This FAQ is by no means official and by no means complete. Like all important hacks, it was created to scratch a personal itch, specifically all the repeated questions on the DP Review and Rob Galbraith web sites about the Canon EOS D30 digital SLR camera.
Feel free to email me with information you'd think would be a good addition to this FAQ. If you find any errors please let me know. If you disagree with some of the ideas presented here about the D30, that's OK but I reserve the right to editorialize as I see fit. Hope this is OK. Thanks.
1.1: What is the Canon EOS D30?
In the past year, the D30 has become a very popular camera for Canon and generated a lot of enthusiasm among its users. It's also a bit controversial because, although it was introduced as a "Prosumer" camera (aimed at serious amateurs with money to spend), many professional photographers have adopted this camera because it really is in a class by itself when compared to other digital SLR's, including the high-end professional models. Since professional photographers are among the pickiest people on the planet, you can imagine some of the debates that swirl around the D30.
1.2: In general, what are the strengths of the D30? What's the good news?
1.3. In general, what are the weaknesses of the D30? What's the bad news?
1.4. Is the D30 better than film?
That's a huge question. The overall issue of Digital vs. Film has many dimensions to it. In an attempt to provide a useful answer, here are some of the advantages of the D30/D60 and Digital SLR's in general, followed by a "rebuttal" from the perspective of a film photographer.
Point: The image quality of the current crop of Digital SLR's exceeds 35mm film. Many people have confirmed this. The large-format prints that can be made from D30/D60/EOS-1D images are absolutely stunning.
Counterpoint: People who want to believe that digital image quality is better than film love to trot out all these nerdy arguments about megapixels and line pairs per millimeter and all that. But let's say I take your bait, and agree that some of the inkjet prints I've seen are indeed quite nice. I have no argument that digital has advantages when it comes to certain aspects of photographic production, and the industry has been adapting to this for the past several years.
But let's talk about something else. What about Art? People who love photography love it because there is something special about the interplay of light and film and chemical processes. Photography has been around for more than 150 years, and it's always been about coaxing something unique and beautiful out of a latent image on a photographically sensitive surface. Sorry but I'm just never going to work up that same level of enthusiasm for the latest "CCD" or "CMOS" chip that comes out of some high-tech fabrication plant.
Also, people in the digital crowd love to talk about digital images being grainless, more three-dimensional, more lifelike. But for every one of them there's someone else who thinks the images look artificial, and not very flattering in the way they capture color and detail. This is especially true in portrait and glamour photography, where you often see people use Photoshop tricks to actually remove some of the detail or put simulated "grain" back into the picture to give it a more "film-like" texture. Am I the only person who sees a problem here?
Point: The ability to instantly review images to check for exposure and focusing errors is an outstanding advantage over film. No one can really debate this point. By comparison film is just plain primitive.
Counterpoint: That's a valid point, but with the current crop of cameras you really can't zoom down far enough in review mode to be sure you have "tack-sharp" focus. And while we're on the subject of focusing, the current digital cameras are notorious for having focusing problems. Many pros have sent D-SLR's back to their dealers over this exact issue. The EOS D30 and D60 are almost intolerable in this respect. The EOS 1D is a first step in the the right direction but it's still a far cry from the EOS 1n or 1v (which also happen to cost thousands of dollars less).
Point: You can store hundreds of images on a compact flash card or microdrive. People get used to this very quickly. Film is very limited in comparison. You have to stop and reload just when you're getting "warmed up".
Counterpoint: This is actually a very old debate in photography. A good photographer does not need to take hundreds of shots in order to get one or two "keepers". Being able to take 100 shots on a stretch is nice but not a pivotal issue for people who are used to film.
And don't forget that you have to do something with those hundreds, even thousands, of pictures you take. The archival properties of film are very stable and well understood. By comparison, it's hard to find an example of a data storage technology even ten years old that still works today. This is the "dirty little secret" among computer professionals, the fact that computers have been with us for almost 50 years and the issue of reliable backups and archiving remains, fundamentally, an unsolved problem. Maybe in another ten years things will be better, if we're lucky.
Point: It's much easier to get proper exposure with digital. The combination of instant review plus a live histogram is an outstanding advantage, especially in tricky exposure situations. Compared to digital, film is much less forgiving in this respect. Also with digital you can do a lot in Photoshop to rescue under- or over-exposed shots. With film, if you don't have the right density to start with there is very little you can do to compensate after the fact.
Counterpoint: Thanks for mentioning Photoshop. The last thing on Earth I have time for is spending hour after hour mastering such a complex tool. Besides, everyone seems to have a different "recipe", for example, if I need to correct an exposure error do I use "Gamma Correction", or do I adjust the "Curves & Levels" or some other magic trick?
Sometimes I really resent the arrogance of the digital crowd, the way they just take it for granted that everyone's a computer guru. I'd like to lock one of those smug little Photoshop wizards in a darkroom sometime and show them the kind of magic you can do with good enlarger technique, and still have time left over compared to having to Photoshop every single picture you take.
Point: The ability to shift ISO on the fly is very, very cool. It's like having three or four cameras pre-loaded with 100, 200, 400, 800 film all available at the same time. Can't beat that!
Counterpoint: A good photographer can "push" film and still get good results. If your only experience of film photography involves the low-quality stuff you get at the supermarket then you're probably not aware of that. Besides I've seen what the current crop of digital cameras can do at ISO 800 and above, and I can't say I'm all that impressed. And God forbid if you want to play around with long exposures or do night sky photography. Sorry, but digital is just not "there" yet.
Point: Digital gives you complete control over the process. No more sending film out to a lab, which takes time and allows for the possiblity of lost film or processing errors.
Counterpoint: Digital isn't perfect either. People often lose images due to faulty microdrives or hard disk crashes or failures in their backup process. And while we're talking about "control over the process" let's talk about the constant need to upgrade to new computer hardware and software to keep up with the huge files these cameras churn out. I rely on my processes to make my living. If I have to spend time messing around with my computer setup, that costs me a lot up-front that I have to work that much harder to get back. And don't even get me started on the quality level of the currently available software. Photographers who are already computer hobbyists on the side may find this situation acceptable, but they are still in the minority.
And if you think I'm behind the times and not "with it," I have friends who are a lot less computer-savvy than me, and for them all this talk about Jpeg's and TIFF's and megapixels is just so much gibberish. When all this digital stuff gets simple and reliable enough that even the most humble worker in a photo lab can use it, then you'll have my attention. Sorry, but that's the reality of this business.
Point: Digital Photography is just plain cool. In particular, there is a very tangible sense among Digital SLR enthusiasts that this is where the future of photography lies. It feels good to be a part of that.
Counterpoint: That may be true, but the future is not here yet for the majority of film SLR photographers. The current crop of D-SLR's are too expensive, and aren't there yet as far as features are concerned. I'm quite happy to continue my work and let other people shake out the problems with all this new technology. Let's face it, digital cameras are electronic goods, and with electronics you can always count on something coming out next year that's better and cheaper, that will make what I have now obsolete.
There's one more point I'd like to make, and I think I speak for most of my profession when I say that I have no problem with the young people who are just starting in Photography learning all the new digital techniques, because there's a lot of good stuff going on right now. Just don't forget where it all came from, and the incredible range of beauty that's been captured since the first Daguerreotypes of the 1840's, all the way through to what's going on today. The best way to prepare for the future is to understand the past, and I think that aspect of photography is the first thing to get lost in all this debate, which is quite unfortunate.
This definitely qualifies as a Frequently Asked Question. Before we get into the answer, let's review what Depth of Field is. The basic definition is that DOF is the range of subject distances that will appear to be in focus. If you "do the math", you find that DOF varies in direct relationship to aperture (when expressed as an F-number) and in inverse relationship to focal length (it also varies with focusing distance but that's not important right now).
In basic photographic terms, since depth of field is determined by the aperture and focal length of the lens, the D30 multiplier effect does not change depth of field. Another way to think of it is that the lens does now "know" about the 1.6x multiplier and delivers the same image and the same depth of field that it would to a film camera. All the D30 does is magnify and crop the image to make it look as though a longer lens were used.
However, the discussion doesn't end there. Let's say you take a picture using an 80mm lens on a 35mm film camera. If you want to capture the exact same image on a D30 you would have to use a 50mm lens due to the 1.6x multiplier effect. Simple enough, right? Except now you're using a 50mm lens, not an 80mm lens, therefore you are getting a greater (i.e., deeper) DOF since DOF is a function of the lens and varies inversely with focal length.
Therefore using a 50mm lens on a D30 will not give you the exact same image as an 80mm lens on a 35mm camera, because the DOF is not the same. To get a truly equivalent image on the D30 you would have to pull the DOF back down by opening up the lens to a wider aperture (smaller F-number).
In summary, although it is true that the D30's 1.6x multiplier does not directly change the DOF, it is also true that if you compare a D30 image to a 35mm image captured at a focal length that was less by a factor of 1.6, the D30 image will have greater DOF. Therefore, when you look at the question from the point of view of a 35mm film photographer who is just starting to use the D30, the 1.6x multiplier does in fact have the effect of giving you deeper Depth of Field.
So, if you already like the D30 because it lets you squeeze more zoom out of your zoom lenses, you can rejoice even more because you are also getting somewhat deeper DOF. But if shallow DOF is what you want (i.e., you're doing portraits), this is a drawback because you have to open up even wider to throw the background of of focus. This is also one more reason why using faster lenses with the D30 is a good thing.
They are two completely different image formats. The Jpeg format is based on an "open" standard and is the most popular format for capturing photographic images. RAW is a Canon proprietary format. A D30 Jpeg image is the end-result of several in-camera processing steps where data is discarded and compressed to create a smaller file while maintaining an acceptable level of image quality. A RAW image, on the other hand, is simply is the unprocessed data from the CMOS imager that has been compressed and stored so that it can be processed into a usable image after it's been taken off the camera.
To create a RAW image all the D30 does is take the unprocessed data from the CMOS imaging chip and compress it in a "lossless" manner so that all the information captured by the camera is retained and available for further processing and manipulation.
The D30 also creates a "thumbnail" (.Thm) image (actually a small Jpeg) and stores it along with the RAW ".Crw" file so that it can be viewed in-camera before it's processed.
However, a .Crw file is not usable until it has undergone an additional processing step, using the TWAIN software drivers provided by Canon. These drivers perform interpolation on the individual pixel data elements captured by the D30's CMOS. Since each pixel element captures only one color, these interpolation algorithms are very important and are in fact proprietary to Canon. This is why there are very few non-Canon programs that understand RAW format.
The D30 performs the following three steps:
It's important to note that image information that is discarded during the Jpeg processing can never be recovered. That's why many D30 users work in the RAW format, or take RAW "backup" shots of important images.
This is a tricky one. The D30 never applies a rotation algorithm. All it does is mark the angle of rotation (90°, 180°, or 270°) in one of the file's EXIF header fields. It's up to the software running on the PC to detect this and perform the rotation when the image is downloaded off the camera.
Now here's the bad news. If you are using ZoomBrowser, it does in fact apply a lossy rotation algorithm to images that have been rotated in-camera. This is one of the reasons many D30 users refuse to use it.
This is a complicated and frequently-asked question. The short answer is that working in RAW format has several advantages over working with Jpegs, however these advantages may or may not be important in any given situation and may not justify the additional effort, not to mention disk space, that the RAW format requires. The real answer depends on the needs of the photographer and results they are hoping to obtain.
A particularly astute observation was made by Michael Reichmann on his excellent Luminous Landscape web site. He made the point that digital camera users generally fall into two categories. Some people look at a digital image like a Polaroid, that is, a final result to be enjoyed as-is. Others look at it like a negative, that is, something that must undergo further processing and creative manipulation before a pleasing result is attained. In general, if you fall into the "Polaroid" group, you will probably be happy with Jpegs, and if you fall into the "Negative" camp you will probably want to become familiar with RAW format and the various tools and techniques for working with it.
Speaking in Canon's terms, the D30 uses a three-point Multi-BASIS autofocus sensor. This is exactly the same as what is in the Elan II, EOS IX APS, and Rebel cameras (except for the Rebel 2000 which uses a 7-point sensor). The 3-point Multi-BASIS sensor uses vertical sensors on each side and a central cross sensor in the middle.
Speaking in real terms, there's been a lot of frustration with the way in which the Multi-BASIS system has been implemented in the D30. To be specific:
Why does this happen? The exact answer remains a mystery. People who have used Elan and Rebel cameras claim they autofocus better than the D30. Perhaps the D30's smaller format results in less light being available to the sensors. A side-by-side comparison between a D30 and an EOS IX would be informative but as far as I know nobody has done this.
Why did Canon use the Multi-BASIS system? Because the D30 was always intended as a "Prosumer" camera and any other choice would have priced it out of that market. As we sit here a year later, the D30 is still the only interchangeable-lens digital SLR in its price range. It's probably true that the wisdom of using Multi-BASIS in the D30 will be debated for a long time to come, but Canon still deserves credit for acheiving the goals that were laid out at the start of the product's development cycle and successfully bringing the D30 to market at a time when every other digital SLR cost twice as much.
It has been widely reported that, when Canon developed the D2000 and D6000 cameras in cooperation with Kodak (where they are known as the DCS520 and DCS560 respectively), they entered into some sort of contract that prohibited them from releasing their own professional digital SLR, and that this agreement would expire sometime in 2001. Therefore, in order to prevent the D30 from being considered a "pro" camera, Canon had to give the camera an "Achilles' Heel" so that there would be no debate about its "Prosumer" status.
The problem is that this "factoid" has never been confirmed by anyone who's in a position to speak "on the record" for either Canon or Kodak, and probably never will be. Even if it is true, the version of the story as described in section 4.1 is far more plausible than any of the conspiracy theories that have been floating around.
Although there's no perfect answer to this question, here are five strategies that have proven useful:
In general, the best thing you can do is become as knowledgeable as you possibly can about the D30 focusing system. Section 5.2 of this FAQ is a good place to start.
It's always possible that there's a problem with your particular camera. If you experience autofocus failure on a bright sunny day with your lens open as wide as possible (i.e., your zoom lens is out as wide as it will go), and can duplicate the problem with more than one lens, you probably have a good reason to call Canon.
As I've already said, it's perfectly OK to be picky about lenses. A good rule of thumb is to buy lenses from vendors who have a liberal returns policy, so you can try out the lens/camera combination under realistic conditions and make sure you are satisfied with the performance.
Beyond that, there isn't much else to say, except that the D30 is a very capable camera and can tackle far more demanding jobs than its "Prosumer" status implies. However it wasn't meant to be a true Photojournalist camera, and if that's what you need there's always the Nikon D1x/D1h, or Canon's own EOS-1D. Every product has trade-offs and most people find ways to accept them. If you find yourself unable to do that, there's no shame in making a different purchasing decision and moving on. Just make sure you get your vendor's returns policy up-front.
Having said that, here's a list of the most popular lenses among D30 shooters, based on the traffic in the forums:
Zoom Lenses:
Prime Lenses:
L-Series Lenses:
REMEDIAL MEASURE: Because this error is caused by abnormal operation, try releasing the error by turning the main power switch OFF and then back ON. If this does not solve the problem, have the EOS D30 examined by a qualified service technician.
REMEDIAL MEASURE: Similar to Error 09, try releasing the error by turning the main power switch OFF and then back ON. If this does not solve the problem, have the EOS D30 examined by a qualified service technician. Please be careful to note the conditions under which the error message occurred.
REMEDIAL MEASURE: Use the DC Coupler or recharge the battery first. If the error continues to occur with sufficient power available to the camera, check that the CF card is properly inserted. If that's not the problem, then try replacing the CF card. If that does not solve the problem, have the EOS D30 and one of the CF cards that is causing the problem examined by a qualified service technician.
REMEDIAL MEASURE: Use a CF card with sufficient free space. If this does not solve the problem, have the EOS D30 examined by a qualified service technician.
REMEDIAL MEASURE: Replace the CF card. If this does not solve the problem, have the EOS D30 examined by a qualified service technician.
REMEDIAL MEASURE: Replace the CF card. If this does not solve the problem, have the EOS D30 examined by a qualified service technician.
REMEDIAL MEASURE: Try clearing the error by turning the main power switch OFF and then back ON. If this does not solve the problem, have the EOS D30 examined by a qualified service technician.
REMEDIAL MEASURE: Have the EOS D30 examined by a qualified service technician.
REMEDIAL MEASURE: Try clearing the error by turning the main power switch OFF and then back ON. If this does not solve the problem, have the EOS D30 examined by a qualified service technician.
REMEDIAL MEASURE: Try clearing the error by turning the main power switch OFF and then back ON. If this does not solve the problem, have the EOS D30 examined by a qualified service technician. (NOTE: The EOS D30 can be used with an EX-series Speedlite and/or with an electronic flash connected through the PC socket even when the built-in flash is unavailable.)
REMEDIAL MEASURE: Clean the electronic contacts on the lens with a clean, soft, dry cloth and check the mount interface switch on the body's lens mount for dirt or other damage. If this does not solve the problem, try another Canon EF lens or have the EOS D30 examined by a qualified service technician.
REMEDIAL MEASURE: If you are getting this error code consistently with freshly charged batteries, you should have your D30 checked by Canon Factory Service.
5.2. What did Chuck have to say about the whole auto-focus issue?
OK, here goes. This was posted to the Rob Galbraith D30 forum on November 22, 2000.
Part I
Hi, folks:
Maybe I can shed some light on some of the issues that seem to be concerning everyone. Let's take a look at some specific D30 camera settings and see how they should be selected to minimize shutter release time lag.
1. Auto Power Off: This is a menu setting on the back LCD. The Auto Power Off feature is designed to conserve battery power, but it's adjustable to allow for various shooting requirements. The default is 1 minute, but there are optional settings for 2, 4, 8, 15, amd 30 minutes plus Off. If the D30 powers down due to inactivity beyond the specified time limit, it will take approximately 7 or 8 seconds for the camera to wake up and be ready to shoot, even though the main switch is On. For the type of work that most of you seem to be doing, I would suggest setting a longer interval than the default. Try 8 or 15 minutes instead of 1, or Off if you're using the D30 as a remote. This will exhaust your battery more quickly than normal, so be sure to keep a fully charged spare or two around until you get comfortable with the difference in battery life.
2. Automatic Focusing Point Selection: When the camera is set for automatic focusing point selection (all 3 points active) the D30 selects a focusing point for you. This setting behaves differently depending on whether you've selected One-Shot AF or AI Servo AF. When One-Shot AF is combined with automatic focusing point selection, the D30 evaluates all 3 focusing points simultaneously and picks the closest readable subject. When AI Servo AF is combined with automatic focusing point selection, the D30 wants you to tell it which subject you are interested in tracking, so *at first* it shuts off the outer sensors and waits until you point the center focusing point at a readable subject. Once the camera has 'acquired' the subject, all 3 focusing points are activated and the AF system will track subject movement not only towards or away from the camera but also left to right or vice versa across the picture area covered by the 3 focusing points.
3. Manual Focusing Point Selection: When the D30 is set for Program, Shutter Priority, Aperture Priority or Manual exposure, you have the option of selecting individual focusing points manually. This is done by pressing the focusing point selector button and turning the main input dial next to the shutter button. The selected focusing point is indicated on the top LCD panel. Selecting focusing points manually will maximize D30 AF performance, because the camera does not have to evaluate all 3 points. Moreover, the central focusing point on the D30 is a cross-type whereas the outer focusing points are single-axis. This means that the central focusing point recognizes a greater variety of subject contrasts. Therefore, for maximum AF performance with the D30, we are talking a manually selected central focusing point.
4. AF Modes: There are 2 choices, One-Shot or AI Servo. One-Shot is for stationary subjects; it will not track a moving subject and normally it will not allow you to release the shutter until the focus is locked. AI Servo tracks subject movement as long as AF system is operating. When the D30 is set for AI Servo, the shutter can be released for a single exposure or for the first exposure of a continuous sequence at any time whether the subject is in focus or not. In a continuous sequence, the camera's AF system controls shutter release timing for all exposures after the first one, and will engage predictive AF if subject movement is deemed predictable. We'll come back to the selection of AF modes after we discuss Custom Function 2 settings.
5. Custom Function 2 Settings: This CF allows the photographer to execute AF Start, AF Lock, AE lock, and shutter release independently if desired. There are 4 optional settings as follows:
CF2-0: This is the default setting, in which AF is started by pressing the shutter button halfway, and AE lock can be engaged by pressing the AE lock button (marked with an asterisk) on the back of the camera (when the D30 is set for an AE mode). When the D30 is set for One-Shot AF and CF2-0, there can be and usually is a short delay between pressing the shutter button and releasing the shutter. During this time, the camera evaluates AF data and drives the lens to the calculated distance setting before unlocking the shutter release. When the D30 is set for AI Servo and CF2-0, there is no such delay. However, if you want the subject to be sharply focused, you'll need to keep the shutter button pressed halfway until the AF system finds the subject and starts tracking it.
CF2-1: With this setting, AF is started or stopped by pressing or releasing the AE lock button. The shutter can be released at any time, no matter whether the subject is sharply focused or not. When the D30 is set to an AE mode, shutter speed and aperture settings are locked the instant the shutter button is pressed halfway. When the D30 is set for manual exposure, the shutter speed and aperture are controlled ahead of time by the photographer. CF2-1 is useful for a great variety of shooting requirements, and it is particularly useful for sports because it allows you to shoot at any moment regardless of the focusing mode you've selected.
CF2-2: In this setting, as with CF2-0, AF starts when the shutter button is pressed halfway. However, the AE lock button now functions as an AF lock instead. This setting is sometimes preferable in AI Servo when your main subject is temporarily blocked by another subject. It's especially handy with USM lenses that permit full-time manual focus if you're the type of photographer who like to tweak the focus manually while the lens is set for AF.
CF2-3: This setting is almost the same as CF2-1, except that the exposure meter continues to function when the shutter button is pressed halfway. This is a relatively new option that first appeared on the EOS 3, and it does a better job of ensuring exposure accuracy in changing light.
When minimizing shutter release time lag is your objective, consider using CF2-1 or CF2-3 together with a manually selected central focusing point. Also, consider AI Servo instead of One-Shot AF.
Incidentally, there was some talk about the effect of the D30's beeper function on AF performance: In short, there is no effect. To begin with, the beeper is only functional in One-Shot AF mode. And it has no effect on AF speed or shutter release timing.
I'll cover Drive Mode and viewfinder display timers in a separate message.
Part II
OK, now let's move on to D30 Drive Modes, Buffer Memory, Write Speeds, Viewfinder Displays, etc.
6. Drive Mode: There are 3 drive modes on the D30: single, continuous or self-timer. These are changed by pressing the DRIVE button and turning the main input dial. Nothing unexpected here, but the choice of drive mode can affect the D30's shutter release timing because of the file size vs. buffer memory vs. write speed issues. Stay tuned...
7. Buffer Memory: This is the feature that allows the D30 to shoot a continuous burst. It holds the image data in RAM until it can be written to the CF card. It can also have an effect on shutter release timing. The D30 has a 32MB buffer. Read on...
8. File Sizes: The D30 has 5 resolution/compression settings. These settings affect image quality, but they also affect the size of the file that is written to the CF card. Approximate stored file sizes are as follows:
RAW: 3.4MB
Large/Fine JPEG: 1.2MB
Large/Normal JPEG: 700KB
Small/Fine JPEG: 700KB
Small/Normal JPEG: 420KB
The stored file sizes are approximate because of the effect that subject contrast and digital noise have on the JPEG and RAW compression algorithms. Generally speaking, finer detail and higher ISO settings increase stored file size at any given resolution.
A secondary issue here is the sequencing of determining the stored file size. The important thing to know is that JPEG compression and RAW file encoding are executed in hardware via a custom-designed DSP chip in the D30 *prior* to being transferred to the buffer. This means that the file size is already reduced as much as it's going to be.
8. Write Speeds: This is a function of individual CF card types. Rob Galbraith has covered this topic in detail elsewhere on this site, so I won't repeat it here. The bottom line is that (up to a point) the combination of file size and write speed determines how long it will take to clear the D30's buffer memory after a continuous sequence. "Up to a point" means that once the buffer is full, it takes the same amount of time to totally clear it regardless of how many images are in the buffer. It takes about 24 seconds to clear 32MB of buffer memory at a write speed of approximately 1.3MB per second. Some CF cards are slower than others, so your mileage may vary.
When you are shooting multiple continuous sequences with the D30, you need to pay attention to the condition of the buffer memory in order to achieve maximum control over shutter release timing. Assuming that you've done everything else we've recommended so far (Proper setting of Auto Power Off, focusing point selection mode, AF mode, drive mode, and C.Fn. 2-1 or 2-3), the next most important thing is your control of the shutter button itself.
If you plan to shoot a second continuous sequence while the buffer memory is either partially or totally full, and you want to reduce or minimize the shutter release time lag, be sure to keep your finger partially depressed on the shutter button after the end of the first continuous sequence. If you remove your finger from the shutter button, the D30 will give priority to data transfer over shutter release, and you may have to wait until the buffer is almost fully cleared before you can resume shooting.
Keeping your finger halfway pressed on the button doesn't stop the D30 from writing to the CF card, but it will allow the shutter to be released as soon as there is enough space in the buffer to store an image.
9. Viewfinder data display timer: As a power conservation measure, the D30's viewfinder data display is programmed to extinguish 4 seconds after the last camera control has been touched. This setting cannot be adjusted by the photographer.
However, it is not necessarily true that you have to keep the display illuminated in order to achieve minimum release time lag. The 0.5 second delay after the viewfinder display goes out will only occur if the D30 is set for One-Shot AF and C.Fn 2-0 or 2-2. There is no such delay when the camera is set for C.Fn 2-1 or 2-3 unless One-Shot AF is on *and* the AE lock button is pressed at the same time as the shutter button.
The significance of this is as follows: Assuming the typical sports shooting settings (manually selected focusing point, C.Fn 2-1 or 2-3, AI Servo AF, Continuous Drive, Auto Power Off on a reasonable setting), it is unnecessary to keep the viewfinder display constantly illuminated. Instead, all you need to do is anticipate your shooting sequence by pressing the shutter button halfway down for a second or so before the first exposure. Try it and see what you think.
Alternatively, consider the camera set up as outlined above, but with the drive mode set to Single instead of Continuous. In this case, you need to allow at least 2 or 3 seconds between shots when the image quality is set to Large/Fine or RAW in order to clear the buffer, even though it is not full. If you find that you need to shoot more frequently than once every 2 or 3 seconds, you'll be better off to switch to Continuous mode instead. There is enough control in the shutter button to allow single shots in continuous mode as long as you're paying attention to your finger movement.
This information is offered in the spirit of trying to help you get the most out of the D30 given its limitations. There is always room for improvement, and I welcome your feedback and suggestions on potential improvements that would optimize your workflow.
Part III
Some additional thoughts on focusing issues as opposed to camera handling:
You'll probably find that the D30 autofocuses best when the central focusing point is manually selected rather than letting the camera select a focusing point automatically. As mentioned above, this allows the D30 to concentrate its focus detection efforts on just 1 sensor instead of all 3.
The outer focusing points have the same precision as the central one, but they are single-axis. When the D30 is held horizontally, the outer focusing points are aligned vertically. This means they can recognize horizontal contrast in the subject, like the horizon line between earth and sky in a landscape. When the D30 is held vertically, the outer focusing points are aligned horizontally. If we're photographing a landscape scene, it will be difficult for these same outer focusing points to recognize the horizon line because it's more or less parallel to their alignment instead of being at right angles to it like it was when the camera was held horizontally. The central cross-type sensor gets around this problem by having horizontal and vertical contrast detection at the same time.
If you find that your D30 is having difficulty locking on to the desired subject, take a look at the subject contrast to see if that's the problem. If it is, you might be able to solve the problem simply by switching the camera from horizontal to vertical or vice versa and refocusing. Also, look for the edge between the subject and the background rather than zeroing in completely on the subject alone.
I know this is "Autofocus 101" and most of you are already familiar with it, but the information here is once again offered in the hopes that it might be useful to a new D30 owner, just in case.
The URL for the original thread is:
http://www.robgalbraith.com/cgi-bin/ultimatebb.cgi?ubb=get_topic&f=8&t=000008
5.3. What did Chuck have to say about flash exposure?
This was posted on November 27, 2000.
Most of the reports we've been hearing from D30 owners indicate that auto flash exposure is very accurate with EX-series Speedlites including the 550EX, 420EX, 380EX, 220EX and MR-14EX as well as the built-in unit. My experience corroborates this.
If you use any of these Speedlites in E-TTL mode, one of the most important considerations is ensuring that the subject you intend to meter is covered by the active focusing point **when the flash is metered.**
In standard E-TTL flash exposure mode, flash exposure is measured after the shutter button is fully pressed but before the camera's reflex mirror flips up. If you are using autofocus with the D30 and standard E-TTL on the 550EX, you will therefore need to use the Focusing Point Selector to cover your subject with the active focusing point before *and* during the exposure.
If you have gotten into the habit of locking focus using an individual focusing point, and then recomposing before the shot, you will almost certainly get a bad flash exposure in E-TTL mode with the 550EX or any other EX-series Speedlite. This is because the active focusing point is usually positioned over the background during exposure. There is a workaround, called "Flash Exposure Lock," or FEL for short. This feature allows the camera to memorize the flash meter reading from the D2000's spot metering pattern by preflashing the subject using the AE lock button. Once this has been done, then recompose and shoot.
For details on both of these methods (E-TTL and FEL), please refer to your D30 User's Guide, Chapter 4.
You may find that you prefer slightly more or less fill than the 550EX provides at its default settings. If so, adjust the Flash Exposure Compensation setting and take some test shots using the LCD monitor to judge the results. I would also suggest that as a general rule of thumb, you should set the D30's Custom Function 10 to C.Fn. 10-1 at all times. This will put you in complete control of the flash exposure compensation setting and help to make your results more consistent and predictable, especially in outdoor fill-flash situations. Once again, this topic is covered thoroughly in the D30 User's Guide.
The URL for the original thread is:
http://www.robgalbraith.com/cgi-bin/ultimatebb.cgi?ubb=get_topic&f=8&t=000029
You may also want to look here:
http://www.robgalbraith.com/cgi-bin/ultimatebb.cgi?ubb=get_topic&f=8&t=000201
5.4. What did Chuck have to say about Jpegs and Jpeg compression levels?
This was posted on March 19, 2001.
The easiest way to understand the basic difference between Fine and Normal JPEG settings on the EOS D30 is to compare the size of the file when it is open for editing (in Photoshop for example) vs. the size of the file when it is compressed.
You'll note that as long as the D30's image quality is set to Large or RAW (and the RAW file is converted to an 8-bit per channel image format), the size of the file when opened in an image editor like Photoshop is 8.9MB. The approximate file sizes for Large/Fine and Large/Normal JPEGs are 1.2MB and 700KB, respectively. Dividing the open file size by the compressed file size yields the approximate compression ratio. Using this formula, the compression ratios for Large/Fine and Large/Normal are approximately 7.4:1 and 12.7:1 respectively. Let's round these off to 8:1 and 12:1 for the sake of discussion. RAW files use a different type of compression algorithm, but for the sake of this discussion they should be considered uncompressed.
Actual JPEG file sizes will vary according to the levels of noise and detail in the actual image, with less compression applied as those levels go up and more compression applied when those levels go down. However, 8:1 and 12:1 are good aim points for a standard test target properly exposed at ISO 100.
The higher compression ratio of Normal vs. Fine can be seen in terms of degradation of detail when images are examined onscreen at high magnification (let's say 200% and higher), but as a general rule the degradation is very difficult to detect when the onscreen magnification is less than 100%.
Detecting the differences between Fine and Normal on an 8x10 or smaller print tends to be more difficult than detecting them onscreen.
The decision on which setting to use should be made according to your own priorities. There's no question that RAW files retain the highest levels of image quality, but that may or may not be important if the intended use of the output is not completely critical. I would encourage you to form your own opinion based on the type of work that you do, using test images and output (either onscreen or prints) according to your applications.
You'll probably find that the JPEG settings offer a good balance between convenience and image quality, whereas the RAW files provide the greatest degree of quality and control.
The URL for the original thread is:
http://www.robgalbraith.com/cgi-bin/ultimatebb.cgi?ubb=get_topic&f=8&t=000431
NOTE: Unlike the D30, the D60 has only five error codes.
REMEDIAL MEASURE: Clean the electronic contacts on the lens with a clean, soft, dry cloth and check the mount interface switch on the body's lens mount for dirt or other damage. If this does not solve the problem, try another Canon EF lens or have the EOS D30 examined by a qualified service technician. This error is similar to Error 84 on the D30.
REMEDIAL MEASURE: Use the DC Coupler or recharge the battery first. If the error continues to occur with sufficient power available to the camera, check that the CF card is properly inserted. If that's not the problem, then try replacing the CF card. If that does not solve the problem, have the EOS D60 and one of the CF cards that is causing the problem examined by a qualified service technician. This error is similar to Error 22 on the D30.
REMEDIAL MEASURE: Use a CF card with sufficient free space. If this does not solve the problem, have the EOS D60 examined by a qualified service technician. This error is similar to Error 23 on the D30.
REMEDIAL MEASURE: Try clearing the error by turning the main power switch OFF and then back ON. If this does not solve the problem, have the EOS D60 examined by a qualified service technician. (NOTE: The EOS D60 can be used with an EX-series Speedlite and/or with an electronic flash connected through the PC socket even when the built-in flash is unavailable.) This error is similar to Error 83 on the D30.
REMEDIAL MEASURE: Try releasing the error by turning the main power switch OFF and then back ON. If this does not solve the problem, have the EOS D60 examined by a qualified service technician. Please be careful to note the conditions under which the error message occurred. This error is similar to Error 09 or Error 10 on the D30.