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canon 8-15 vs nikon 10.5 ,tokina: 阎涛 2012-7-20 08:07 AM; http://michel.thoby.free.fr/Canon_8-15mm/8-15mm_review.html Review of the Canon EF 8-15 mm f4 Fisheye Zoom A new tool for the Canonist panorama photographers. Report from tests with a full frame Canon DSLR New (Mar 2012) You may now read a supplement to this page about "What are the competitors?" Table of content: Previous other reviews Foreword No-Parallax Poin t Focus distance, autofocus and hyperfocal point Comparison between coverage of images + Data base of Test Images (Downloadable). Image radial mapping measurement and comparison with selected similar lenses Expected resolution of the equirectangular panorama output About Focal Lengths and about Range of focal length . Angle of view for the different focal lengths : is 2-shot panorama feasible? The lens cap that loosely fits on the sun hood The Zoom Limiter Switch Image Quality: comparing with other rival lenses Canon 8-15 mm Vs Tokina 10-17 mm: at fully opened aperture (f/4). Chromatic aberration Ghosting and flare Conclusion Previous other reviews on the web This lens is designated by Canon as part of the 'L" series (Pro). It has been made available at the very end of July 2011. Many reviews were issued a few days or a couple of weeks after that. AFAIK the reviewers have been using the new lens for "normal" photography. I have particularly appreciated and recommend the reader of this article to read the reviews by LensTip.com , Photozone.de and by the-digital-picture.com A nice overview was posted by Canon USA in November 2010... My intention is thus to supplement such reports and to give my point of view as a panorama photographer, and not to dupplicate them. I shall focus the report on panorama shooting specific observations when possible. But in addition and since many stitched panorama source images are currently and conveniently shot with a FE (fisheye) or an Ultra-Wide-Angle (UWA) lens, I shall attempt to confront the newest Canon zoom with other lenses that are frequently used by the panorama photographic community. Foreword Canon has designed a product that can be used on a Canon DSLR of any sensor size (APS-C, APS-H and full frame. Read second link above). I have been using the new lens (almost) only on the FF EOS 5D Mk 2 for the moment. Consequently and at this early stage, this article belongs only to this context. I suggest the user of a smaller ("cropped") sensor cameras to read it anyway and to come back later on. I plan to complement ASAP the report with a Part 2 ASAP... . No-Parallax Point Despite (or because?) nearly 2-3 millimeters of translation of the front group of optical elements when zooming in or zooming out (it is most retracted at around 11 mm of focal length), the NPP (a.k.a. Least Parallax Point ) doesn't move when zooming the lens! In practice, the NPP moves so little along the axis that it can be considered as a stationary point. This holds true unless you would attempt to take a "2-shots" or a "3-shots" panorama and with objects very close to the front of the lens. This means that both the Tokina 10-17 mm and the new Canon lens are fisheye zoom lenses that share the nice feature of a "nearly stationary NPP" along the whole focal length range. Of course and as for all the other fisheye lenses (as well as retro-focus UWA ), the NPP location moves along the axis as a function of the selected or required incident angle. In the practice of panorama stitching ,that generally depends on the number of shots to cover 360° around. The shift movement of the NPP extends along a 15 mm distance on the axis of the Canon 8-15 mm lens. Assuming four images around, the NPP location is illustrated on the picture below by the green dot: Three other alternate locations are also indicated (in brackets). At 15 mm setting the front element is protruding the most from the lens barrel and it's ~3 mm forward of the position it gets when zooming is set at 11 mm (i.e. the most retracted position). This movement of the front optical group slightly changes the NPP location for two shots and also (but in a lesser extent) for three shots. More than 3 shots around are needed when the focal length is set at 15 mm... Focus distance, autofocus and hyperfocal point I have found this subject to be the main hurdle when using the lens, especially if one wants to shoot with it wide open (at f/4). Blurring happens more often than not if care isn't taken to properly adjust the focus distance setting. Much less than half a millimeter of shift on the focus distance scale shall put the picture out-of-focus. 0.5 mm corresponds to a rotation of the manual stting ring of about 1 to 1.25 mm only! The image is homogeneously sharpest when aperture is set at about f/5.6 or f/8. This aperture setting is IMO possibly the best compromise (depth of field, sharpness from center to corner, etc.) for panorama when lighting of the scene and subject motion velocity allows to shut the diaphragm down to such values. By trials and errors, I have found the hyperfocal point to be best set when the "right edge" of the vertical "leg" of the digit "1" (1 meter) is aligned with the vertical distance indicator on the barrel of the lens. At f/8, everything in the object space located from about 70 cm to infinity from camera is crisp focused on the sensor plane. Remarks: 1) Quote from the User's instructions Manual : The infinity position at normal temperature is the point at which the vertical line of the L mark is aligned with the distance index on the distance scale. I honestly cannot confirm this affirmation. The infinity position is definitely NOT at this position at "normal temperature", at least on the lens unit that I have in hands. The infinity position is most probably just "slightly before" (i.e. out on the left of) that vertical line of the L mark. This can be easily confirmed by carefully aiming the lens at "infinity" in real object space and in Auto-Focus mode (shutter switch half depressed) and subsequently noting the corresponding distance scale indication. If one puts the mark as Canon suggests, the whole photograph is blurred, including infinty ... by out-of-focusing! 2) This observation is important because the distance between the "1" ( one meter) and the infinity mark is ONLY about 1 mm on the scale. There isn't a way to manually set the exact distance of focus to a nearby object beyond one meter! That is nevertheless the most frequent shooting situation in panorama photography, isn't it? At this stage, let us quote LensTip.com : To all intends and purposes a fisheye lens can make do without an autofocus. Working on full frame at 8 mm, even wide open, you can enjoy sharp images in the range from 0.9 of a meter to infinity when you set the distance scale at 1.8 metres . On stopping down the situation becomes even better. Hmm... setting the distance scale at 1.8 metres... is a nice suggestion. But, how on earth can you do that accurately? You may have a look on the scale on the picture of the lens right above and tell me how to do... I dare to think that the LensTip.com suggestion is in practice equivalent to what was suggested above in this paragraph (i.e. "put the rigth edge of the #1 meter aligned with the distance indicator mark "). The 1.8 meter figure is actually the hyperfocal distance relevant to 15 mm of focal. This would also approximate a fit for the whole range of focal lengths but further refinement can be applied for the shorter end of the scale: for instance I thus set the mark aligned with the vertical leg of the "1" when I shoot with 12 mm of focal (my usual way). 3) Some may think otherwise, but I agree with the reviewers of the Canon new lens who say that fortunately, the AutoFocus is very fast and accurate on the new Canon lens (when lighting is sufficient, of course). Note that there are several Autofocus modes to choose from on the camera and that they are in many cases not all equally accurate. The 8-15 mm is a "L + USM" lens (i.e." pro" and "expensive") and the customer is expecting such a treat, isn't he? I then set the Autofocus by aiming at an object that is located ~1.8 meter from the camera and I switch the focus-setting mode back to manual. 4) To compensate for shifting of the infinity focus point that results from changes in temperature, on the Canon 8-15 mm lens there is an Infinity compensation mark (the horizontal leg of the bold "L" shaped mark). This means that one can willingly put the index (that is engraved on the lens barrel) up to about 5 mm beyond the Infinity point! Ironically, we may compare the meager 1.5 mm of distance between "1 meter" and infinity marks to the 6.5 mm distance between the same "1 meter" mark that applies for the very rare case where the infinity has shifted due to VERY wide temperature change... I would have preferred a more balanced proposition:-) 5) If you intend to put some tape stuck to fix the focus setting ring in place after adjustment of the hyperfocal you then must know that it is extremely important to also lock the Auto-focus switch to MANUAL and to put some tape on it. But unlike fisheye lenses that are not fit with piezoelectric actuation, the USM doesn't keep the mechanism really fixed. I have once been fooled by this system during a shot campaign at night and I got a... nicely blurred panorama. BTW I am not certain if masking tape application on the ring and on the switch after focus distance pre-setting (e.g. on the hyperfocal point), shall unsure this setting be kept really fixed if the camera is submitted to some moderately high white random noise vibration level.... REMARK: Canon (US) wrote in this article that is illustrated witth this image : For close-up photography at distances of 1.5 meters or less, the lens is designed so the equidistant subject circle (a circle described by an equal subject distance at all angles of view) appears flat in the image plane (see Figure). This allows the photographer to emphasize the center of the photo by focusing on the center and obtaining an attractive fuzzy effect at the edges when shooting a flat subject at close distances. Conversely, it is possible to capture a very clear image with the entire FOV in focus when shooting a subject that surrounds the camera (lens) at a uniform distance. When shooting subjects at distances over 1.5 meters, the lens is essentially pan focus, where nearly everything in the FOV is in focus. I have observed that this behavior (that in fact invalidate a frequent misconception) is true for most of the fisheye lenses and at the least for all of those that are dealt whith in this present article. 6) Tip: If, for any reasons, the Autofocus temporary solution -read item #3 hereabove- is not reliable, then viewing the scale of distance of focus (visible through the plastic transparent window) is essential to manually set the lens correctly and thus to get sharp-focused images. If for any reason, it is not visible (for instance if it's hidden inside a clamp ring), one has then to use a workaround to set the lens to the hyperfocal... One simple way is 1) to push the setting ring manually so that it is mechanically end-stopped at {position ∞}and even farther so as to surely overshoot this position (the ring can be moved freely because the de-clutching effect of the USM), then 2) to reverse the rotation from this extreme end positon back to a final known position with respect to visible marks on the barrel. In other words, this final position is attained after rotation of a known fixed distance (i.e. 8.2 mm) from end-stopped state of the ring in order to set exactly the lens at the hyperfocal {H}. As a matter of fact, this process is simulating a virtual "twin" distance-scale that replaces the obstructed original one. And this "new scale" is made available on another part of the lens barrel: in this effect, I have painted in white with a "white pencil" one groove on the rubber ring (rapid correction TippEx liquid may work equally). After having rotated the ring to overshoot beyond the infinity end stop action (position on the -invisible- scale at the Infinity compensation mark { ∞}), I move it back to the left edge of the letter "Z" of the word "ZOOM" and not more ; (note that this has yet not changed th actual setting on the hidden scale itself). Then I reverse (again) the rotation and move the white groove to the right edge of the letter "M" of the same ZOOM word. The distance of focus indicator is now at this stage exactly aligned on the right edge of the "1" meter position on the scale and hyperfocal is set. Remarks: the word "ZOOM"(see image above) is engraved on the front fixed part of the barrel. Any other adequate pair of points of reference on the body (e.g. two marks applied on the red thin ring) could be used as long as they are separated by ~8.2 mm. BTW there is a 5:2 ratio between the rotation of the ring and the synchronized distance scale and that de-facto magnification soothes in a way the difficulty to set accurately the hyperfocal. Voila! Comparison with other lenses: The difficulty to manually and correctly set the correct intended distance of focus is probably the cause of some early reporting (on forums) for observation of "softness" in some images that were shot with the new lens right out of the box.... Let's compare what measurement means that we can count on for setting the focus distance on some lenses that I may use for panorama: Distance on the focus distance scale to the infinity mark... .... from the "0.5 meter" mark ... from the "1 meter" mark ... from the "3 meters" mark Sigma 8 mm f4 19 mm 9 mm - Samyang 8 mm f3.5 33 mm 16 mm 5 mm Nikkor 10.5 mm f2.8 4 mm - - Canon 8-15 mm f4 ~ 2 mm (best estimate) 1 mm - Tokina 10-17 mm f3.5-4.5 ~ 4 mm (best estimate) - - Samyang 14 mm f2.8 62 mm 27 mm 8 mm The Sigma 8 mm lens is (like the Canon zoom) also fitted with an Infinity compensation mark (the bold "L" shaped mark) for the same purpose as Canon explained it to be. Neither the Nikkor 10.5 mm nor the Tokina 10-17 mm could actually be manually and accurately set at the hyperfocal just by using the scale: The Tokina 10-17 mm lens (the model that I own) must be put at the infinity end (i.e. pushed to the mechanical stop) to get it perfectly set on hyperfocal (!) That's fast and reproducible but that's not what is expected. The autofocus of the adapted-to-EOS Nikkor lens naturally doesn't work with EOS camera. The ring should be permanently fixed on hyperfocal by a piece of tape after careful calibration with a trial and error process. The distance scale was IMO the World worst-designed by Nikon... but it's now a tie with Canon. BTW compared with the usual "Canon Sandard", the scale is reversed on these two lenses (Tokina and Nikon). Being lenses originally deprived of Autofocus ability, both the Samyang 8 mm and 14 mm had to be dismounted and mechanically adjusted to get the focus distance scale aligned about right. After this operation, the two lenses are the best and easiest amongst all to accurately and manually set the distance. I am certain that some testers have probably made wrong assessment of the lenses performances and IMO they gave a wrong jugement for instance here about the Samyang UWA lens: Ken contradicts the positive judgement that was reported by most -if not all- other test reviewers. He was probably fooled and did not reckognize the generic defective cause. Weak Quality Control at Samyang facilities is said to be the root cause of this annoyance. By the way, there is often a misconception by many photographers about the For close-up photography at distances of 1.5 meters or less, the lens is designed so the equidistant subject circle (a circle described by an equal subject distance at all angles of view) appears flat in the image plane (Figure 5). This allows the photographer to emphasize the center of the photo by focusing on the center and obtaining an attractive fuzzy effect at the edges when shooting a flat subject at close distances. Conversely, it is possible to capture a very clear image with the entire FOV in focus when shooting a subject that surrounds the camera (lens) at a uniform distance. When shooting subjects at distances over 1.5 meters, the lens is essentially pan focus, where nearly everything in the FOV is in focus. Comparison of the coverage of images that were shot with the Canon zoom fisheye lens with images from other similar lenses 1) For a quick look and to get a subjective appreciation: This (flash) object movie shows the differences that will exist between the images by different lenses. Other reviewers have also posted many examples of animated images that illustrate the aspect of the different lens projections and different lens magnifications. 2) For inputting test images in your favorite stitching program(s): a panorama digital image Databank! Many images from the new Canon lens... may be dowloaded in raw (.CR2) file format! A table is indexing a large collection of files of full-scale images of the same scene (see thumbnail above). It allows the reader to select and download sets of test images that were shot with the EF 8-15 mm as well as four other fisheye lenses (and alternatively with a UWA lens). I must remind again the reader that all these images were shot with a full-frame Canon DSLR only . Beware: some of the downloads are particularly bandwidth hungry! Image radial mapping measurement and comparison with similar lenses The projection that Canon has adopted for the new lens is.... normal for such a fisheye lens. The curves can be approximately stacked with those of similar fisheyes with Equi-Solid Angle type of projection. A chart demonstrates this feature: Click on the thumbnail picture to enlarge the view. Or here to download a PDF document. For the curious reader the experimental process that was used to get the graph is posted here . The radial compression when reaching the edge of the field is a bit less accentuated than most other fisheyes (except the Samyang, of course). It seems that Canon's own design specification was linear scaled: R= f x Theta (i.e. the equidistant projection) and that they finally got close enough to this target. Because of this feature, one may expect to get very small coefficients for image "distortion correction" after optimization in the stitching software. Update (19 April 2012): Canon has filed in 2011 for various Patents applications at the US Patent and Trade Office that directly concern the 8-15 mm Lens. Two of these applications were published by US PTO early in 2012 that revealed graphs showing relative distortion of the lens when it is set at 8 mm or at 15 mm for the focal length and when simultaneously the focue is respectively set at the closest distanec or at the infinty. I have build an overview of the result computed by Canon: The image radial mapping is considerably different when the distance of focus is set at 150 mm (i.e. closest available distance of focus) than when it is set at infinity. Beware: these charts drawn by Canon are not taking into account the restriction due to possible cropping by the sensor limited coverage (even on a FF camera): on an actual fulframe camera, the FOV for the longer focal end (i.e14 mm. L 15 mm) may be smaller than the value of ω written on the chart. Expected resolution of the equirectangular panorama output The range of focal length of the Canon zoom fisheye encompasses probably most of the needs of the panorama photographer when the rendered output is to be viewed on the screen of a computer or a mobile device. Only very high resolution panoramas (often being very large mosaics of images presented in cylindrical or Panini projection) would required a different lens. Mainly using the resources of the above linked Images Databank, I have collected the data that were computed by the AutoPano Giga and PTGui Pro software when asking to "Create or Render the panorama": the Maximum (No loss of detail) of the possible Optimum size has been selected and the proposed resulting sizes were listed on a table. I admit that these numbers could have been rounded... Lens model and Focal length Shooting scheme Resolution (Optimal Maximal size in Pixels) AutoPano Giga PTGui Pro Fisheye (no sub-option: = Circular) Option "Circular" Option "Full Frame" Canon 8-15 mm @ 8 mm 3 Horizontal 8320 x 4160 7172 x 3586 7172 x 3586 Canon 8-15 mm @ 8 mm 4 Horizontal 8062 x 4031 7184 x 3592 7172 x 3586 Canon 8-15 mm @ 9 mm 3 Horizontal 8996 x 4498 7916 x 3958 8060 x 4030 Canon 8-15 mm @ 10 mm 3 Horizontal 10234 x 5117 8944 x 4472 9304 x 4652 Canon 8-15 mm @ 11 mm 3 Horizontal 11152 x 5576 9736 x 4868 10276 x 5138 Canon 8-15 mm @ 12 mm 4 Horizontal 10772 x 5396 10572 x 5286 11296 x 5648 Canon 8-15 mm @ 13 mm Nadir + 4H + Zenith 13906 x 6953 11608 x 5804 12388 x 6194 Canon 8-15 mm @ 14 mm Nadir + 6 Horizontal + Zenith 13908 x 6954 12572 x 6286 13468 x 6734 Canon 8-15 mm @ 15 mm Nadir + 4 Horizontal + Zenith 15058 x 7529 14036 x 7018 14816 x 7408 Canon 8-15 mm @ 15 mm Nadir + 6 Horizontal + Zenith 15154 x 7577 14004 x 7002 14788 x 7394 BTW there are some obvious discrepancies in the results from Kolor's APG: the results above were obtained by using the latest stable official APG version (v 2.5.2). A completely overhauled version including new math models for the lenses (and/or for correction of the distortion) should be released soon (Beta testing is still under way). The results of optimum size computation should then be more accurate and homogenous. These data can be compared with the size got by stitching images from other fisheyes and from some rectilinear lenses in an other article . About Focal Lengths and about Range of focal length The radial mapping chart that is presented in the above paragraph shows the lower end of the range behavior of the Canon zoom being "almost" identical to the Sigma 8 mm mapping near the center of the image. Note that's here (on that chart) the newest (f3.5) Sigma model. Therefore one can assume that the shortest focal length of the Canon zoom is probably 8 mm and this can be verified by a simple trigonotric computation. The upper end of the range of focal lengths is said by Canon to be 15 mm. However, by comparing images by the EF 8-15 mm @ 15 mm with that by venerable 15 mm f2.8 (also by Canon) and additionnally with some selected focal lengths of the Tokina10-17 mm (i.e. 15 mm and 16 mm respectively) it seems that Canon has designed a 16 mm fisheye lens. The estimation given by PTGui goes for 15.5 mm to... 15.95 mm. Would 8-16 mm be a more exact designation?. This seems however not to be completely confirmed by peering at the edges of the real photographs that were shot to compare Image Quality (later in this article). As a matter of fact, these images tend to prove the accuracy of the Canon designation of 15 mm for the maximum focal length. The absence of positive stops to accurately set the focal length (15, 16 mm...) on the Tokina may have contributed to the possible confusion. Side note: The meaning of focal length of a fisheye is the subject of controversy. It depends on the user's context. For a standard and ideal (rectilinear) lens and limting the study to paraxial Optics , the initial signification linked to the inclination of the tangent to the curves at coordinate (0,0) is fine and unambiguous. This definition of the focal length had in this simplified model a tangible sense for standard undistorted lenses and it can even then be related to the angle of view by a simple mathematical trigonometric function. However these simplified notions of focal length have been comprehended by the public in a way that can be summarized by a simple saying: "the shorter focal length yields the wider field". Many photographers and many reviewers makes this mental assimilation. The recent introduction of small digital sensor has further accentuated the assimilation by adding the questionable "equivalent focal length" to the list of spec... Today it is nearly totally incongruous to write the words "Focal length" in a sense and in a context that does not implies "Angle of view". The focal length is assumed to be constant over the whole field... Alas! this assumption generally may not be valid at all with (real) lenses that are affected with distortion of any kind: together with the distortion, the focal length may be described as a function of the incident angle and it thus varies in the field (DxO Labs literature). For a fisheye lens this may lead to bizarre graphs where the focal can be zéro and/or distortion can reach infinity on assymptote! While mathematically correct this is practical nonsense especially when the its author insists in using Gaussian optical theory and (undistorted) Standard (rectilinear) lenses for Unique Reference. In wich comprehensible way can a human mind can comprehend what is an infinite distortion? In short, and to be realistic and to take into account the actual casual use of some of the Optics vocabulary (especially on the Internet), one should not hang to a rigid mathematical definiton. Almost any number that is designated for description of the focal length by the manufacturer of a fisheye lens can be and shall eventually be disputed. And sometimes this is done in a large extent. This has happened and puzzled the customers base when the Samyang 8 mm fisheye was released some months ago: the same lens is sold with a focal length designation ranging literally from 6.5 to 8mm by different re-branding depending apparently only on merchandising law to post a "different label" from the others. BTW one can again observe that the Samyang 8 mm mapping (representing the projection) looks really different and peculiar on the PDF chart: its curve is the only one that flexes upward when the angle is increasing! That's the direct effect of the stereographic projection! Angle of view for the different focal lengths: is 2-shot panorama feasible with the new Canon 8 mm fisheye lens? The Angle of view of the lens on a FulFrame sensor looks very familiar and matches those of similar lenses with about 188 degrees (for cropped circular image). Nevertheless, the Angle of View is severely restricted by hard optical vignetting in the lower part of the focal length range (below ~10 mm). At 8 mm the full circular image doesn't contain useful pixels coming from more than 90 degrees from the axis when the aperture has been shut down to more than f/8. By "useful pixel" I mean those that are really clean from bluish seam. This is IMO sad news and great disappointment to this author. I had been hoping that Canon could have responded to this plea that I posted some years ago:-( While it is perfectly possible to stitch a 2-shot panorama, I have found impossible to get rid of the seam (it's generally bluish) at the joint between the two hemispheric images. The IQ of the Canon @ 8 mm near the edges is very good (equal or better than for other 8 mm fisheye lenses) but the circle limit is just 3 to 4 degrees to close to the center... frustration{:1_336:} Note: Setting the zoom at more than 9 mm (and up to12 mm) and shooting two back-to-back photos in landscape mode: that gives the ability to stitch 360° cylindrical panoramas. Spherical VR are also possible to be stitched in this simplified way, but two holes are left apparent at the nadir and at the zenith. In aerial panorama photography, setting the inclination down at say 20° would fill the hole at the nadir (a further shot of the zenith can possibly be added later to complete the whole sphere and to hide the flying vehicle on the bottom of which the camera is mounted on). BTW this can also be done with the Tokina 10-17 mm (@ 10 to 12 mm) and with the Nikkor 10.5 mm. The lens cap that loosely fits on the sun hood The retaining device that should maintain the front protective cap by holding it locked by means of two tongues that grip on the mini-grooved lips on the inner side the sun-hood. That's a common feature that is used by many lens makers. But Canon have based their version for the EF 8-15 mm on a plastic made, elastic ring that is supposed to act as a spring firmly pushing on the two tongues. Actually a simple brushing with a finger tip against one of the two buttons and the cap is eventually released... The elastic ring is so poorly dimensioned that it make the cap more prone to fall on the floor than the cap that fits on the venerable EF 15 mm! The users of that venerable prime fisheye lens shall know what I am referring to:-) I have made two simple metallic blades to make the spring force much stronger. The cap cannot now unwillingly get loose. two additional spring blades now the cap won't get loose unwillingly ! The lens hood Molded from black plastic material, it is removable (by holding down a small button to release the hood baonette). After a full month of use, I have never yet shot a photograph with the hood left attached on the lens.... though it is a nice and effective protection of the front lens surface from scratches:-). BTW will someone design and manufacture a simple removable "cap" that would replace the bulky (hood + cap) present assembly? This is obviously feasible and it would save a lot of space in the congested photo bag of those who do not intend to ever use the current removable sun hood when shooting photos.... The Zoom Limiter Switch is not a click-stop or a zoom locking device{:1_336:} The seasoned panorama photographer shall be disconcerted by this rather strange invention designed by Canon. I personnally have thought at first to be a useless and silly feature, but after a while, I think now that it could be very useful if it was modified and improved as it could become a simple accurate zoom setting feature with e.g. click-stops or any other means to set repeatable and accurate focal length selection. A zoom locking feature would also be a nice add-on... At present it is possible to do that only when setting the focal length at 8 mm and 15 mm (against mechanical end-stops) and also 10 mm (by using the zoom limitter switch). I personally would love Canon to extend the 10 mm hard limit to... 12 mm. Many users shall miss an ability to positively mechanically stop the zoom at some specific main positions where we could set the focal length at some specific precise values on a repeatable way so as to use a template for batch stitching without CP optimization. IMO this should not be very hard to implement. Image Quality: comparing with other rival lenses at medium aperture setting (f/5.6 or f/8) I have cropped a small area (e.g. 450 x 300 px) just near the corner of the full-scale images (or on the edge of the circle where applicable). To better peer at the details, I have found that zooming in the cropped image in a graphic editing program (to 300% for instance) strengthens considerably the ability to discriminate the best lens from a lesser performer. I do not own the venerable prime 15 mm model from Canon. It has been rumored to be totally discontinued by Canon since the EF 8-18 mm introduction in end of July 20011. As a matter of fact it disappeared from the store at Canon Europe even if it is still listed on the catalog (Sept 2011) of the Canon USA and Canon Asia South-East web sites. I had however shot some test photographs with a 15 mm lens that Gilles Vidal lent me early in 2007. I subsequently compared one (shot at f/8) with a recent photos also shot at f/8 with the very same EOS 5D FF (12 Mpix) camera with the new Fisheye zoom that was used four years and a half ago. The camera being different from the others cases, I shall present this case separately from the other.. 1- Canon 8-15 mm compared with Canon EF 15 mm f2.8 fisheye (EOS 5D = 2912 x 4368 pixels) Note: Such a comparison has been made already by the-digital-picture.com for instance. The fixed focal lens was the only fisheye lens that was sold by Canon before they launched the new zoom lens. The reputation of this lens for clarity, sharpness, contrast and the moderate chromatic aberration (easy to completely correct) was well established. With a moderate retail price and as it is fully compatible with the automatic features of the EOS camera family, it was therefore probably the favorite lens used by Canonists panorama photographers to get high resolution on a 180 x 360 panorama. I personally preferred to use the Samyang 14 mm rectilinear lens for this task despite the higher minimum number of individual images required to be shot (8 and 6 respectively) EF 15 mm f2.8 (Prime lens) @ f/8 EF 8-15 mm f4L USM (Zoom lens) @ 15m f/8 100% scaled cropped from original 100% scaled cropped from original reduced from original size (2912 x 4368 pixels) reduced from original size (2912 x 4368 pixels) There is no visible difference or sharpness or contrast at the center of the pictures, but as can be seen on the example above, the new lens is obviously much sharper at the edge of the frame and especially near the corners. 2- Canon 8-15 mm compared with Tokina 10-17 mm zoom (EOS 5D Mk2 = 5616 x 3744 pixels) The Tokina zoom lens is based on an original design by Asahi-Pentax. As a matter of fact Asahi has been granted several patents for fisheye zoom lenses. These patents were supposed to be applicable to retro-focus lenses mounted on a 35 mm film camera of the mid 90's era. Ironically, Pentax has yet to release a full frame (i.e. 24 x 36 mm) digital camera. So they have designed a "down-scaled" version of their older film era model and this has become the Tokina 10-17 mm that is fully compatible with many APS-C DSLR by Canon, Nikon, Sony and others. A Pentax compatible version is also available and is sold under a Pentax (or Samsung) label. The fixed metallic integrated sun-hood that restricts the field of view can be "shaved" in order to fit perfectly on FF DSLR camera; Hence some Tokina photos presented hereafter. @ 15 mm f/5.6 Tokina 10-17 mm @ 15 mm @ f/5.6 Canon 8-15 mm @ 15 mm @ f/5.6 The Tokina lens is known to be a bit soft on the peripheral part of the image at the longer end of the focal length range. This is confirmed here. No surprise: the Canon lens surpasses the older Pentax designed lens and it's obvious on this picture samples. @ 12 mm f/5.6 Tokina 10-17 mm @ 12 mm @ f/5.6 Canon 8-15 mm @ 12 mm @ f/5.6 It seems that the image from the Canon lens is just a little crispier than its counterpart from Tokina. Both are excellent though. 2- Canon 8-15 mm compared with Tokina 10-17 mm zoom @ 10 mm and with Nikkor 10.5 mm (EOS 5D Mk2 = 5616 x 3744 pixels) @ f/5.6 Tokina 10-17 mm @ 10 mm @ f/5.6 Nikkor 10.5 mm @ f/5.6 Canon 8-15 mm @ 10 mm @ f/5.6 Exept very near the limit of the circle where the Nikon lens becomes soft (and excessively compressed) all lenses are very sharp. Contrast is obviously lower and unfortunatly some residual chromatic aberration cannot be corrected when the Nikon and the Tokina are concerned. The image IQ is apparently the same on the important major part of the circular image (that shall still be visible after stitching and blending) on the outputted panorama image. As the peripheral inner part of the circle is not really included into the final panorama, it would be hard to decide in practice what is the sharpest lens between all. Due to the cleanest overall appearence of the Canon image after CA correction, I tend to prefer the 8-15 mm lens before the two others. Performance at other aperture settings could also be compared in a possible tie-breaker way... 3- Canon 8-15 mm compared with Samyang 8 mm and with Sigma 8 mm f4.0 (EOS 5D Mk2 = 5616 x 3744 pixels) @ f/5.6 Samyang 8 mm @ f/5.6 Sigma 8 mm f4.0 @ f/5.6 Canon 8-15 mm @ 8 mm @ f/5.6 The Sigma lens is obviously the worst performer of all. This lens is clearly outdated (and discontinued in 2006) and it has been replaced by an improved (and of completely dofferent design) model with a wider maximum aperture (Sigma 8 mm f3.5). The Samyang is of a completely different projection type (Proportional aka Stereographic fisheye). The outer part of the circular image is much less compressed than it is in the other commun cases of fisheye lenses. The resultant effective "magnification" in this region makes the image to appear "softer" but reveals its quality in comparison when magnification is visually equalized: it's then a bit sharper than the Canon lens image. The image from the Canon lens is anyhow excellent at this focal length. Canon 8-15 mm Vs Tokina 10-17 mm : two zoom lenses compared at fully opened aperture (f/4) . This stop setting is the widest possible on the Canon lens and on the upper end of the focal length range of the Tokina zoom lens. To better assess the possible IQ, the images have been corrected from CA and light fall-off after proper cropping in ACR5.6 and in contrast with the shooting process that was used in the previous paragraph, the camera has been pivoted by 90 degrees between two shots. The target object stays 1.8 meters (i.e. the hyperfocal @ 15 mm) distant from the sensor during the shooting sequence. You may view and compare the resulting images at 15 mm, 12 mm and 10 mm on an other page and on a table here . Chromatic aberration A moderate level of Chromatic aberration is visible on the images shot with a Canon 8-15 mm lens. Some reviewer have described this aberration as large or very large. At first glance, the amount is less or about the same as on images of most similar and rival fisheye lenses. The exceptional sharpness that extends far from the center of the image and for the whole focal length range of the Canon zoom lens makes in fact the CA to look less pregnant than for other softer similar fisheye lenses, yet it may -as a consequence- strengthen the color saturation of the dreadly fringe and thus it may impress the " CA uneducated" tester. Unlike for most of the other fisheye lenses cited in this article, Longitudinal Chromatic Aberration is probably absent (or it is in practice negligible). Consequently the correction of the sole Lateral (aka Transverse) Chromatic Aberration is actually feasible all over the whole image (from center to edges) on a reproducible maner and the result is thus more gratifying. This is not the case for example with the Nikkor 10.5 mm and with the Tokina 10-17 mm zoom were a compromise has to be applied in order to leave some level of residual CA near the edges of the circle so as to fully get rid of it on the most important parts around the center of the image. One can observe this on the small cropped images in the above paragraph . More surprizing from the new Canon lens is the ability by the panoramic photographer to correct the chromatic aberration with a sole setting in his raw converter (e.g. ACR 5 or 6) for the whole focal length range ! Only one set of Red/Cyan and Blue/Yellow correction figures for a perfect correction! Like for all other lens, purple fringing is also present. I suspect that most if its presence is caused by the camera itself (this is disputed by some authors though). I have however found that it can be better corrected on images shot with the new Canon lens. I must reckognize this as being a subjective observation. I would appreciate to know the reader's opinion on this topic... Recall: you may experiment with some images from the Canon new fisheye zoom lens after download of RAW (.CR2) files from a Test Images Databank . Ghosting and flare I was rather sceptical one year ago (on 26 August,2010) when reading the news on dpreviews.com "Canon releases EF 8-15mm f/4 L USM fisheye zoom lens" : Ghosting and flare caused by strong light sources can be a particular challenge when shooting at such a wide angle, and, in order to counteract these artifacts, all lens elements have been covered with Canon’s Super Spectra Coating. The inner surface of the front element also features Canon’s SubWavelength Structure Coating (SWC), which uses tiny cone-like structures, shorter than the wavelength of visible light on the surface of the lens element, to gradually slow light down until it is at the same speed as it travels through glass, removing the risk of flare occurring before the light reaches the sensor. This sounded like a pure commercial advertisement. I must admit now that the text that dpreview.com had written a year ago without ever having had the lens in their hands, appears in fact to tell nearly the truth. After more than one month of use and stitching hundreds of panoramas I could not find one occurrence where colored spots of flare could be obviously apparent and annoying, whatever the lighting conditions. Veiling glare near strong lights (e.g. the sun) will of course reduce the contrast (sometimes severely). Some veiling shall happen when shooting in front of a strong source of light such as a large window, but this is considerably less pregnant for this lens than with all the others that I use for panorama photography. LensTip.com had posted a page that shows some artifacts especially on a photograph taken at 12 mm with a very faint and pale ghost visible on the pavement. This is amazing: all of my "similar" photographs that I shot at the same aperture setting (f/8) never show even a visible trace of flare ghost. So... I have studied a bit more closely the subject by putting the lens to a test series that should reveal the colored ghosts. Before performing the test, I knew (or believed) that The colored artifacts due to flare are generally more visible against a black background: I have thus shot within a somewhat "dark" room or in the night aiming toward the sky. The colored artifacts due to flare are more visible when the image of the strong light source is over-exposed. The colored artifacts due to flare are only visible when the strong light source is coming from the edge of the circular coverage or close to that edge. Let's remove the sun hood to favor the flare happening. I thus used the same LED lighting set-up that was already used successfully to compare some other fisheyes to first shoot in the night toward the sky and got an idea of what to expect (at the two ends of the focal length range): 8-15 mm @ 8 mm 8-15 mm @ 15 mm Note: The lens front surface was cleaned with a cloth... "as usual" Note: "Extra care" was used to clean the lens front surface Click on the picture to enlarge the image. There is a bright with rainbow ed colors artifact on the circular image @ f=8mm (see red arrow). The color saturation and intensity decrease rapidly when the focal length is increased. It is just barely visible when f 9.5 mm and invisible when f 12 mm. The flare ghosting artifacts that are very small indeed, happen to be visible only at the very low end of the focal range! With a full frame camera, I almost never shoot below 12 mm of focal length. That is why I did not yet see these colored dots on my panoramas! Lets now see whet happens with night/day photos stil using the LED in the corner of the frame: 8-15 mm @ 8 mm (Night) 8-15 mm @ 8 mm (Day) The ghosts are again there, but their number is smaller than is visible in complete darkness of the night... Some ghosts are still visible (red arrows) but only few of them and they are tiny dots... As a matter of fact, the small artifacts may often not be visible on the panorama because of the tiny size of them or they may become invisible after blending it with another (ghost-free) contiguous image... In natural outdoor and sun-lit scenes and in specific shooting configuration, the flare artifacts may be visible against a cloud-free sky: Click on the picture to see the red circled area in a larger scale... The size of the dreaded dots is small and similar to the artifact that I can see on images from other lenses. That's is generally very easy to clone out with a graphic editing software... The large colored ghosts caused by the sun and that sometimes spoil the lower part of the image when using the Sigma8 mm, the Samyang 14 mm and in a lesser extent the Samyang 8 mm seems not to be possible to plague the images from the new Canon lens. C ompared to all the fisheye lenses and UWA standard lenses that I have tested or used, the new Canon zoom lens is most probably the best to not be prone to show flare artifacts. BTW I am still studying another phenomenon that I have spotted once and that probably is a consequence of internal reflections. The problem is to successfully replicate this phenomenon! Please stay tuned: this paragraph shall be completed soon. Overview and Conclusion Canon has recurrently bragged that the 8-15 mm zoom range is ideal to suit all the possible requirements for all Canon DSLR users (wanting a fisheye lens) whatever the size of the sensor of the camera. I agree, but I was very frustrated to measure not more than 180 degrees of Angle of View when the focal length is set at 8 mm. Because of the meager angle of view at the low end of the focal length range of the zoom and because I use almost exclusively a full frame DSLR, I shall certainly very rarely shot with a zoom setting below 12 mm or so and probably never below 10 mm except for some rare test shots. Designing a prime 8 mm (or less) lens with a larger than 185 degrees of Angle of View is certainly feasible. I must admit however that doing so for a ZOOM lens which range encompasses Fullframe is a real challeng. The excellent general pertinence and balance of the present zoom concept would have been shattered if Canon had tried to enlarge the Angle of view of the un-cropped circular (hemispherical) image on a FF camera: I realize that in order to possibly get a much wider FOV, they would have had to extend considerably the diameter of some glass elements... including the frontal one. Bulkiness, weight and cost (price) would probably have been out of commercially acceptable range. Despite this IMO negative discovery, I have found that this is the best and more versatile lens for panorama photography that I could put my hands on. The NPP/LPP shift when zooming in (or out) is in practice negligible and the fisheye projection type is rather classical (Equi-Solid angle projection close to being Equidistant) is easily treated by the stiching software. When it is correctly set to hyperfocal, it is sharp over the whole image and possibly the sharpest of all presently available fisheye lenses for panorama photography. It makes images with incredible high contrast and it is almost immune to flare ghosting. The Transverse ChromaticAberration is homogenous and linearly spread: it can perfectly be corrected by RAW converting software. In all these IQ domains, the zoom lens equals or even betters the sharpest UWA lens that I had in my stable, yet it demands fewer shots to get a full spherical panorama at nearly the same output natural resolution. There are few minor quirks. The silly lens cap that does not hold strongly enough on the sun hood is an example of poor design. The engraved scale under a plastic transparent window for setting the distance of focus is another flawed feature without to much consequence for panorama shooting though. The funny Zoom limiter switch can be useful to accurately set the zoom at three discrete values (8 mm, 10 mm and 15 mm) but there is no way to set at say 12 mm in a reproducible maner and with precision. (Update note * appended below) I shall use it for single-row (@12 mm) and/or high resolution (@15 mm) full spherical panorama. In other words, the Canon 8-15 mm f4 "L" as it is now, shall be the sole lens for normal panorama photography to put in the bag from now on. My bag shall therefore be lighten but my wallet has also become lighter because of the steep price that I had to pay for possession and having the pleasure to use it;-) Michel Thoby Issue 1: 5 September 2011. ( last Rev: April 2012); 10276 次阅读|0 个评论

canon 8-15mm /f4 panorama: 阎涛 2012-7-20 06:39 AM; http://blog.kareldonk.com/canon-ef-8-15mm-f4l-fisheye-review/ For the last few months I’ve been havinga blast with the Canon EF 8-15mmf/4LFisheye lens. I wrote about my first impressions of the lens soon after I got it in August last year. I won’t berepeating that here, so you may want to go back to read it. Back then I hadn’t yet used the lens for work, butnow after a few months of using the lens on assignments I have a much better idea of how the lens performs. And in short, my conclusion is: it absolutely rocks. Keep in mind that this isn’t supposed to be a review where I’ll discuss all the technical aspects and features of this lens. For that you’ll have to look elsewhere .I’m just going to give you my personalopinion of this lens after using it for a while. First of all, the lens is expensive, but I can assure you that it’s worth the money Canon is asking for it.It has quickly become one of my favorite lenses to use. You can get really creative with it and it just never gets boring. I’ve used the lens for a variety of purposes so far, but mostly I’m using it to shoot architecture, panoramic images and aerial shots. I absolutely love the effect this lens gives to aerial shots; it really exaggerates the roundness of the earth. You can see what I mean in some of the sample images in the gallery below. Photo Gallery Canon EF 8-15mm f/4L Fisheye lens sample images. var WPHSGalleryConfig_1556 = { slideshowGroup: "Group_1556", transitions: }; hs.addSlideshow({ slideshowGroup: "Group_1556", interval: 8000, repeat: true, useControls: true, fixedControls: false, overlayOptions: { className: "text-controls", opacity: 0.75, position: "bottom center", offsetX: 0, offsetY: -20, hideOnMouseOut: true }, thumbstrip: { mode: "horizontal", position: "below", relativeTo: "image", zIndex: 5 } });var wphsAttLnk = false; I think that especially photographers who shoot images for 360 degrees panoramas and virtual tours are going to really love this lens. The reason for this is that the Canon EF 8-15mmf/4LFisheyelens allows a photographer to shoot both “low” resolution and high-resolutionpanoramas at the same time without having to change the camera or the lens. The nodal point of the lens is exactly the same at both 8mm and 15mm. Because of this, shooting at 8mm or 15mm doesn’t requireyou to recalibrate your setup to make sure that the nodal point is in the correct position. So at 8mm you can shoot a panorama consisting of about 4-6 images (approx. 65MPfinal resolution on a EOS 7Dbody), but at 15mm you can shoot a much higherresolution panorama of about 25 images (approx. 240MPfinal resolution on a EOS 7Dbody). Thisgivesyouthe flexibilityofshooting both resolutions on location at the same time very easily. You shoot first at 8mm, zoom to 15mm and then shoot again without changing anything else. The panorama belowwas shotat 15mm and has a final resolution of approx. 240MP. You can zoom in all the way to view all the details. The panorama belowwas shotat 8mm and has a final resolution of approx. 65MP. This was shot shortly after the one above, and all I had to do was move the camera and zoom the lens to 8mm. When focusing this lens manually , you’ll have to look really carefully to make sure that your subject is in sharp focus. It is really difficult to see through the viewfinder if the lens is focusedcorrectly. Everything pretty much looks in focus most of the time and it can bedifficult to see slight changes in focus. I’ve found that using Live View on the camera in the greatestmagnification possible to focus gives me the best and most reliable results. You’ll have to double-checkyour focus especially if you want to set the focus to infinity. Don’t rely on the infinity marker on the distance scale on top of the lens! Even Canon warn you to double-check your focus in the manual that comes with this lens. With autofocus this isn’t an issue. The bottom lineis that I am extremely satisfied with this lens and I can’t recommend it to you highly enough. I think this lens is a real gem in Canon’s assortment of lenses right now, and since it is so unique, it could influence a lot of people to choose a Canon DSLR just to beable to use this lens. When I had to choose which brand of DSLR I would buy 5 years ago, the wide assortment of Canon lenses (along with their lead in image quality at the time) was one of theimportant things that made mechoose Canon.Traditionally Canon has always had the lead inthe area oflenses, and this lens just strengthens their positioneven more. When the Canon EF 200-400 f/4L IS 1.4x (another brilliant design) hits the market later this year it’ll becomeeven more difficult for the competition to catch up.; 9368 次阅读|0 个评论

canon dc 更换电池故障排除: 阎涛 2012-4-1 06:00 AM; http://qing.chun.blog.163.com/blog/static/82706679200911882340862/ 佳能A系列相机电量误报的深层分析和解决办法 2009-12-08 20:23:40 |分类：电脑数码 |标签： | 字号大中小订阅（A410,A420,A430,A450, A530, A540, A550, A560, A570is,A590is, A700, A710is , A720is, SX100is,SX110is,SX120is, SX130is ,S2is,A1000is,明基E600 已经实践证明改造成功持续更新中，敬请关注）历史回顾：眼看就要过年了，我的相机再也不能躺在抽屉了，一般我一年到头除了过年基本是不用它的，可是它就是不争气，07年初，我还推荐亲戚朋友买了几台A530这款相机，因为我比较迷信佳能是数码相机老大的说法，即使我的第一台A80被盗后，我还是选择了佳能，顺带还买了当初网上很火自吹自擂销量第一的品胜2300MAH充电套装。没有多久朋友就说刚充电的电池都有提示电量不足，当然我是不相信佳能老大会有问题的，自然就怀疑电池的品质了，网上搜索下发现很多人都有这个问题，好在虽然提示不足还是能坚持拍摄100多张的，于是我就告诉朋友们不要在意，只是提示而已，我在网上提出质疑电池不良，还有网友愤愤不平的说品胜好得很不关机300多张没有问题，还说我有问题。到现在为止，这个问题也越来越严重了，除非我马上充电马上用，还能挺一会儿，要不然准没有电，基本不能正常使用，很多网友也遇到类似情况，而且都是使用一段时间后出现的，过去只是提示电量不足的网友统统成了不能拍照，有网友联名投诉佳能没有音讯，也有提出一些杂七八解决方法的，还有人各类电池用了半抽屉的，过去买AA电池相机是为了方便，现在成了鸡肋，碱性电池根本坚持不了几张。深层分析：网上很多朋友用过各种名牌电池均出现此问题，可以说基本排除了电池的问题，而且不管是A530,560,570，还是A710都出现了此问题，一切现象都说明问题出在佳能相机本身上，特别可能是电压检测太早保护，和当年的CCD事件相比，这也是一件很严重的事情，因为也是根本无法使用，可惜在中国，没人理。我很想用一台可调稳压电源来调试看看到底在多少伏特电压出现报警，可惜我在家没有这个条件，好在有网友已经做了这个工作，有人发现提示报警不能开机的时候电量还有90%，有人发现在低于2.37V的时候就开始报警，2.02伏的时候就关机提示换电池。佳能数码相机只有一级电量提示，说明他的电量检测是比较简易的，并没有像手机一样做多级，另外还有一级关机保护，就是提示“更换电池”，这样防止你在出现提示的时候继续使用，最后保护性关机，免得镜头缩不回去了。于是我出了下面这张想象图（以下所有电压都是负载电压，非空载测量）当然图中的参数是我后来根据实际参数填上去的，我来解释下这个原理，首先电池电压通过电子开关J1送到R1,R2上，这是我们中学物理就知道的电阻，电阻是用来分压的，分压后的电压一路送到低电压比较器，一路送到保护关机比较器，2.45V和2.1V 都是基准电压，当电压低于这个基准电压的时候，就会送到处理器执行相应动作。所以我只要找到图中我想象出来的的R2，把它加大，就能解决这个问题，我不一定能找到这个R2，但是我还是试一试。解决办法：还好当初买了一台水货多普达575后，也是因为射频缺陷问题维修了N次，加上清洗按键摇杆也拆开了N次，有了一点维修经验，特别是有信心拆这些精密东西了。首先当然是要拆开机壳了，这里要费点周折，不能用蛮力。（以下全部用30万像素摄像头拍摄）上图是揭开后面板后，可以看到SONY的LCD 。拆下LCD和按键板，按键板反面是SD卡。主板正面主板大部分都是采用微型排插的，轻轻一拨就开了，很轻松，但是电源线和几根飞线需要焊掉，一定要用笔记好你焊掉的飞线位置和颜色，防止装反了扩大故障。重点声明：各位看官，拆的时候一定要仔细，正反面都有排线！切记不要用蛮力，不要把排线扯断了！已经有好几个人在这里捶胸顿足了。主板正面主板反面佳能专用的 DIGIC II 的图形处理器哦。根据电路结构和摆布看，画红圈部分是重点怀疑对象。右边的电阻已经被我焊掉。打上编号，对照第一张图，就对了。经过测量，R1在线电阻47K，拆下R2测量是100K，R1在线电阻应该小于实际电阻，但是我担心拆下来后焊上去太麻烦，因为零件是在太小了，应该不会差太远，就当47K吧。我先不替换R2，直接装机试验，结果：一切正常！一个月前充电的一对杂牌电池居然还能工作，拍摄状态下，电池电压2.16伏，变焦时电压2.05伏。拍摄状态下电流0.6A, 启动或变焦时电流0.9A，无报警，一直用到机器关机也没有提示，拍摄状态下直接用到电尽也不会自动关机回缩镜头，发挥电池最大潜力，虽然不能自动回缩，还是可以按电源开关回缩的。。但是我还是希望能有电量提示和自动关机功能，一般来说镍氢电池的终止电压应该是单节1V，所以我应该设置报警电压在2V 以上，关机保护电压在2V 左右，根据之前网友提供的测量数据，2.37V 报警，2.02V关机，反推算R2的取值，我假设我希望电池在2.06V报警，这里有个难题是如果我设置在2.06V 报警，那么自动关机保护电压可能在1.75V ，这个DIGICII 的CPU 应该是不能工作在如此低电压的，就是说，可能只能提示报警，不能自动关机。于是有了下面的手稿：经过我7算8算，最终R2定在 169K左右，预计报警电压2.06V 关机电压1.75V （不可靠）装配结果实在是找不到那么小体积的电阻了，装不下去，只好用三个串联，一端接到R1, 一端接到插座的地线上，下面贴上双面胶，既可以方便焊接，也可以绝缘。装好机器，发现少了一颗螺丝，（一般是多一颗螺丝）装上前几天充电的电池一切正常。装上那对杂牌电池，可以进入拍摄状态，提示电量不足，测量电压在2.13V左右，变焦时进入自动关机回缩镜头，提示更换电池，有时候不会提示更换电池直接断电。通过电池组合测量发现电压在2.15V 以上时没有电量不足报警。2.15V为分界点很好，每个电池1.075V ，虽然和我设计的2.06V有误差，但是想想这样更好，高一点才合理。所以反推算此相机原先的报警电压在2.43V左右。难怪刚充电的电池也会显示电量不足！ (提示：若想达到最长拍摄时间R2可以不要，相当于禁止电压检测功能，R2推荐范围220K~250K) 09.12.16 最新更新：我已经将R2改成250K，观察电池电压下降过程发现报警电压为1.8V，自动关机电压1.65V。1.65v还能提示更换电池哦，强！！！此时即使电池空载电压很高也真正无力带动相机。这些是我的工具。最后总结：问：为什么只有A5XX, A710等型号有电量不足问题？答：因为这些系列都是采用的双电池供电，之前很多例如A6XX之类多是采用4节AA 电池或者锂电池，不会存在这个问题。所以5系列无论在变焦反映速度和闪光灯回电时间上都比较慢。问：为什么刚开始买的时候还能拍不少，一段时间后连开机都开不了或者能开机不能拍照？答：因为刚开始买的时候电池是新的，内阻比较小，供电能力强，电压高一点点，带负载能力强，相机在浏览照片模式下耗电比较小只有200MA电流，在拍摄状态下静态达到0.6A ，启动或变焦下达到0.9A，电池电压很容易跌到2.2V以下，很容易就自动关机保护了。问：图片是A530,其他的机器是否适合？答：既然都是一样的问题，而且都是一个系列，只是做点小改动，肯定都是一个原因，A530~A550都是DIGIC II处理器，只是性能上一点点的升级，应该都是布局一样的，其他的应该会类似，但是我没有看过实际的，所以不清楚是否刚好就在那个位置上，但肯定原理是一样的，需要你去找到这个电阻位置。问：佳能难道不知道这个问题？既然这样简单，为什么这么长时间了不改进？答：佳能不可能不知道这个问题，但是这是一个看起来简单实际不个简单的问题，佳能长期以来一直用自己的图片处理器DIGIC系列，设计一个复杂的芯片无论耗资还是时间都是一个巨大的积累过程，所以佳能的芯片一般都是在原先的基础上升级，而且最初的架构就决定了cpu工作电压最低可能就在2.2～2.3V，这也是大部分嵌入式系统的最低电压，这不是说改就能改的，过去佳能相机一直都是4节电池或者锂电池，不存在这个问题，现在为了适应市场需要推出的5或者7系列采用双电池，这个问题就出来了，镍氢电池平均电压是1.2V，实际刚充满电可以达到1.3，大电流放电时瞬间可能跌到1.1左右，况且咱们国内市场上的电池和充电器质量参差不齐，所以刚充完电就放上去就可能提示电量不足，使用的时候更是跌落到关机电压，我调整后为什么到2.1V 还能用？上面说过了最低电压只是厂家在保证可靠的情况下给出的参数，实际上是还有余地的，就好象我们电脑的超频一样，只不过厂家不保证可靠，要不然出了问题麻烦就大了，所以佳能也不敢随便调低电压，宁愿把问题归咎在电池上也不能让自己的产品出毛病，或许佳能一开始并没有发现这问题有那么严重，而且已经出货很多了，也没有引起足够重视，其实还有一些其他方案，比如升压供电，比如取消电量显示和更换电池提醒，也许由于种种原因被否决了吧。（个人观点）问：和电池没有关系吗？答：在这个问题上相机是主要原因，电池也有一定关系，电池的好坏不光在于电池本身，还和充电器，使用方法有很大的关系。路遥知马力，我买的品胜2300MAH充电套装到现在大概2年了，使用不超过15次，现在有两节能用但是放电能力变差，1节报废，一节性能下降严重，当然也不排除是因为电池本身是满电，但是你的照相机认为没有电，于是你不停的拿去充电，加速了电池老化。我亲戚朋友的2套也和我基本类似，当初网上一片叫好的时候，其实还没有几个人用长时间去证明过一个产品, 所以不光这个牌子的电池，还有很多牌子电池，充电器都质量很不稳定，甚至有假货，结果可想而知？问：没有别的方法不拆机吗？答：有！上边的方法需要有一定的专业功底和知识，所以对于大多数用户来说是不太现实的，怎么办？其实要在外部解决这个问题只能从提高电池电压下手了！我查阅来网上大部分的解决办法比如擦干净电池两端，比如把电池暖暖，垫纸片，等等都不是最根本的方法，只是为了减少那么一点点接触电阻，看似好像解决了，其实不是，我总结了两种方法比较可行。 1.低价方案：买磷酸铁锂5号（AA）电池刚好3.2V，厂家会提供一个假电池给你，一起放进去，就能用了，目前我看到这个电池实际容量最大才600MAH，所以你得多准备几节。淘宝上几块钱一节，充电器20多，不过都是一些不知名牌子，质量难说。还有一种是叫做14500的锂电池，也是AA 的尺寸，电压3.7V 实际容量700MAH左右需要在假电池中间串一个二极管降压0.7v 即可正常使用，价格相当。用磷酸铁锂的时候要注意千万别放入2节磷酸电池否则电压太高烧相机，另外刚充满电的时候电压偏高有3.6v放置10分钟再用。 2.高价方案：如果不重新买充电器的话，这个方案并不比前面的贵多少，一些网友试验ENELOOP电池后发现可以使用，我并没有使用过，不过我喜欢先用理论做分析，从数据看是可行的，请看下图，这张图是从目前公认最好的镍氢充电电池品牌的三洋的2500MAH镍氢电池的规格书上剪切下来的我们来看那条红色的线，代表以一倍的电池容量放电，当电压低于1.2V的时候，实际上才放电500MAH，才20%容量，我们的相机的耗电电流最大在1000MA 左右，介于红色和蓝色线中间，大概放电容量1000mah左右，而镍氢电池的终止电压一般都在1V左右，可惜我们的相机做不到1V，在单节1.2V左右就开始报警了，瞬间低于1.1v左右就会断电。白白浪费大把的能量，电量充足情况下不断的充电电池性能下降更快。请注意这还是全新的最好的品牌的镍氢电池的曲线图。上图是三洋近年卖力推广的低自放电电池ENELOOP，其实我们玩相机，普通镍氢自放电速度已经可以了，但是这个电池还有一个显著的特点，看红色线，对比普通镍氢很明显大于1.2V的时间更多，当电压低于1.2V时，已经放电容量达到1200MAH左右，占电池的60%，实际使用应该还可以多一点。即使我们浪费了40%也够我们拍摄不少照片了。不过我得提醒下，当初咱们的品胜刚买的时候即使报警不也能坚持到一两百张吗，而且有人发现当ENELOOP耗尽时，实际还有50%以上电量，希望经常使用的网友写上感受。更新日志：文章是按照日期写的，前后可能会有少许出入以后者为主 2010.2.6 更新：通过大家的努力，A530,A540,A570IS 已经实践证明改造成功。 A450,A540和A530,是一样的，A550也相似，下面是论坛某网友的A540改装图，220k插脚电阻在这里是巨无霸： A570IS在下图（这里要感谢论坛的 taiziqiao 朋友的重大进展）： A710is awey 已经改造成功，据说离插座很远，见下文。强烈建议打开下面网址认真研究回帖,有众多网友经验心得,持续更新中： http://itbbs.pconline.com.cn/dc/10835991.html 2010.02.27：使用发现在低温下（5度以下），镍氢电池放电不良，偶尔出现报警和关机，把电池加热下，或者放在怀里揣热即可。 2010.03.08：从几位网友使用看，磷酸铁锂5号电池虽然只有600～800MAH，据悉可以照100～200张。（另外鉴于磷酸铁5号电池和充电器目前能选择的产品太少，质量难保证，采用成熟的优质14500 五号锂离子电池加优质充电器或许更好，假电池内部须串一整流二极管降压0.7V）用磷酸铁锂的时候要注意千万别放入2节磷酸电池否则电压太高烧相机，另外刚充满电的时候电压偏高有3.6v放置10分钟再用。 2010.03.28：有个网友反映某牌磷酸铁锂电池寿命短，有待其他用户考证（再一次鄙视小日本的鸡肋机型）。集合我和众多网友心血来帮助大家的太平洋电脑网热贴已经被管理员删除，因为有网友反映某小牌磷酸铁锂电池性能不良被封号，之后我为其说了句好话，我说我不认为这是广告，并建议找其他版主帮忙开锁，精华贴马上被此人删除, 多年帐号被封,可惜几百楼的网友心血灰飞烟灭（500多楼无任何灌水贴）。 2010.03.29: 太平洋论坛贴重新开放,大家可继续参考网友经验。 2010.04.07: 凌晨正在回复太平洋论坛的贴，突然贴又被删除了! 再也不会在那上面发帖费神了，针对有朋友取消掉R2后反而不能开机的问题，排除掉拆装错误后，有可能是因为相机认为输入电压太高而保护性不开机。比如2.5V电池放上去相机可能认为是4V（外接电源适配器才3.15V）。虽然这个猜测的机率不大，还是建议不能开机的用户焊上R2的替代电阻220～250K. 或者找个电量不足的电池试试. 还要注意下电池仓下有个小开关需要合上电池盖顶上开关才能开机，另外还有可能是确实有造成其他部件损坏，所以一定要断电操作，并且装好检查没有可疑点后才能放电池。 2010.04.10 据说帖子被网站按要求和谐掉了，我也不知哪里有不和谐的地方，太悲哀了，悲哀的是我写的我可以重写，论坛朋友的心血就不见了。这里我把找R2的经验整理一下，基本上就是找到和我图上J1一样的六脚的管子，看看型号，看我帖子上有标识的那张图片（点此）图上电源插座上也有一个和J1一模一样型号的六脚管子，也是类似R1,R2分压结构的，只不过是用来侦测是不是USB插入了来控制镜头是不是回缩。然后在主板上找哪里还有同样型号的六脚管子，找到后就看看周边有没有两个串联电阻，,其中有个电阻应该一端接地，另外一个电阻一端接J1. 最主要的是R1 在线是47K ，R2在线70K左右，拆掉测量是100K.。拆外壳也不是很困难，要把外壳上所有螺丝包括电池仓一颗螺丝卸下，因为相机顶部没有螺丝，是两个塑料卡口的结构，所以可以把后盖相对前盖往上推挤，或者用手指甲顺着缝隙开.详细见下文。 2010.04.11. 关于精华帖两度被删除的事情，我今天突然想通了，我的文章中我鄙视的两个知名品牌在太平洋网站都是有做广告的，我估计这才是真正原因而不是他们说的被ZF和谐。今天给大家一个好消息就是 A710IS 已经搞定，这里感谢 awey 朋友首先找到R2. 虽然这个R2之前我在论坛也有发图请有相机的人测量一下，但是没有人动手，如今终于有人解决了。 ----------------------------------------------------------------------------------------------------------------------------- awey 邮件原文：图中，红色圈内的是上偏置电阻，黄色的是下偏置电阻，边上的6B是一个电子开关，下偏置电阻原值为100K，改为220K即可。焊接时千万小心，不要将旁边的器件短路。寻找过程是：佳能相机电池电压检测基本上是用6B的电子开关，电子开关有 4个有效脚：地，控制端，输入端，输出端，只要输入端接电池的“+”端，输出接两电阻分压，就基本上可以确认是电压检测用的。佳能相机的这个故障，我认为是有意而为的。更改电阻后，放入原来报低压的镍氢电池，玩了几个小时，还很强劲，呵呵。。感谢你的博客给了我启示，让我放弃了两年的相机又可正常使用了。 ----------------------------------------------------------------------------------------------------------------------------- 拆机教程（论坛 lgx124 编）：今天终于狠下心来把我的A570IS给分解了。总结下经验：分解步骤： 1.先卸下周边的8颗螺丝。螺丝分布位置：底部3颗；左侧DC IN/AV OUT内1颗（需揭开橡胶才可以看到）；右侧4颗（其中有1颗要拉开绑带扣才能看到）上面靠近微距那里1颗。（同样要拉开绑带扣才能看到）。 2.分解后壳。先从电池仓侧开始。搬开一点后，在靠近AV OUT 出使用指甲慢慢往上扣。扣到银色带IMMGE处就可以打开了。（请扣靠镜头侧，同时注意别把塑料扣扳断了。） 3.拆除液晶显示板先卸下液晶显示板的4颗螺丝，轻轻把显示板拿起，拆除排线（方法：将排线座黑色那块有指甲轻轻往上扳起，就可以将排线拆除）。使用烙铁将液晶板的电源线焊开（要记录好红黑线的位置）。 4.拆除功能板卸下板上2颗螺丝，把靠近快门的排线拆除（方法：先拆除连接到主板上的那侧，然后轻轻拿起功能板，把板上那侧的排线拆除）。注意点：卸了功能板螺丝后，别着急把板拿起，以免把背面的排线给拉断了。 5.到拆主板了（好难哦） 5.1 把主板上6颗电线焊掉。（我在焊接时因电线焊点上涂了厚厚的胶水，烙铁温度传不到焊点上，弄了半个小时，同时还要记住电线的位置）。 5.2 拆除排线， *先把右侧的那根排线拆除。（方法：还是把连接座黑色的那块扳起，然后轻轻地拉开。最后才知道，那条排线有3个小孔，估计是方便使用小工具把排线拉出来的。另外，这根排线在后面组装回来的时候也比较困难的，组装时要用手稍微折弯后才能放进去）。 *拆除靠下面的那根排线，也有一个小孔，使用工具轻轻拉出来。（我的不知道方法，是使用圆珠笔帽花了半个小时轻轻扳出来的，汗）。 *轻轻扳起主板，将背面的那根排线拆除。（方法和前面的一样了。） *拆除主板左上侧那根排线，我没有好的方法，唯有使用暴力了，想拆的话看着办吧。 5.3用手将主板轻轻扳起，朝右侧轻轻拉出来。我拆时的情况，将主板拉出来一点后，怎么拉不出来啦，仔细一看，原来还有两根分别为红黑的电线相连接在主板上，同时，在黑线的旁边还有一根黑线相连，因我用力过度，那根黑线拉的很幼了。当时急哦，难道拉坏了？急忙跑去使用20倍的显微镜查看，结果，是固定红黑线焊点的胶水，因加的太多，流出了主板外，与别的地方沾起来了，虚惊一场。 6.更换电阻 6.1将主板翻转过来（因为红黑电线带有很多胶水，固没有焊掉），看到靠近兄弟公司LOGO旁的R2了。晕倒，那R2的体积真的太小了。使用万用表测量，阻值刚好100K。 2010.04.15 有些网友拆机装上后机器不能开机，请检查下主板正面有一个标识有 "2.3" 的黑色长方形零件是否开路，此零件是保险丝，代表2.3A电流。由 " 缘来挡bｕ住 " 朋友提供。 2010.04.28：又是好消息，A590is 也加入此行列了，相信太平洋论坛上很多未解决此问题的朋友有福音了，这里感谢博客回贴中的" A570 " 朋友的重要进展，同时也有新的发现，原来R2在线测量不一定是68K左右，在这里R1在线是45K左右，R2在线是12K左右，R2拆下实测100K，难怪之前有朋友测量到此发现在线电阻差别太大所以不敢动手，问题迟迟不得解决，请看图片A590IS： 2010.04.30 我估计佳能会逐步取消双AA电池的数码相机新品研发,除非他们真的在芯片制成上有改进. 继续采用保持沉默的做法,决不承认机器有缺陷, 然后让大家慢慢的对此事淡忘, 随着数码产品更新换代,呼声越来越小,大事化小,小事化了.不知道在法律健全法律意识强的美国人是怎么处理的,难不成美国人那边没有人关心这个小东西? 2010.05.06 一直以来, 我也有个疑惑, 根据目前所得的数据看,由于相机设置的最低电压界限太高,导致正常使用的电池电压就在最低电压边界徘徊,所以新相机虽然报警但还能用, 但是电池使用时间长后是一定会引发这个问题的.但是这不能解释为什么很多朋友说更换了新的充电电池后这个问题还是不得改善? 按道理应该又能挺一段时间才对! R1,R2的阻值在正常情况下是不会出现大的变化的,所以排除了变质的说法. 是不是因为镜头组件磨损导致工作电流增大电压降低刚好跨过那个界限以至于就算换了新电池也不能改善(其实我觉得这个可能性不是很大), 或者还有另外的缺陷 ? 也有人提出了,是否这本来就是佳能在程序中动了手脚? 一段时间后让问题更严重以至于更新换代速度加快?我暂且不把事情想得这么邪恶，因为我没有测试过，所以我想做个调查,大家换新的充电电池后,是否和新买相机的时候一样能挺一段时间？ 2010.06.07 增加了排线和插座图片, 减少机友改装失败机会. 2010.06.13 增加网友改造文章链接，发现 A700 也被下面那位朋友解决了，太好了，顺便附上网友A700的图，发现和A710很相似。 2010.09.09: 其实要解决这个缺陷的最简单最有效的方法是厂家提供软件升级,屏蔽掉电量检测功能,但是某些型号相机因为没有固件升级的功能所以不能用户自行升级, 需要到维修站升级,如A530.. 还有就是升级后失去电量检查厂家说不过去,也怕有潜在问题,等等...估计佳能几经权衡利弊后放弃了, 或许将来会出个: 泄漏版? 海外破解版?网友DIY版? 2010.09.12 ：好消息， A720is 已经被攻克，由于图片太多，我只发送关键的一张，所有图片请见最下方的链接，感谢网友 "hhwjm" 2010.10.04：总结一下品胜快易充套装的优缺点，优点是价格公道，包装比较厚实。缺点有两点（没用几次）：1.电池质量不太满意，我的4节性能下降很严重，基本不能用在大电流的设备如数码相机上，和我买的工包（便宜的简易包装）电池质量相当。2.充电器充电的时候电池很烫，不适合经常使用，因为高温充电对电池损害很大，建议时间许可的使用慢充。另外对电池检测也不太准确，不到一小时就显示满了，这可能是因为电池性能参数变化和充电器本身引起，另外不建议把其他牌子电池长期用在此充电器上。 2010.12.23: 实在抱歉,分析了这么多到现在才买电池,以前那几个电池都真的不行了, 几经权衡后我还是买的三洋ENELOOP,毕竟我已经改过电阻了, 做工真不错,13块钱一节,空载电压也很高,达到1.33v, .可惜都是日本的东西师夷长技以制夷。 2011.01.05：感谢网友agxgm的 A560详细维修过程，链接在下面。 2011.02.24：今天收到网友ljh801的一封邮件，原来还有人在研究新的机型，通过努力SX100IS也成功攻克，非常感谢经验分享（佳能SX100IS电量低的解决，请整理上传让有需要的人共享）经试验成功，佳能SX100IS相机，电量检测电路是，下面的一块主板A74310芯片左下角起，往左第二块6脚芯片6B，如图看6B左第二个电阻楼主说的R2，折下测100K。串200K电阻到地，试机原先报警的电池不报的，变焦闪光也不报了。 2011.04.11：火丙土申回复铱星我也把A570改了，刚改完的时候也有闪光灯不闪的情况，但把电池换了一下就可以用了，现在相机重生了，谢谢铱星大哥！如果大家改造完之后也有红闪长亮，闪光不闪的情况，可以换一对电池再试试！！！ 2011.05.03 最近因为其他东东的需要,买了一堆磷酸铁锂电池, 我不是买的满天飞的品力,网上说实测品力600MAH实际是虚标应该是500mah, 所以我买的是另外一个貌似正规厂家的工包封装的500mah的. 我建议如果改过R2的相机用三洋ENELOOP因为容量大性能好电压稍高 ,没有改过R2的用磷酸铁锂虽然容量小但是电压高, 不过品力那个充电器听说容易坏.网上看过内部拆机图,确实不咋的.有能力的可以自己做了,参见我另外一个帖子里边的 "简易恒压恒流充电器" 占位桶(假电池)最好就搞个双面胶粘里边好了.免得不留神放了2节烧了相机.已经有人这么干了. 2011.05.20 很意外,又有位成员加入了,感谢sundan2001的探索和贡献,SX130is加入改机阵营.详细改造图见下文链接网址 2011.04.04 这篇文章已经非常非常的长了，但是还是要写下去，因为又有位网友（季末、也寂寞）解决了机型SX120IS的问题：看了你的博客文章（佳能A系列相机电量误报的深层分析和解决办法）这个文章了以后也想对我的佳能sx120is改造，于5月31号已经改造成功，找R2比较难找，这个型号根本没有6B那个电子开关，是用一个7X的原件代替了（新思路）另外楼下一位叫做ciddy的同志也发现了SX110IS 的R2：哈哈,佛祖保佑,我的SX110IS改造成功了,J1为7X,板上没有B6,R2在SD卡那面,在SD卡与USB中间,R1为47K,R2为100K,换成220K后成功,拆时需要把电池座焊下来,安装时闪光灯的线没有摆好,装了好几次才合缝。今天下午没有白学习。。 2011.09.15 “ 毛毛夫妇”的A550图，和A530,540差不多。明基E600 见链接网址。 2012.2.12 前几天收到 “德哥” 的邮件，S2is加入，表示感谢，详见下文连接另外收到刘生的邮件，推荐了另外一个朋友的A1000is的维修图，很高兴，详见下文链接 2012.2.25 前几天收到 “ lqz2003wit ” 的邮件，A650加入，表示感谢，详见下文连接 2012.3.25 感谢网友"蚊子"提供了详细的A4XX系列改机图，详见下文链接。重点声明：无维修经验和工具者严禁拆机 ! 请选用我文中的换电池方案，效果也很好。总结一下，没有那么复杂的，对于没有信心动手的人还是不要动手了否则搞坏了后悔莫及，直接按照我说的上淘宝买一对磷酸铁锂电池就行了，7块钱左右一个，规格是14500，就是5号电池（AA）一样大小，3.2v不是3.7v。然后买一个磷酸铁锂相对应的充电器，不到30块钱，假电池一个1块钱，因为平时只能使用一个电池绝对不要2节电池一起放上去，所以另外一个位置就要放上假电池（占位筒）问题就能解决。如果改过R2成功了的朋友，发现充电电池确实不行了，直接上三洋ENELOOP就行了，淘宝13左右一个，拍到你手软。同时在这里我要感谢一下众多热心朋友的回帖经验分享，哪位朋友要是改装成功了新机型希望和我联系下，让大家一起分享，帮助更多人，改装好了或者遇到问题了也来发发言就是对我最好的支持了，这篇帖子已经很长了，能看到这里的人已经很有耐心了。网友改机友情链接：佳能A650 IS误报电量解决方案 http://qing.chun.blog.163.com/blog/static/82706679201212574729745/ canon A1000is拆机干掉r2 http://bbs.mydigit.cn/read.php?tid=357658 拆机佳能S2 is相机解决电池电量问题 http://i.sohu.com/p/=v2=ZaNuUHYvHTVwGQZng29t/blog/view/201594675.htm 佳能A系列相机电量误报的深层分析和解决办法----之powershot SX130 IS篇 http://sundan2001.blog.163.com/blog/static/39528492201141895829920/ 自己动手，更换电阻解决佳能A560相机电量不准的问题【原创】 http://bbs.mydigit.cn/read.php?tid=213055 A570维修（图片请点右键属性，复制图片地址粘贴到地址栏才能看到） http://dcbbs.zol.com.cn/78/232_777045.html 解决佳能A700 电池问题及其扩展功能的探讨 http://dnrdnr.blog.163.com/blog/static/16554835720105935158683/ 佳能A710显示电量低解决方法之一，拆机更换电阻 http://itbbs.pconline.com.cn/dc/11483519_-1.html#post_77671878 彻底解决佳能710IS 电池电量检测电路误报电量低.自动关机的方法 http://dcbbs.zol.com.cn/85/232_846898.html 佳能A590is相机电量误报解决了(有找店铺维修的过程) http://dcbbs.zol.com.cn/82/232_815548.html 根治590电压问题清晰图解 http://dcbbs.zol.com.cn/87/232_860644.htm 佳能A590拆机换R2电阻解决电量问题的步骤 l http://www.youpc.cn/html/173/8/8951/1.htm A590IS 更换R2的注意事项（让你的电池返老还童） http://dcbbs.zol.com.cn/98/232_972644.html "hhwjm 遗忘"的 A720is 改机过程： http://user.qzone.qq.com/619191540/infocenter http://www.shoudiancn.com/viewthread.php?tid=178141extra=page=1 ★★★A570终极解救办法★★★ http://dcbbs.zol.com.cn/81/232_802884.html 【佳能A710IS 错报电量、自动关机的解决办法】附：磷酸铁锂电池测试结果300张+ http://dcbbs.zol.com.cn/80/232_790907.html a720is费电的彻底解决办法及改造过程 http://dcbbs.zol.com.cn/91/232_909330.html 使用一年半以后的A590is废了R2贴片电阻后浴火重生！爽歪了... http://dcbbs.zol.com.cn/87/232_867093.html 自己动手解决A590电量问题（仅供参考） http://dcbbs.zol.com.cn/85/232_849207.html http://www.deyi.com/viewthread.php?tid=318478page=1#pid7752804 一步步教你佳能A590拆机换电阻解决电池问题 http://dcbbs.zol.com.cn/95/232_944034.html#top2 拆佳能Canon A590 is相机并修理解决电池电量问题 http://bbs.mydigit.cn/read.php?tid=209409 A530维修 http://forum.xitek.com/sorthread.php?threadid=736696 浴火重生——图说彻底解决佳能A550数码相机电池误报自动关机问题 http://hkbbs.leowood.net:88/forum_read.asp?id=10546525page=1property=0ClassID=6 明基E600，完美解决低电问题 http://tieba.baidu.com/f?kz=1126269866 佳能A570IS电量误报的终极解决办法 http://blog.sina.com.cn/s/blog_4483dbf50100uorh.html 佳能A410/A420/A430系列低电量误报的修复 http://hkbbs.leowood.net:88/forum_read.asp?id=11759413page=1property=0ClassID=6 电量误报维修费太高网友解剖佳能A570缺陷 http://news.iqilu.com/baoguang/20100706/270970.html 消费者投诉：佳能部分数码相机存电量误报缺陷 http://it.people.com.cn/GB/42891/42893/11870689.html; 3696 次阅读|0 个评论

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