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Messages - Arkarch

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16
EOS Bodies / Re: A Few EOS 7D Mark II Specs [CR1]
« on: June 11, 2014, 04:30:58 PM »
Not too displeased - and having a 1D top plate does not mean it would have a permanent battery/grip.

I think it comes down to intended market.   Sports/wildlife shooters could use a high quality crop alternative to the 1DX.  Being ruggedized with sealed buttons with a similar interface to the 1DX might be a selling point to that market.

As to Wi-Fi / GPS, could be a "bump" on the body.   Neither feature band requires much antenna, but you dont want to put an antenna inside a "metal Faraday cage".   

If rumors true, I see the 7D style we know staying in the domain of the xxD line.

For me, I might consider it, but now that I own a supertele, I really want two FF's - the other running the 70-200 to make sense along the track.   But if the IQ is high, maybe I would run the supertele on the 7D II.

17
Awhile back I might have been more excited.   I have the 7D and 5Dm3 pair - however current needs really have me looking for a second FF.

Most of my work these days is Landscape and Motorsports.   Yes, an odd mix but I enjoy the different work and thought processes. 

For Motorsports - now that I got the 300/2.8 II which works great with the 1.4 and 2.0 TC's, what I really want at the track is one FF with the 300 and one with the 70/200.  Having a Crop Body just doesnt work for me.  But I could really use a 1DX in this case.  If the sensor was a significant jump, maybe I would use a 7DII for the long shots.  But for the next year, I have wondered if just getting a 6D as second body would be the better pairing.

For Landscape, I am almost always 5Dm3.  Only when I need the extra reach, maybe wildlife, do I use the 7D.  At present it comes along primarily as backup.  What I am really looking for is the next FF high MP camera.

In neither case does the 7Dm2 enter the discussion, except as a reason to get an updated crop body.

18
Canon EF Prime Lenses / Re: Canon EF 300mm f/2.8L IS II USM
« on: May 01, 2014, 03:22:49 PM »
Yep,  that is what I am saying and seeing; and it makes no sense.
That is bizarre!  Does it happen on your 7D?  Also, do you have a grip on the 5DIII?

I'd have to check the 7D.  Good point.

No grip on the 5Dm3 - yet.

I will run some controlled tests this weekend - see if I can get some real data.

19
Canon EF Prime Lenses / Re: Canon EF 300mm f/2.8L IS II USM
« on: April 30, 2014, 11:34:31 AM »
But here is a question.... Exposure Compensation creep on a 5Dm3 with the 300.    I set everything up, running sometimes in Av or Tv modes - and after a handful of shots I see the exposure comp go up by a few stops.  And its not just reporting - the shots go over.  I found myself really having to monitor and reset back to zero.  My other lenses do not cause the 5D to exhibit this behavior.

Any ideas?
Congrats on the new lens and that is an odd thing, but I'm not sure I understand what's happening.  Are you saying that the exposure compensation setting is going up by itself?  I don't think that's possible - maybe you're bumping it because of the way you're holding the lens, which might also explain why it doesn't happen with other, smaller lenses.  Maybe I'm not understanding your question, though.

+1

Doesn't make sense.

Yep,  that is what I am saying and seeing; and it makes no sense.   

20
Canon EF Prime Lenses / Re: Canon EF 300mm f/2.8L IS II USM
« on: April 29, 2014, 03:52:19 PM »
Recently got the 300 f/2.8L IS II USM and loving it.   Given the battleship construction; weight relative to what it is; and sports-centric modes and features, I have no regrets making a capital investment in this lens.   This thing is a thoroughbred!

I use it primarily for motorsports of all types and tracks.  Sometimes it can be too close (NHRA top fuel dragsters tend to be long in the frame) and I got to run back to the 70-200..  But for pure adrenaline-infused shots, its the go-to.

I also use it with the TC-III 1.4 and 2.0.  I find very little IQ loss with the 2.0 - it is well matched and makes a fine wildlife lens.   I did try stacking with the 12mm extension tube - then it goes soft.

But here is a question.... Exposure Compensation creep on a 5Dm3 with the 300.    I set everything up, running sometimes in Av or Tv modes - and after a handful of shots I see the exposure comp go up by a few stops.  And its not just reporting - the shots go over.  I found myself really having to monitor and reset back to zero.  My other lenses do not cause the 5D to exhibit this behavior.

Any ideas?


21
Lenses / Re: Canon SuperTelephoto Hood Construction
« on: March 20, 2014, 08:53:00 PM »

Thank-you for the responses.

Based on the last reply, I have opened up a ticket with Canon Professional Services.  Maybe I can get a small sample (broken lens hood in their repair shop perhaps?)

I'll reply once I know, and if I do a go ahead, may post a pic of the result.

22
Lenses / Canon SuperTelephoto Hood Construction
« on: March 20, 2014, 02:23:37 AM »

I am considering having my 300mm f/2.8 II lens hood laser-engraved with logo / company name (self-promotion).

(yeah, I know I can throw a sticker/vinyl on it, but the logo / info is monochromatic, so it may look very classy).

Looking for information on material underneath white coating?  Any issues with a laser?

23

Just renewed for the third year.

I had a 70-200 / 2.8 with impact damage from a fall.  They replaced the barrel assembly with the 30% discount and had it back to me 3-4 days after I shipped it; sent back FedEx.

I live in Las Vegas, so CPS has some added advantages for me - they come to various events throughout the year including WPPI, LVMS NASCAR, and NAB.  I can take advantage of free cleaning each and every time; and at WPPI they offered limited free printing on a ipf 6450 and Pro-1.

So yes, I am sold on CPS Gold.  I am not sure I need CPS Platinum unless one considers it insurance for time-critical situations.  Thats why I carry a backup body.

24
Canon General / Re: Interview With Canon Executives
« on: March 04, 2014, 03:30:17 PM »

I found the Rebel SL1 Americas size comment interesting.

I'll relate it to cars - I really enjoy my VW (German) Touareg because I can get my 6' frame into it easily; whereas the last time I tried to get into a Nissan (Japanese) Pathfinder, a vehicle I loved twenty years back, I had to literally crawl into it.

They have to realize that big hands can not possibly handle a small camera comfortably.

They should also take note that small point&shoots are nearly impossible for older people, some with arthritis, to work properly.

25
Business of Photography/Videography / Re: Canon " RED CARPET" for you
« on: March 03, 2014, 07:46:07 PM »
They are at WPPI in Vegas now; and at the end of the week at the LV Motor Speedway for NASCAR.

NAB next month.

26
Software & Accessories / Re: Louis Vuitton bag
« on: March 03, 2014, 06:36:24 PM »
I'm in Las Vegas,

 There are at least a half dozen Louis Vuitton stores on the strip.  Should see them everywhere!

27
Hopefully the next series will support Lucia-Ex inks.

I was looking for a proofing printer this fall; and I want my test prints to match the same inks as those on the large formats.

I talked to both divisions at CES briefly in January.  The Pro-1 group is generally on a three year product cycle, so this may be the update.

As to the 5100, its in a range that neither group seems eager to support.

28
Lenses / Re: Zeiss 21mm f/2.8 or 24-70 mm II
« on: January 17, 2014, 11:08:31 AM »
I have the Zeiss 21mm f/2.8 and it is just a beautiful piece of glass for landscape.  It is about as wide as needed for landscape and has a 9-blade aperature - providing 18-star sun stars when needed.  Lens Flare is very manageable.  If you are landscape, most of the time you'll be dialing in focus on Live View.  One note about Zeiss MF's - they have lots of throw on the focus with a hard infinity stop - it is much easier than a Canon AF being used in Manual.  And at 21mm, its really super fast to dial it in.

I dont have experience with the 24-70 II.  I have looked at it, but for me its more of an event lens.  I recall field curvature makes it less useful for landscape.  But if you are lacking lenses in the 35mm and 50mm area, it may be a good lens to get you versatility due to the zoom.  If you are strictly landscape, you may not need f/2.8 and the kit 24-105 is not bad - not as sharp and I use mine rarely, but you could probably pick one for cheap and still have room for a hot prime.

So long as you are playing in the low $2000's, I might suggest the Canon TS-E 24mm.  Its not as fast at f/3.5, but the Tilt-Shift features can be very artful for landscape.  It will do things no other Canon lens can do.

For me, the lenses to look at on the wide end for landscape are - the Zeiss 21 and TS-E 24; and the Zeiss 15 and TS-E 17 for the wider needs. 

Edit - my notes are based on a Full Frame Body (1D/5D/6D).  If you are shooting with a crop body, then you might look at lenses like the 10-22mm. And a word about the Canon's ultra-wide zooms (16-35/17-40)  I like edge-sharp so I do not consider them.  Hopefully Canon will someday make an edge-sharp wide zoom.

29
Lenses / Re: Get a 300mm or 600mm? Oh the agony...
« on: January 07, 2014, 04:32:02 PM »
I am enjoying this thread, as I am saving my pennies and most likely picking up a 300 f/2.8 II in sometime in February. 

While most of the subjects discussed relate to wildlife and birding - some things I may run into as part of landscape work; my intended primary use for the lens is motorsports.  The rationale for the lens is mobility - being able to move out of the way very quickly (either in the pits or along the track) - and wide aperture for capturing fast action in darkened conditions such as dirt tracks at night.   

I've had a chance to play with the 300 and the 200-400 at various tradeshows such as CES and NAB, and yeah, the 200-400 just seems too heavy and long for effective run and shoot work.  In a stationary location (blind or sports risers) the 200-400 could be a winner; but then I might be looking at a 500mm or 600mm for the price.  With the 300, I think I can hand-hold that all day (well, with breaks every 10 minutes).

So while one loses a bit of flexibility with the 300, it seems to be the best tool for my job and the forum discussion has helped cement that.

30

I'm thinking it's probably normal and just a quirk of this lens but would like to know if others have noticed this.

Thanks,
Ryan

Actually, I am also just over infinity on the stop with the 50MP.  Mine was purchased used through one of the rental companies, so was not sure if it was common or if I had to make some micro-adjustments through the camera.  My 21 and 100 are much closer if not exact on infinity at stop.

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