April 19, 2014, 12:26:19 AM

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Messages - pwp

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16
I shot a play a few weeks ago and my 70-200mmii/5Diii performed admirably, but I found myself wanting a little more reach in the outer aisles of the theater. I've been thinking about getting a teleconverter for awhile but I'm not sure which one to get...
Teleconverters do have their place, particularly for wildlife shooters and some sports shooters. But shooting theatre? I wouldn't get a TC at all, even f/2.8 stretches the friendship. Giving away a whole stop makes a TC a complete non-starter for theatre work. No-one shoots a typical theatre production with f/4 or slower glass. All you'll get are dreary completely static shots except in rare, very brightly lit sequences. Dynamic theatre shots sell better, and you'll get return business. I'd try making different compositions with more space around your subjects, or consider a f/2.8 300is. I take the f/2.8 300 to theatre jobs, but would only use it briefly on about one-in-ten jobs. Or there is always the famous, free walk-in zoom. (I'm assuming you're shooting final dress-rehearsals rather than public performances with their necessary strict noise and movement restrictions)

Bottom line for your theatre work? TC-x1.4 or TC-x2? Don't get either. Just refine your technique to suit the situation.

-pw

17
There's no real answer to the OP's question. Everyone has a different story.

The 70-200 f/2.8isII is my most used lens, and I thought quite reasonably that a 135 f/2 would be a useful addition to the bag.

I had a great copy, but the reality was I hardly used it and it's been sold. Reasons? Certainly not for lack of quality...the files were sweeet. For me the flexibility of the zoom and the lack of IS on the 135 were the main reasons.

-pw

18
Cheap Trick No 3

Canon Extension Tube EF 25mm II

Ok, not cheap in fact expensive as you can get 3 non Name rings for the price of this Piece of sh*te but...
This ring or any other Extension ring saves you real espace in your camera bag.
I always like to cary my lenses upright in the bag unless I go above 135mm.
The Problem are all this short stumpy lenses which are just 6 cm (or less) high but take up a full slot in the bag. Solution is to use the Extension ring to stack otherwise unstackable things together. My prefered camera bags can hold and protect lenses up to 18 cm long. So here is my EF 50mm ==> EF 25 II ==> EF1.4x stack
There is a simpler way, for years I have glued two lens back-caps together back-to-back to achieve exactly the same thing.

-pw

19
Lenses / Re: Canon 24-70 f/2.8II lens hood
« on: March 16, 2014, 03:32:23 AM »
Double check and listen if the hood clicks when you fit it to the lens.
May be a situation with the spring isn't in place and it's simply not locking onto your lens.
If that isn't the case, check out your handling techniques, as you may be inadvertently taking the hood off, so to speak.
Thanks, but definitely no problem here on that score...it's clicking in just fine. I just get so absorbed in my work I take minimal notice of my gear, even in busy, tight packed events where the cameras, lenses & flashes get knocked around almost constantly. Other than my run-away EW-88C hood, in general the gear handles the extremes of job pressure perfectly well, the most vulnerable items being the cables running from flash to external batteries getting snagged and modifiers like Stofens or Gary Fong getting dislodged and lost. I can't recall the large hood on my old optically inferior 24-70 f/2.8 MkI ever falling off.

Not to worry, I'll find a fix.

Yes, the release button has a light touch, as does the 70-200 II's. 
My 70-200 f/2.8II hood release button needs a much heavier touch than the 24-70 f/2.8II under discussion.
I suspect mine is merely a production line anomaly.

-pw

20
Lenses / Re: Canon 24-70 f/2.8II lens hood
« on: March 15, 2014, 08:44:58 PM »
I use a Black Rapid strap so the camera hangs at my side.
If I put the hood on with the Canon logo facing up, the release button is against my leg. As I walk around the button can get pushed and the hood has come loose a few times.

I just attach the hood with the Canon logo facing down, so the release button is pointing away from me when the camera is hanging down.
Nice simple idea Phil, I'll give it a try. My old 24-105 hood used to come off fairly easily and I did a rough but effective fix by carefully burning/heating the part that grips the lens with a gas cigarette lighter. The heat expands the plastic, thus providing a tighter grip. I've done this for years with worn lens back caps and body caps. Just scorch the little bayonette/grip thingys and then it's good for another few years busy use.

Maybe I could try this with my run-away 24-70 hood, but feel more inclined to try the scorch technique on an eBay clone.

-pw



21
Lenses / Re: Canon 24-70 f/2.8II lens hood
« on: March 15, 2014, 08:14:25 PM »
Hmmm...I've just tried tearing mine off, but it stays put UNLESS I brush the release button. This is why it only seems to come off at functions where I'm often pushing through crowds or squeezing between tightly packed tables with the 5D3/24-70 at my side on a sling strap, bumping against people, chairs or tables. The release button is very light. Too light. This is the design flaw.

I'll get a couple of $9.00 eBay EW-88C hoods and see how they go.

-pw

22
Lenses / Canon 24-70 f/2.8II lens hood
« on: March 15, 2014, 06:50:55 PM »
I'm lucky to still have the lens hood for my Canon 24-70 f/2.8II. At a large function last night the head waiter came up to me with the hood and asked, "is this yours?" This has happened at least half a dozen times now, often returned by function staff. Even when properly attached and checked, it comes off pretty easily.

It's a relatively minor issue, but I'm curious to know whether this is an isolated case or if it's a design flaw. I'm tempted to get a few eBay clone hoods to use and keep the original in the cupboard!

-pw

23
Canon will eventually release it and it will sell like hotcakes.
By this point, I somehow doubt that. Yn will have their clone 600ex flashes out by then...
While I don't own 430EXII, preferring my pair of 580EXII for greater output and facility for an external power source, I see the 430EXII as an ideal flash for most people with relatively modest needs. Which is most people. Not anyone at CR of course! It's small, light, reliable and less expensive, with the cache of perceived Genuine Canon seal of quality.

The reality is that the greatest majority of Canon shooters will have never heard of Yongnuo, let alone trust a non-Canon product. Those "in the know" will see no issues with a Yongnuo purchase and probably do so with a practical knowledge of any genuine shortcomings (if any) compared to the Canon original.

The current 430EXII will continue to sell in large numbers probably for years, I suspect it outsells the 600EX-RT. A 430 EX-RT would certainly be a successful product for Canon, but I wouldn't be holding my breath waiting for an announcement.

-pw

24
There is no reason to use Av mode for anything...
"No Reason" is a mighty big place...a touch dogmatic?

On a 1-Series you can turn off modes.  Primarily I like to work either in Manual or Av, so the rest are disabled. So when I toggle the mode control, all I'll get is either M or Av.

Last night I shot a swimming & diving championship event at a major swim stadium. The light levels vary slightly from end top end of the main pool, and Av is perfect is this situation. To achieve max shutter speed, I'm locked on f/2.8. Only the ISO or exposure compensation get adjusted. Earlier in the week I shot the final dress rehearsal of a stage production of Shakespeare's Twelfth Night. Naturally the lighting was all over the shop, as it should be for a stage production. Av was perfect. Track & Field athletics? Av please, especially under lights at night. In fact, just about any dynamic shooting situation where there are either subtle or substantial lighting variations, Av works for me.

-pw (Av fanboy)



25
EOS Bodies / Re: EOS 7D Replacement Mentioned Again [CR1]
« on: March 11, 2014, 08:53:30 PM »
...the strength of the APS-C format (in addition to cost) is the perceived extra "reach" of the 1.6 crop factor. Crop sensors will never match the high ISO performance or dynamic range of a full frame sensor. But, what Canon demonstrated with the 70D is that they could increase the resolution of the sensor without sacrificing ISO performance or dynamic range...
Canon will find plenty of sales to photographers who are genuinely missing the somewhat lamented x1.3 APS-H sensor. Our 1D Mk3 and Mk4 bodies are reaching astronomical shutter counts, a premium, high performance 7DII would go a long way to satisfying the APS-H mob. They'll never last as long as a 1-Series which routinely run perfectly and reliably with several hundred thousand clicks on the clock, but at half or one-third the price...who cares? If half the rumored features show up on the final shipping 7DII, I'll probably get two of them in the first week.

-pw

26
EOS Bodies / Re: Is Dual Pixel Tech Coming to the EOS 5D Mark III?
« on: March 07, 2014, 10:04:44 PM »
I wonder why did Canon introduce the EF 40mm STM in 2012 if it had no plans to introduce a FF camera with DPAF shortly after that?
Not quite making the connection there...care to enlighten?

-pw

27
EOS Bodies / Re: Is Dual Pixel Tech Coming to the EOS 5D Mark III?
« on: March 07, 2014, 07:57:01 PM »
I'm all for it though I suspect Canon will hold it over until the 5D4.
Yes this is the most obvious and likely scenario...the Canon marketing team will be hanging greedily onto Dual Pixel tech as a headline feature in a 5D4 which I have no doubt is still years away.

Who really knows? By the the time a 5D4 is announced we may be fondly remembering good old dual pixel tech as we embrace something even more advanced....ermmm, quad pixel tech anyone?  ::)

-pw

29
Canon General / Re: In need of a "walk around" camera
« on: March 06, 2014, 08:14:47 PM »
If you don't mind APS-C then check out the remarkable Canon SL1 (aka 100D). Also reluctant to haul around 1-Series bodies in non-work or important personal projects, I've found the crazy light SL-1 fits the bill perfectly. I have the surprisingly good EF-S 15-85is bolted to it most of the time, and of course it takes your regular EF lenses. This is now my go-to travel/walkabout camera. After a string of disappointing high-end compacts, I've finally nailed it. It's so good I even take it on jobs sometimes if I need a lightweight third body.

The SL-1 has all the obvious advantages of being a DSLR (it's the world's smallest APS-C DSLR), plus it takes your current glass, has menus that you'll be instantly familiar with and is genuinely good fun to use. Of course file quality will not be up to your 1Dx or 5D3 files, but really, it's one of Canon's more interesting and relevant releases in the past 12 months.

-pw

30
Keep them vertical and dry. That way they'll last for as long as you want. If you leave a paper background permanently up in your studio with a Manfrotto style background support, you'll notice a slight sag in the middle after a few months, particularly if you live in a humid environment. My solution is to source an appropriately light weight, yet strong aluminium tube; get one that is the correct diameter to fit snugly inside the cardboard tube/core of your paper roll. Cut it to length, just a touch longer than your paper roll.

With the Manfrotto style background support with the thingys that expand/grip inside the cardboard tube, then you need to do this. Get your angle grinder and make four 6-8 inch long cuts at each end of the aluminium tube. This allows the Manfrotto expanders to grip snugly on your paper roll. Without the cuts, your paper roll will just spin on the aluminium tube. There you go! A handy little home-grown invention.

-pw

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