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Messages - dmills

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Canon General / Re: Camera Phone
« on: April 26, 2013, 11:51:51 AM »
I think the lines between camera phone and dslr are already being blurred. I definitely see a time in the future that your phone will be capable of similar images as your mid to high end dslr. Heck it's already happening. There is a very accomplished local photog who speaks very highly of his iPhone as a work tool. He says its loosens up subjects and allows them to have fun allowing him to capture images the big camera won't. In fact he even went so far as to submit his iPhone images for a recent cover shoot and had the iPhone image the art director liked not had an ever so slight blur that would have been the cover shot for the mag.

While it's a good story, and i'm sure it's true... to me it's sad that a "pro" photographer is missing cover-worthy shots because he's shooting with a sub-standard tool. If the shots from the tool aren't good enough to be used for the job he's doing, to me, he's just wasting time and money.

Lenses / Re: 70-200 f2.8 MkI & Mk II and Extenders
« on: April 26, 2013, 09:21:14 AM »
From having used them, I would say that using an extender with the 70-200 mk1 + 2.0x II wasn't very good. However, mk2 + 2.0x III 3 is phenomenal. I would highly recommend it, even over a 100-400.

Canon General / Re: Camera Phone
« on: April 26, 2013, 07:08:05 AM »
Nope, wouldn't care. I don't want a phone that's mainly for taking pictures, and has "some phone features thrown in too". I'm fine with the picture quality on my iphone 5 and 5d3, and am happy to keep them separate.

Wow, a fast, wide zoom. I may be interested in a 7d2 afterall...

This is all a "video" firmware update, right?
Just asking...I shoot stills and the first thing I did when I got the camera was disable the video button.  :) anyone have the simple update translation?

Well, it's partly a "video" update... but another part of me is pretty darn excited to rent a 300 f/4 and slap my x2 extender on it ;)

Because you said you were interested in pictures with people, I'll post some I took. Again, since I don't have a 16-35, you'll have to see one's I took with the 10-22. Since your question is about the UWA perspective related to people though, I think they're applicable.

When I bought my 60D, the first lens I purchased was the 10-22mm (similar to the 16-35 on a full frame). I used that as my only lens for nearly a year before buying a 24-105. During that year, I learned a lot of things:

*With an UWA lens, you need something close to your camera to be the 'anchor'. If everything is far away, it all looks flat. This is even more true on a fisheye lens.

*An UWA gives context to a subject. If you're taking a portrait, and you pull out your 70-200, and get a nice head and shoulders portrait, it will look great, but it will also look like every other portrait. By all means, get that shot, and then pull out the UWA and get a shot of the person doing something. In my opinion, the 70-200 captures the subject, the 35-50ish gets the subject and shows some background, and the sweet spot is the 16-24ish, where you're "telling a story". It's hard to tell a story with anything longer than 50mm. I'm not saying it can't be done, just that it's difficult.

*An UWA gives you a greater depth of field even at the wider apertures. Pop it up to f8 or so, and you almost can't miss focus. On my 60D with the 10-22, I really never worried about focus unless I had something within 2 ft. of the lens. That's a nice thing! If you take a shot, and you just slap the focus somewhere in the middle, and you're around f5.6, it's pretty guaranteed to be clear.

EOS Bodies - For Stills / Re: 5D MK II Error - Pink Frame
« on: April 15, 2013, 01:44:51 AM »
Just to be clear, is it pink when you look at it on the LCD screen? If yes, then return it asap. If no, then it's likely a software problem on the computer.

This can be an occasional issue with Adobe Camera Raw (and usually manifests as a pink cast over everything).

Not sure if this helps, but it's worth looking into.

Canon General / Re: Random Thoughts
« on: April 12, 2013, 03:28:41 AM »
As for the photo lab, time to find a new one.

As for the bride, it's all about how you make your agreement with the bride in the first place. If you let people know that you can also do minor edits (such as removing small things, or adjusting small things), there's a separate fee per photo that they'd like to adjust, that will surely cut down on the requests later. That's something that most people would agree to at the beginning (especially if you give examples, like removing exit signs, salt shakers, etc). Later, when they ask, you can remind them of the contract that they signed in the beginning, and let them know that you're more than happy to do it at a set price per photo.

I would just buy something like this, as it already comes with Alien Bee speedring and much cheaper to boot:

It can even be used as a pseudo-beauty dish with white cover removed and center reflector.  I have the 36" octagon version with same features, and it's been great.

The first comment on that Amazon one seems to say that the ring that came with the softbox didn't fit the softbox...

Lenses / Re: Addicted to dof
« on: March 06, 2013, 05:42:38 AM »

There's another one that compares the 1.8 to the 1.2.

You're looking at roughly 1 stop of light difference between the two as well (The difference between f4 and f2.8 )

Since you're planning on upgrading to a 5d3, I want to mention something you might already know. The 5d3 doesn't allow you to change focusing screens. While I'm sure that some 3rd party people are more than willing to open up your camera and change it for you, I'm sure that's a "void the warranty" type of customization. I've used the 85 1.2 a lot with my 5d3, and I love it.

I played around with a Zeiss 35 1.4 the other day, and while I enjoyed the manual focus to some extent, and they looked good on the back of the screen, the number of "keepers" I was getting when I put them into my computer was less than I thought just from looking at the back of the camera. Maybe I was "doing it wrong", but I just held down back-button focus and slowly focused until I got the "focus confirmation" then shot. It was something I could probably get used to and focus relatively quickly, but definitely not near the focus speed of even the 85 1.2 (which is sloow). That, and the frustration of thinking that certain shots were 'dead-on' focus when they were slightly off was frustrating to me. My guess is that I was slightly passing the area of dead-on focus while I was turning it, and without a focusing screen, I was having trouble getting it dead-on.

Pricewatch Deals / Re: Canon Center Pinch Lens Caps Now Shipping
« on: February 25, 2013, 09:26:25 PM »
Interesting... here in Japan, I've had a full set for all my lenses for almost a month. Didn't realize they weren't shipping everywhere yet.

(they cost about $7 shipped from Amazon here)

Technical Support / Re: Photographing paintings for a Catalogue help please
« on: February 20, 2013, 03:41:10 AM »
All of these settings can be changed when exporting your files from light room. To check this, open lightroom, look at any picture, and choose File > Export. Under file settings, choose TIFF, and look at the options.

Tiff: That's the file type. Seeing as you have a 5d3, your images will come out of the camera either as RAW (.CR2) or as JPG (.jpg). They are wanting TIFF files (.tif or .tiff).

Colour Space: RGB : This is basically a formula for how colors look. Since you're exporting to TIFF, you can just choose Adobe Rgb (1998) and kill two birds with one stone.

Colour Ratio: not a clue. They are likely referring to the bit depth. You can set that to 8, and probably keep them happy.

Since this seems like the gallery's specifications rather than your friends, I think you'll be fine. Basically, you'll want even lighting across the painting. If it were me, also having never shot this type of photography, I'd look for very diffused lighting, avoid any highlights anywhere on the work, and shoot it at f/5.6-f/8. Hope this helps.

*disclaimer* These are the thoughts of someone that has never shot this kind of photography. If someone has shot this type before, feel free to correct me.

Now... As a further note about the flash, when I think of flash, I think about it's purpose as "accenting the depth of a scene". Since your scene is a painting, you don't want to add any depth, but just show what's there. You want the scene to be pretty "flat" because you're reproducing something that is in two dimensions. Diffuse lighting will help to keep shadows from adding depth (darkness) to parts of the painting that aren't actually there when viewed. The biggest challenge you're likely to face is making sure that ambient lights aren't making hot-spots on your image. Flagging or diffusing those, and keeping the environment very controlled will likely be your best bet to keeping everyone happy.

GoPros are great, and I love them... but they don't have much in the way of battery life. I even have the external battery pack, and don't get much more than an hour of use, no matter what the card size you're using.

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