click-stops at each setting
Even if we ignore the first two, you can easily keep the exposure the same by changing the shutter’s value by the same number of clicks as the aperture’s. In fact, coupled with the camera’s meter after a while it becomes so second nature you just do it.
However, I think the most damning reason not invest any time on this is simple; if you use the camera enough, you’ll end up memorizing them without doing anything at all. Off the top of my head, I can recite most apertures, shutter speeds and ISOs in 1/3-stop increment and I never actually spent a minute trying to memorize them. Just seeing them in the viewfinder enough times was all it took.
I’m willing to take this a step further, I don’t think think it’s necessary for most photographers to understand how the f-number is derived at all; there’s simply nothing intrinsically useful about it for most photography.
However, what is important is understanding how the aperture affects the image and that equal f-stops pass the same amount of light regardless of the focal length. The former, is important for controlling creative aspects of the image, in other words, depth of field. The latter tells us that if an exposure is 1/60th f/4 ISO 100, it will be the same regardless of whether the lens is 10mm or 1000mm.
My advice, if you want to spend time doing anything, practice handing your camera and changing lenses. Being able to change settings without thinking about where the controls are can have a massive positive impact on all of your photography simply by letting you get shots you otherwise would have missed. Being able to change lenses quickly can help keep dust off your sensor as well as keeping you shooting so you don’t miss the critical moments. Either way, there’s no substitute for familiarity and practice when handling your camera in the field.
These are a few frames of one of Florida’s Crested Caracaras from my time at Viera Wetlands in early December. This individual photographed while feeding on a fish found on the side of the levee.
The Crested Carcara is a ground-inhabiting bird of prey that is closely related to Falcons. It’s found primarily in open habitats like grasslands, scrub deserts and seashores.
The Florida population has been isolated from the rest of the Caracara range (most of South and Central America) since the end of the last ice age. In Florida its range extends throughout Okeechobee, Osceola, Highlands, Glades, Polk, Indian River, St. Lucie, Hardee, DeSoto, Bervard, Collier and Martain counties.
Caracaras, like other raptors, are opportunistic and will eat carrion, steal food from other birds, and hunt for small most other small prey items. However, unlike vultures, Caracaras will almost always avoid rotting carrion. The individual photographed here had managed to find an fairly fresh fish (or possibly run off another bird for it’s fish) on the side of one of the trails embankments.
Crested Caracara populations have been declining due to loss of habitat due to development for some time. The Audubon’s Crested Caracara is listed on the U.S. Endangered Species List and the Florida populations considered a threatened. The Florida populations face uncertain futures since the majority of the land in it’s range is privately owned, and thus not under Federal protection.
That little excursion around south and central Florida a week back that took me to Sanibel also brought me to Walt Disney World and the many attractions there. I’m not as much of a fan of Disney as I was when I was a kit but I do appreciate the incredible level of detail they put into making you feel like you were somewhere else. Details like rundown power lines and even non-functional electrical meters on the building in Animal Kingdom’s Africa and Asia areas really helps complete the suspension of reality.
Animal Kingdom isn’t one of my favorite parks attraction wise–thought the Kilimanjaro Safari is absolutely fabulous and one of my all time favorite Disney rides–it is, however, full of exotic looking buildings and architecture and well though out detailing which makes it quite interesting photographically.
One of the things I like most about shooting on Sanibel Island is that you don’t really need a really long lens. The majority of the birds are so use to people that you can very easily get within frighteningly close distances with out ever spooking them. In some cases they almost seem like they want to pose for you.
Gulls on the Beach
One thing I really enjoyed in last year’s visit, was working a Royal Tern colony. I have a soft spot for terns, as far as I’m concerned they rock. As long as I stayed still laying in the sand they had no problem getting so close that I could get frame filling shots with a 150mm lens.
This year, I was hoping for a repeat performance. However, that was not to be and I didn’t have the time and light to search much more of the beach than I did.
There were some Ring-Billed Gulls that were more than happy to sit still and pose. So I settled for them to kick the day off. In fact, this one was so comfortable with me while I was working him that it sat down and took a nap.
You can’t say that technology isn’t moving at anything less than a frightening pace. I use to think it was cool, at this point I feel like I’m constantly struggling to keep up. Photography has morphed into a combination of photography and videography that’s slowly gaining an ever growing emphasis on video especially in journalism. Now the major magazine publishers are looking to take their magazines into the digital age as well.
Of course who can blame them. In our world of short attention spans and an ever increasing desire for what’s shiny, still images and paper magazines are becoming increasingly problematic to sell.
Even worse the rest of the world is seemingly waging a virtual two pronged attack against the traditional media with social media on one side and bloggers on the other. Couple that with the ease of duplicating digital content and the widespread perception that everything online should be free and it becomes hard to see ways to add enough value to traditional media to keep people paying.
Recently though, it seems that at least two major media companies have started investigating ways to present their content in a format that takes advantage of the digital medium. However, I fear the idea of a digital magazine will ultimately go nowhere partly for technical reasons and partly because they won’t have the foresight to really embrace the digital medium.
Digital magazine technology was recently demoed by Time Inc. for Tech Crunch and it appears there might be a bright idea buried in it, even if I think it’s doomed. It appears in the case of the Time’s prototype, to leverage a widely available framework (Adobe Air which is based on the ubiquitous Flash environment) to present the digital magazine on top of a commodity computing platform (in this case a HP tablet computer).
On little more than a lark and with some luck I decided to head up to Cape Canaveral for the launch of Space Shuttle Atlantis on STS-129. Fortunately the weather cooperated and the launch was a success.