October 22, 2014, 12:19:20 AM

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Messages - pwp

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31
Lighting / Re: POLL: What flash modes do you use?
« on: October 07, 2014, 06:43:05 PM »
One note: shooting at full power kills your flash, so if you often shoot m flash anyway w/o need for Canon's rt protocol maybe it's a good idea to buy a cheap Pixel flash... ruining the flash tube of a €500 flash seems like a waste of money if a €70 flash does the same thing.
Interesting. Where did you read that? In a multi-decade career using flash almost daily, I've never heard this. On the contrary, underused flashes can have shorter lives, but then it's the capacitors that generally fail. Flashes that are stored unused for long periods should be "exercised" from time to time. Profoto used to advise that the big floor-pack flash packs be gradually built up through the power settings after prolonged storage rather than going straight to full-power pops.

I've had to replace three flash tubes and they were all resulting from drops. One was a brand new Profoto Compact 600 mono ( I was sad!) and twice with dropped 580EXII. They cost little over $100 each to repair at CPS.

What I have blown slightly more often is flash capacitors. My old Elinchrom 500 monos which didn't have cooling fans blew capacitors with alarming regularity. And I've blown a couple of Canon Speedlight capacitors, a 540-EZ and a 580-EX while working them far too hard on full power while hooked up to Quantum Turbo external battery packs. You just have to be a bit sensible when using gutsy external packs. Newer speedlights like to 600 EX-RT and Godox Witstro have overheat protection cutout functions. The $70 cheapies probably don't.

It's possible you may have been thinking about capacitors rather than tubes.

-pw

32
Lenses / Re: 45mm vs. 90mm tilt-shift
« on: October 07, 2014, 12:41:47 AM »
As a long time user of both (plus a 17mm) I use the 90mm all the time, but the 45mm only rarely. The 90mm is spectacularly sharp, while the 45 isn't quite in the same league and it also has a few optical chromatic aberration problems when tilted.
I agree, of the two go for the 90mm, especially as you're shooting FF. I have the 90mm which I mainly use for products...it's amazingly sharp. But for portraits? Wouldn't you miss AF? I've used mine on a few portrait shoots but nearly always get my best shots with the 70-200 f/2.8isII. I just keep the 90mm for 100% static subjects.

-pw

33
Lighting / Re: POLL: What flash modes do you use?
« on: October 06, 2014, 07:27:43 PM »
I use ETTL all the way unless the 600 ex-rt can't work it out, then I switch to Manual. It's very quick and easy on the 600 ex-rt, much quicker and intuitive GUI than the 580 and 550 speedlights.

Whenever I switch my 600rt flash from M to ETTL, the flash makes me cycle through these strange modes as there's no way (I know of) to disable them altogether. And I'm always wondering: How uses these anyway?

It not exactly any hardship to cycle through the different modes, the 600 ex-rt GUI attracted nothing but praise when it was released. But you do have a point. On EOS 1-Series bodies you can disable exposure modes that you never use. This is possible because the exposure modes are in menus rather than dial operated. So on my EOS 1-Series bodies the only exposure mode options are Manual and Aperture Priority. This not only speeds things up, but reduces the possibility of accidentally shooting in the wrong mode.

-pw

34
Lenses / Re: 50mm f/1.4 Canon vs. Sigma
« on: October 06, 2014, 07:11:14 PM »
I replaced an EF 50 f/1.4 with a Sigma 50 f/1.4 (previous non-Art model) and what a waste of money. My EF 50 f/1.4 was good at f/1.8 and sharp at f/2.  The Sigma was occasionally sharp, it had completely erratic and utterly hopeless AF, unable to be rectified by Sigma. When it nailed focus it was exquisite, but the AF inconsistency meant it was never trusted on a commercial job and was subsequently went off to eBay. The Sigma was twice the weight and bulk in the bag over the EF 50 f/1.4 which I wish I'd kept.

However the new Sigma Art 50 f/1.4 sounds like a big improvement, though there have been enough stories and user-feedback that question Sigma's quality control. YMMV.

-pw

35
TBH the MKI is renowned for being a dubious lens and getting a good copy is key...
The MKI is a stellar lens, but so is the Tamron. I chose the MKI because I like to stay in the Canon Camp.
Might be worth waiting and see what sigma do with the rumoured 24-70mm F2 IS
Slight contradiction there...yes there are stellar copies of the MkI in existence, but tend to be rare as hens teeth. After five MkI's all of which were utterly hopeless and unable to be rectified by Canon, I was happy as can be with a great copy of the 24-105 f/4is which I got to see me through until the MkII was released. I didn't expect it to be so good. The 24-105 is a lot of photographers most used and favourite lens, so you could consider one of these. They are a true bargain.
Sell your MK I and pick up a MK II  8)
If the budget allows this is the preferred route. My MkII is so good I've sold off all my primes in the 24-70 range.
Can't comment on the Tamron, but they do get good reviews.

-pw

36
EOS Bodies / Re: EOS 2000d release date?
« on: October 05, 2014, 06:51:57 PM »
EOS 2000D? It wouldn't want to be confused with the $18,000 2 megapixel D2000 from 1998
http://en.wikipedia.org/wiki/Canon_EOS_D2000

-pw

37
EOS Bodies - For Stills / Re: 7D Mark II AF Points Lighted??
« on: October 01, 2014, 11:58:52 PM »
That thought has crossed my mind too when checking over the impressive 7D2 specs. In spite of getting used to it, the hard to see black AF points in the 5D3 drive me nuts and genuinely slow things down. Losing track of your selected AF point takes up attention that would be better directed towards your creative flow.

The constantly illuminated red AF point in the 1D4 and just about every Canon DSLR that preceded it are quick and easy to use. I'll miss that particular functionality when I eventually retire the 1D4.

-pw

38
Lighting / Re: Speedlites - How many are enough?
« on: October 01, 2014, 07:38:20 PM »
Hyper sync - long duration flash over the entire curtain movement
True high sync speeds - standard sync method but @ above 1/250th. (Which is still the best and most efficient but expensive.)
HSS - pulsed flash over the duration of the curtain movement.

I think you misread my comment, all of these methods are ways of syncing at High speeds, hence HSS but the most true form is the traditional method and the others are a workaround.

There is nothing 'true' or 'high sync speed' when syncing above 1/250th or 1/180th or even 1/60th.  HSS is syncing multiple bursts over a curtain movement - where the sync is with the slit being exposed is perfectly timed with the speedlites.  Syncing with a Leaf shutter doesn't involve multiple bursts.

Syncing with a 'slow' strobe or speedlight where your shutter speed is faster than the lights t.1 time is just that, dealing with slow lights.  The issue is that you're not going to get even exposure over the frame, let alone between shots.

Now, with all that said, with the faster studio lights, like Einsteins in the fast mode, or the Bron Move2 packs that'll do a 1/10,000 flash duration, you can 'sync' at 1/125th or even slower, and 'freeze' your subject with light.  Then, all syncing at a faster speed does is allow you to kill the ambient light.

Which for most of my purposes is exactly what I'm setting out to do, such as with a portrait in full daylight, or balancing a portrait subject in open shade against full daylight, or a portrait in full daylight that will benefit from being shot wide-open. With my Einsteins fired with ODS adjusted Odins I get consistent, even exposures at shutter speeds all the way to 1/8000, though usually don't need to go past 1/2000. The Godox Witstro is also clean, even and consistent.

Freezing action with flash is another technique skill-set altogether; both are entirely valid and useful.

Whether it's correctly called HyperSync, High Speed Sync or HSS or Crazy-Fast-Speedy-Sync is immaterial to me. When you understand the characteristics or shortcomings of your chosen method, it simply becomes another tool to expand your creative scope, limited only by your imagination.

-pw


39
EOS Bodies / Re: EOS 7D Mark II: More High ISO Samples
« on: September 29, 2014, 10:03:16 PM »

40
Lighting / Re: Speedlites - How many are enough?
« on: September 29, 2014, 08:01:18 PM »
Hyper sync - long duration flash over the entire curtain movement
True high sync speeds - standard sync method but @ above 1/250th. (Which is still the best and most efficient but expensive.)
HSS - pulsed flash over the duration of the curtain movement.
Agree on all counts, I'd just point out the often overlooked problem with flash duration and power output for "True high sync speeds", at this point in time full power flash pulses are not that fast, the Einstein for instance, which is often used as a perfect example of short flash duration, has a full power discharge duration of 1/588 of a second, and when we are opening up our lenses for narrow dof and balancing ambient and flash that full power can easily be used.
Thanks RLPhoto & privatebydesign for posting the definitions and commentary.

I had previously thought that HyperSync was a PocketWizard proprietory process & name. Good article here:
http://www.pocketwizard.com/inspirations/technology/hypersync_fpsync/

Still, language is a wild living creature, and I'd bet that the acronym HSS has gained unstoppable traction describing (correctly or incorrectly) the means of achieving flash sync at shutter speeds above standard maximum x-sync speeds.

-pw

41
Lighting / Re: Speedlites - How many are enough?
« on: September 29, 2014, 12:17:17 AM »
We really need to stop calling lights with long durations and tuned to cover the time the shutter blades are exposing the sensor HSS, the two work in a fundamentally different way, long duration is not HSS, and both cost a massive amount of power.
Hah! Interesting point. HSS...strictly technically no but practically yes. What is it that defines "true HSS"?

We may have strayed from the strict HSS definition, but it's a useful terminology that people understand.
Think of it as living language. The acronym HSS communicates a function....High Speed Sync. Simple enough.

So what do we call it? We're achieving flash sync at a high shutter speed. We understand the limitations such as significant power loss, but it's still a very useful, relevant creative tool. Sounds a bit HSS-ish to me!

-pw

42
Lighting / Re: Speedlites - How many are enough?
« on: September 28, 2014, 10:33:49 PM »
I read Syl Arena's Speedliter's Handbook recently and he says, I believe, that he has 12 speedlites, and his mentor Joe Mcnally, has 17. You get when you need, I don't think there is such a thing as too many...
Can you imagine the attention to detail required setting up 12 let alone 17 Speedlights? And the lack of flexibility? For certain projects you'd certainly get a unique look.

For OP Quasimodo, of course it depends on the sort of projects you'll be taking on. A bunch of Speedlights might be perfect for your work. If you're not missing the Elinchroms, then maybe you don't need monos. If future projects require you do need monos again, Einsteins are worth a very close look. I have six of them plus a raft of accessories, modifiers, VML batteries etc. The PCB stuff is extraordinary value. http://paulcbuff.com/

For HSS work, at a pinch I can get the Einsteins to play ball triggering them with the almost mythical abilities of the Phottix Odin system and their ODS fine-tuning function. Only expect HSS/Einstein to work on full power (longest flash duration). More flexible for HSS, and maybe very useful for you, is the Godox Witstro 360, also triggered with Phottix Odin. There is a $25 eBay accessory that means you can use Bowens mount modifiers. 
http://flashhavoc.com/godox-witstro-ad180-ad360-review/

With the Phottix Odins you can maximise HSS output with ODS fine tuning. Rather than going right into ODS here, check out:
http://flashhavoc.com/phottix-odin-ods-over-drive-sync/comment-page-1/#comment-19555

Phottix is doing great things right now. Their Mitros speedlight is getting a lot of attention as is their most recent announcement, the TTL & HSS capable Indra 500 http://flashhavoc.com/phottix-indra500-ttl-announced/

But how many speedlights are enough? For Joe Mcnally and his required team of lighting assistants, seventeen is good. For me it's two 600 EX-RT's plus the Godox Witstro 360. I'd say build up as projects demand and budget allows.

-pw

43
EOS Bodies / Re: EOS 7D Mark II: More High ISO Samples
« on: September 28, 2014, 07:38:49 PM »
...This camera is a sports/bif dream if you ask me....
And the anti-flickering mode for fluorecent light? Are you kidding me? That is a game changer...
A "game changer" for bif and wildlife? - I've taken tens of thousands of shots with my 7D and NONE of them were under fluorescent lights.
The Anti-Flicker mode will be a game changer for lots of photographers, not least corporate shooters who spend a lot of time in fluoro lit office locations.
Correcting the color shift from one frame to the next can be a huge time waster in post production.

I wasn't 100% sure exactly what the Anti Flicker mode was but found this article from Canon:
http://learn.usa.canon.com/resources/articles/2014/eos7dmkii_antiflicker.htmlp

-pw

44
Photography Technique / Re: Can Recommend Ready made website
« on: September 27, 2014, 06:35:53 PM »
Check out the Squarespace custom website templates and plans. Great configurable designs and modest pricing/plans.

-pw

45
EOS Bodies - For Stills / Re: Why haven't you left canon?
« on: September 27, 2014, 10:13:10 AM »
What an odd thread. Anyway...

Trolls gonna troll, to use an apposite Americanism...

The reason that Canon users use Canon needs no explanation: we use it because it does the job, and does it fantastically well.
Not quite with you there Keith...where's the troll?

-pw

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