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Just bough an LC-5 from eBay and did not check if the 70d is compatible.

Can I use the LC-5 with the 70D?

If not, what’s the equivalent trigger remote system I can buy?

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It will not work directly with the 70D. The 70D has a 2.5mm port for shutter release (aka an E3 connector), while the LC-5 uses the Canon-proprietary three-prong N3 connector. Unless you can buy or build an N3 to E3 converter, like the one from dSLRKit, this will not work.

You can use the Canon RC-6, but it has drawbacks and misses features the LC-5 offers (4' range, no test or repeat firing modes).

If you don't care about the test/repeat firing modes, you might actually be better off using the Canon EOS Remote app on a phone or tablet and the 70D's wi-fi remote control capabilities, or looking at 3rd-party radio-based remote shutter releases, since these will be inexpensive, and offer better range/reliability as well as not requiring line-of-sight the way the Canon infrared-based remotes, like the LC-5 and LC-6 do.

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Does canon 70D support the LC-5 trigger?

Not directly. The LC-5 uses the N3 connector that is compatible with Canon's upper tier camera models. The 70D has an E3 connector that is used on lower tiered Canon models.

Some camera models that use the N3 connector: All of the EOS 1-series cameras since the EOS-1V film camera, including all digital 1-series (1D X Mark II, 1D X, 1D Mark IV, 1Ds Mark III, etc.), all digital 5-series (5D Mark IV, 5D Mark III, 5Ds, etc.), all digital 6-series (6D Mark II, 6D), all digital 7-series (7D Mark II, 7D), the x0D-series up to and including the 50D (40D, 30D, etc.)

Some camera models that use the E3 connector: All of the xx0D/xx00D/Rebel series (Rebel T7i, Rebel T3, 450D, 1200D, etc.), the x0D series beginning with the 60D (80D, 77D, 70D, 60D)

If not, what’s the equivalent trigger remote system I can buy?

You can get an N3 to E3 adapter¹ and use the LC-5 you already own. You can use any wired remote (or radio remote that connects to the camera via the wired remote port) that uses the E3 connector, which is essentially a 2.5mm mini-stereo plug. You can also get generic wired E3 remotes for about the same price as an N3 to E3 adapter.

Quite honestly, the near infrared optical system that the LC-5 uses is well past the point of being long in the tooth. Just as radio has replaced near-infrared optical signalling as the preferred way to trigger off camera flashes, radio transmitters/receivers offer several advantages over infrared signalling for triggering cameras remotely and have become quite commonplace and relatively cheap. Some of the main advantages of radio over optical:

  • Distance limitations. Most optical systems, especially when using a weak built-in popup flash or a near-infrared unit as the controller, are much more range limited than radio systems. Radio tends to have a greater range, especially in bright light.
  • Positioning limitations. Most of the optical controllers only cover an area about as wide as a 24mm lens on a FF camera. If the remote flash, or remote receiver on the camera, is further to the right or left of this cone it may not receive any optical signal, even if it is only a few feet from the transmitter! Radios transmit in all directions from the camera or remote trigger.
  • Line-of-sight requirements. In addition to being in the "cone" of light transmitted by the master (or remote when triggering a camera remotely), off camera flashes and the receivers on remote cameras must have a clear line-of-sight to the master with the optical receiver pointed in the direction of the master. This inhibits being able to place optically controlled flashes inside modifiers, placing them behind objects in the scene, placing a remote camera out of line of sight of the trigger, etc. Radio systems are not limited to line-of-sight and can even be used on the other side of walls and other obstructions (although the obstructions may reduce the range somewhat).
  • Difficulty with bright ambient light. Especially outside under sunlight, the power of optical wireless control is very limited. Again, especially with a relatively weak built-in popup flash or a near-infrared transmitter, the master just doesn't have much power to cut through the bright sunlight and the receivers can't detect the weak signal from the master over the very bright sunlight. Radios work just as well in bright sunlight as they do in a dark studio.

  • Multiple Photographers. Radio has the ability for more than one set of the same type to be used in proximity to one another without interfering with each other. (Think several press photographers all using Canon covering an event for multiple publishers. Or more than one shooter at a wedding.)

¹ Be sure to get one with a female N3 connector and a male E3 plug to adapt an N3 remote to an E3 camera, rather than one with a female E3 jack and a male N3 plug made to adapt an E3 remote to an N3 camera.


Some background about wired remotes (including infrared or radio remotes that connect to the camera via the wired remote port):

The three connections made by both the E3 and N3 shapes are electrically identical. In fact, just about every wired remote shutter release for almost all digital cameras² use the same basic three connections: A ground wire, a 'half-press' wire, and a 'full-press' wire. How the connectors are shaped is the only real difference. Even across brands, among those that use a 2.5mm "stereo" mini-plug, the pinout pattern is the same. They're all two simple 'open' or 'closed' switches with a common ground.

The only reason not all wired remote shutter releases are universal, regardless of whether they do or do not have built-in timers, is that not all cameras have the same size/shape connecting plug to attach them to the camera.

There are (or were) controllers that supply a plethora of adapters to fit just about any camera currently on the consumer market. Almost every camera with a port for a wired remote only needs two commands from the wired remote: a half press and a full press. If the remote has a built-in timer, the rest of the timer's work regarding when the signal is sent is done in the remote itself. The shutter speed, aperture, ISO, focus mode, etc. is still set via the camera's menu just as if you were using the camera's built in shutter button (If the shutter speed is set to Bulb in-camera, then the length of the signal from the remote will determine how long the shutter stays open, exactly the same as how long you hold the shutter button down would if you were using the camera's built-in shutter button).

I've used a generic wired remote timer with a permanent Canon N3 connector many times over about seven years as of mid-2018. It's still working just fine and I've been very happy with it. The only external difference between it and many other such timers made for a variety of cameras from many different makers appears to be the shape of the end of the cable that hooks to the camera. You can ignore the complaints in reviews on sites such as amazon.com about having to remove the batteries from such timers because you can't turn them off. They are like a digital watch: as long as the alarm isn't constantly beeping the batteries will last for years. In the case of the remote, be sure it is not running/counting down and actively trying to trigger the shutter periodically when you're not using it. Remove the batteries if you are going to store it for an extended period of time.

They all have three wires. One is a ground, the other two are simple electrical circuits to complete that carry one-bit of data: open or closed. One is for the half press, the other is for the full press. There are no further 'protocols'. There are no 'encoded' commands. It's like a light switch, either electricity is flowing or it is not. The current is supplied by the camera, the remote is only a passive switch with two positions (three if you count the unpressed position when both circuits are open).

The key is to make sure the right wire from the remote is connected to the right wire in the camera. Thus the need for various adapters, so that the ground is connected to the ground, the half-press wire is connected to the half-press terminal on the camera, and the full press wire is connected to the full press terminal. Everything you ever wanted to know about remote cable release connections.

² Panasonic does use a single wire plus ground to signal both a half and full press by placing resistors of different values in the circuit depending on the switch position.

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The LC-5 uses the N3 type connection while the 70D has an E3 port.

You can use any cabled trigger that connects via an E3 port.

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