November 21, 2014, 03:36:04 AM

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Messages - FTb-n

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1
Third Party Manufacturers / Re: Black Rapid Backpack Strap
« on: November 19, 2014, 06:59:49 PM »
Okay - let me ask you this... Do you think that putting a lens (on a tripod ring/foot like the 100-400) into the capture clip even makes sense... maybe I'm over thinking it.  I will have 2 clips coming next week.  I'll do some testing... maybe I'll have one clip for sale.   ;D
Good question.  I use the collar on my 70-200 with a monopod for figure skating, so I keep a Manfrotto clip in it.  Generally, however, I prefer to leave the collar home.  I suspect the clip on the body will work better.  The lens collar may be too centered weight-wise and prone to swinging.

2
Sports / Re: Winter Baseball
« on: November 19, 2014, 06:50:16 PM »
I miss summer  :(

3
Third Party Manufacturers / Re: Black Rapid Backpack Strap
« on: November 14, 2014, 11:25:46 AM »
I use two standard Capture Clips for two 5D3 bodies, one with a 70-200 f2.8L II and the other with a 24-70 f2.8L II.  I do not use a tether strap.  Recently, I switched the clip to a 7D body and was impressed at how it remained secure on the 5D3.  I do, periodically, make sure the clip is still tight and have never had it loosen up.

The mount that secures to a strap or belt, however, should be checked periodically.  I'm in the habit of double-checking the thumb screws.  Sometimes, they aren't tight, but have never really loosened up.

4
Standings as of this post:

Neuro             14897 posts, 10 boxes,  one rumored EOS GEEK
Mt. Spokane        9055 posts,   9 boxes, one very envied EF 50 f0.7 IS
Marsu42            4944 posts,   7 boxes, one EF 400 f2.8L IS Mark II
Private By Design  2709 posts,   7 boxes, one EF 300 f2.8L IS II


All seems right to me -- except I'd rather have a 50 f0.7, but that's just me.

5
I always (ok, almost always) power down before removing the card.  I never power down to change a lens.  I most often power down before storing it -- I try to do so every time, but have forgotten.

6
EOS Bodies / Re: what is the body you want to see canon release next ?
« on: November 02, 2014, 07:33:05 PM »
SL2 with the 70D sensor and improved video AF.

My 5D3's suit me fine.  But, I would be interested in a compact DSLR for travel light needs and for my wife. 

I like full manual for stills, but video isn't a big interest for me.  The 5D3 is truly fantastic for those more talented with manual focus while shooting video -- which isn't me.  Our best video camera for me and for my wife to use is an SX20.  I'd like to replace this with an SL2 which can use my lenses or just the 18-135 (or the new pancake).

7
Photography Technique / How do you nail your exposure when shooting sports?
« on: November 01, 2014, 12:52:21 PM »
I often look at exif data of sports shots (when available) and am surprised at how many sport shooters use an auto exposure mode.  Av or Tv seem most common.  It isn't that I expect "real photographers only shoot manual".  It's how they get reliable results from an auto mode that surprises me.  (Or, maybe they don't??)

I've tried Av or manual with Auto ISO and often get wide swings from overexposed to underexposed shots.  If I use partial metering, jersey colors can wildly affect the exposure.  Evaluative or center weighted metering gives me more problems with the background adversely influencing the shot.  So I most often spot meter on faces during warm-up and shoot full manual.  (During the action, spot metering a face then recomposing means lost shots.)

Indoors, some gyms have dark spots, so I try to change the shutter accordingly during play.  Most often, this is based more on my eye than the meter.  When the scene looks darker, I bump the shutter speed, shoot, then chimp the LCD to see if I was close.  But, outdoors, I run into more light swings.  Either cloud cover results in constantly changing light or players move in and out of shadows based on the direction of their play.  Still, I try to note the correct exposure -- or something close -- and change settings when I anticipate play moving into different lighting conditions.

My results are generally close, plus or minus 2/3 stops.  I still get a bunch that may be off a full stop.  But, I'd like to nail the exposure in camera.

How do you nail your exposure when shooting sports?

8
Post Processing / Portrait-specific post processing software
« on: October 31, 2014, 09:49:54 PM »
Anyone use portrait-specific post processing software that you can recommend -- or warn against purchasing?

I don't have Photoshop and only use Lightroom 5.  For the most part, this has met all my needs.  But, what do you use for portraits of students who have more than a mild amount of adolescent blemish reduction needs?

I often see Portrait Professional ads on these pages (I know that the ads aren't endorsed by CR) with samples that overdo things a bit.  Anyone have experience with this software?

9
EOS Bodies - For Stills / Re: clown* photographer
« on: October 24, 2014, 11:51:27 AM »
oh boy..you just had to ask...didn't you...LOL! It's complicated. It is a light painting set-up.
Sorry, but I'm glad I asked.  I found the story of your creation far more fascinating than a ring light.  Thanks for sharing it!!

10
EOS Bodies - For Stills / Re: clown* photographer
« on: October 23, 2014, 11:44:06 PM »
Wait...wait...I thought that I resembled that remark????....  8)
Infrared, is that a DIY ring light and power box?  If so, would you mind showing off the business end and telling us about it?

I'm always fascinated by DIY lighting.

11
Photography Technique / Re: Shooting in a Dark Skating Arena Advice
« on: October 20, 2014, 11:00:06 AM »
Curious if you change anything as you shoot a group of skaters.  Are you going with f/2.8 always or stop down to get more of them in focus?
Shooting freestyle groups can be tough, especially if the choreography has each skater doing photogenic elements in unison.  I look for portions of the choreography that gives each skater a moment to shine alone.  If you don't know the routine, it helps to be able to shoot with both eyes open so you can tell when another skater is preparing for a jump or another element.  Still, you're going to miss a bunch of shots.  For these groups, I keep it wide open and I'm primarily looking for individual shots.

Synchro is different and I will shoot wide open and stopped down to 4.5, maybe 5.6.  If shooting from the boards, I like to get a shot wide open, looking down the line as they skate by with only the second or third skater in focus.  If the line is skating toward me and perpendicular to my focal plane, I'll go wide open because shutter speed is more important here.  If I try to get more skaters from a line in focus, stopping down means a slower shutter speed (or higher ISO) and I make sure to pan with the movement as I shoot.  This helps if the skaters are moving at the same rate and not in a pinwheel.

When shooting competitions, I generally can't shoot from the boards so I forget about the more dramatic shots of looking down the line.  Actually, I am more likely to shoot from the top of the bleachers with synchro so I can show the synchro elements as the judges see them.  Hopefully, this means straight lines!  The key is to find a point where you can look over the plexiglass and to be on the same side as the judges.  Most routines are choreographed to face the side of the rink where the judges sit.  In this case, I typically stop down to 4.5 or 5.6 and leave it there.

One nice plus to competitions is that you may get the chance to shoot in a rink used by a large university with LOTS of light.  The shots in the gallery link below were shot at the home rink of the Minnesota Gophers hockey team.  It was a dream to shoot with this much light.  These shots were at ISO 4000, f4.5, and 1/640.

http://www.skatetheoval.com/page/show/281573-photo-gallery

12
Lenses / Re: Building my lens system - where to go from my basic kit?
« on: October 18, 2014, 03:37:31 PM »
Sorry to here that the 24-105 is working for you.  I love mine for walk around use and any shots with moving water.  The IS is a big asset with slower shutter speeds to control the motion blur.  I would definitely keep the 35 1.4.  This appears to be your benchmark lens and it's nice to have a fast prime like this in your arsenal.  Maybe consider the 70-200 2.8 II next.  This happens to be my most used lens, but our subject matter may differ.  I just can't see it becoming a paperweight.   Then consider the 16-35.  Save the decision to replace the 24-105 with the 24-70 for last to see how much you really need the 35-70 range.

13
Lenses / Re: 70-200 2.8 II or 100 2.8L and 135 2 and 200 2.8
« on: October 17, 2014, 10:52:07 PM »
OR, if you aren't just looking for tele-supertele range, I say the zoom plus the 35/2 IS would be a great rounding out if you are going to be picking up the 7d2.

+1

The 35 2.0 IS is nice lens and complements the 70-200 nicely.  For light challenged events, I will use this lens on one body and the 70-200 on another.  It also makes a nice "normal" lens for crop bodies.  Plus, it's a poor man's macro.  Okay, not really macro, but you can get quite close with this lens.

14
Photography Technique / Re: Shooting in a Dark Skating Arena Advice
« on: October 17, 2014, 12:47:03 PM »
Thanks everyone for the advice, technique and equipment!  After the gala I'll post some pics!
One last tip.  If this is a multiple day event, take the time to review your photos on your computer after each shot.  I learn a lot about what worked and what didn't when I review my photos and often alter my strategy for the next day's shoot.

Have fun.  I hope that you find it as rewarding as I do!!

15
Lenses / Re: 70-200 2.8 II or 100 2.8L and 135 2 and 200 2.8
« on: October 17, 2014, 12:40:35 PM »
Get the 70-200 f2.8L II.  I got mine when I had a 60D, then I added the 7D, and now the 5D3.  Crop or FF, this lens is my most used lens by far.  It rivals primes in its range for IQ and its AF and IS performance is top notch.  There is a reason why this lens is popular among photojournalists, sports, and wedding photographers.

If you go the prime route, I think you will regret it.  You will end up making what might be a tough choice of which lens to leave home, or do I bring them all?  If you bring them all, you will constantly be questioning whether you have the right lens on the camera and may spend too much time changing lenses.  Plus, you need to figure out how to carry it all.

I carry two bodies, one with a short zoom (17-55 2.8 on crop, 24-70 on FF) and one with the 70-200.  Whether I'm shooting events, sports, travel sightseeing, or the kids playing with the dog outside, the 70-200 is the lens that I grab most often.

Of the three primes that you mention, the 200 2.8 offers no advantage over the zoom (save for weight).  The 135 is a great lens and can give you tighter DOF.  It can also offer better low light performance if you need faster shutter speeds.  But, if shooting candids, I'd rather use the IS on the slower zoom.  I can capture good candids at 1/40 with this lens and no camera shake. 

The 100 2.8 offers much better macro than the 70-200.  You didn't mention the need for lots of macro work.  If this is a must, then a dedicated macro lens may be a must.

As mentioned before, start with this zoom and specialize later.  In my case, I love the 24-70 2.8, but I'm considering the 50 1.2L for poorly lit venues.  (Actually, I'm hoping that Canon updates one or two of its 50's very soon.)  It would never replace the 24-70.  If I go with a fast 50, it would be for special circumstances.

For what it's worth, I will often take one body with the 70-200 and the 40mm pancake to kid's sporting events.  The 40 is a great backup for team photos.  It's cheap and easy to carry in a jacket pocket.  Still, I rarely use it because even with team photos, I often have enough room with the zoom at 70mm.

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