May 25, 2013, 03:28:44 PM

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Messages - privatebydesign

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46
Software & Accessories / Re: Adobe to Stop Making Packaged Software
« on: May 13, 2013, 12:06:54 PM »
I wonder how long it will take the crackers to break the phone home requirement? Given their past performances I'd say within a few months.

Adobe collected $300,000,000 via CC during its first year, sounds a lot but it isn't for a $21B corporation. The stock price has fallen a touch since the announcement. Whilst the stock market likes the idea of the rental software model and the steady income it brings, they know there is going to be a backlash for the first companies that do it.

Adobe are desperate for people to adopt the model, absolutely desperate, hence the hiding of CS6, the introductory offers, the forum apologists who are employed by Adobe to be here and every other forum I have seen ( http://www.canonrumors.com/forum/index.php?action=profile;u=367787 ) etc etc, they need to show good conversion numbers as it is a direct figure for income potential and it will affect the share price. Unlike an upgrade cycle where people have been able to pick and choose if an upgrade is worth the price, the onus used to be on Adobe to keep coming up with new and compelling features, now the onus is on the user to keep paying, new features or not.

As I see it the real "issue" for Adobe is not us smaller user photographers, hell we can work around corporate greed just the same as ever, just keep CS4-5-6, buy LR5, render using LR and when OS's don't support that anymore set up a dedicated Mac Mini, or Windows whatever, as a dedicated image computer (I did that just over a year ago and couldn't be happier), nor is an issue the big heavy users who do want and need every new feature in their big graphics departments. The real battleground for Adobe is the smaller genuine businesses, the 4-10 user license group, they need a lot of convincing to adopt this new model.

I am related to a family of printers, the various family members own small print outlets all over the world, individually the shops fall into the 4-10 license group and they are doing some serious soul searching. However good their cash flows look they have all had hard times. They are very resistant to the idea that they won't be able to buy a perpetual license and stick it on one machine in the corner and always have access to the program that made their customer files. It is a very common situation for customers to come back years later to use graphics that were made previously. They don't like the idea one bit that the shift of power has flipped so completely to Adobe, they know they will not be in the position to miss a payment, ever, for ever, or that Adobe can up the price whenever they like whether it is reasonable or not.

To most of them it just doesn't make economic sense to tie their work and output to a program that only works via subscription. They are actively looking for work a rounds, they intend to get one CC per shop and isolate it, see how it goes, but do 90%+ of their work on their current CS6 licenses.

These are the users who's adoption rates will be the making or breaking of the subscription model. And despite Adobe's commitment to the new model, it could be broken comparatively easily, there are special verification free versions out there..........

47
Third Party Manufacturers / Re: Fuji x100(s) to Supplement an SLR
« on: May 12, 2013, 08:03:52 PM »
Ive had the X100 for a while now. On most occasions I will prefer to use my 5D3 with the 40mm over the X100, unless I want to travel really light. To me the 5D3 is so much better at everything. The X100 is fun but mine doesnt come out too often. IQ aside my biggest annoyance with the X100 is the exposure +/- dial. I cant tell you how many times I am shooting for a while then look down and see I have changed the setting by accident. Bad location I think. While I have seen some remarkable photos come out of it, I would say I consider it more of my point and shoot camera for when I dont want to lug the 5D3 around.

I see the X100s has a reccomended max sync speed of 1/2000 while it is possible to shoot at the max speed of 1/4000. I have never shot with a leaf shutter. What kind of power settings would you use on your strobes for this kind of sync?

That largely depends on the equipment. At those speeds, many studio strobes are too slow (t.1 time) to sync that fast. Another issue is if you are using radio triggers they will become a limiting factor around 1/640 to 1/1000. The aperture also limits that; F/2 maxes at 1/1000, any faster speeds will need a smaller aperture.

No they are not, it is not the sync time that is the problem, it is the fact that the shutter is already closing by the time it is synced, so what you get is an effective second aperture, you are exposing your flash through a gap in the shutter, as the shutter speed gets faster the aperture created by the shutter gets smaller. So you lose lots of power.

48
Lenses / Re: Canon 24-70 2.8 ll or 20-60 2.8 mark 1 ?
« on: May 12, 2013, 08:28:02 AM »
Mt Spokane was of course correct, I was tired! Parfocal is when zooming and focus breathing is when focusing!


Quote
"The 24-70mm f/2.8 mk2 is "so cheap"? Hmmm..."

Oh yes, take a look at this direct comparison,
  • Canon 50 f1.2 $1,439
  • Arri Master Prime 50 T1.3 $21,950
  • Indeed Canons own Cine line, the CN-E 50 T1.3 is considered comparatively modest at $ 4,950

49
Lenses / Re: Canon 24-70 2.8 ll or 20-60 2.8 mark 1 ?
« on: May 11, 2013, 07:28:42 PM »
Focal lengths are listed when the lens is focused at infinity. Most lenses are not parfocal, that is they change focal length when focused and or zoomed, one of the many reasons high end movie lenses are so expensive is that they are parfocal.

So our EOS lenses are so cheap partly because they are not parfocal. Be glad you are not a Nikon owner, their 70-200 f2.8 is close to a 130mm at closest focus distance! Generally that is yet another metric where Canon outperforms Nikon.

50
This is an old thread, I know, but it has some misguided information I'd like to address.

First, "shift" is 100% doable without a T/S lens, that is it is easy to get the verticals vertical, but you need to have a lens that is wide enough and you need to crop. So a shifted 24mm lens gives you a cropped field of view of a 17mm lens. That is, set up a shot on a tripod with a 24mm lens shifted, take it off and put a 17mm lens on your camera and a crop will exactly match the 24 image. The only important bit, and the reason for converging verticals, keep the camera level.

Second, you can do lens corrections for off centered T/S images, having said that the 24 and 17 are very well corrected for CA and off center vignetting is comparatively easy to correct with a software filter. Anyway all you need to do to do true corrections is increase your canvas size to allow for the shift used, position the image in the larger canvas to allow for the shift used then apply corrections, then crop back to the image. If you are anal enough you could even make actual lens profiles in the free Adobe Lens Profiler.

51
EOS Bodies / Re: No 7D Mark II in 2013? [CR2]
« on: May 11, 2013, 08:53:19 AM »
I find this thread quite an interesting read. My opinion can stir so much here but have yet to be proved otherwise from my original statement. It's really a true statement from the dawn of photography. I'll just say that consider how wet-plates, to dry plates, to roll film and to digital have been made to make the art form more convienent. Yet the actual art form of composition in the frame, predates photography by thousands of years.


So you do now admit there is no difference between a portrait taken with a 135mm @ f2 and a 100mm a little closer for the same framing @ f2.8? http://www.canonrumors.com/forum/index.php?topic=12567.msg226691#msg226691

If equipment doesn't matter where are you going to get your 35% more compression from?
Quote
"- 35% more compression. = a unique rendering physically because of focal length.
- 1 stop advantage = a unique rendering physically because of aperture."


Or a 200 f2 and a 135 f2? http://www.canonrumors.com/forum/index.php?topic=12545.msg223532#msg223532


Exactly. Just how you view f/4 and f/2.8 are virtually the same. Doesn't matter.

I could shoot MF film to get a similar look but its more inconvienent for me. I'd shoot a more inconvienent system if need be and still get my photos.


If you take a comment out of context you can make anything up. A FF f4 and a crop camera f2.8 are virtually the same!

But your latest outlandish comment states, by logical extension, depth of field has no importance in photography. You claim you can shoot any image with any camera give enough time and application, how do you limit the dof with your box brownie, P&S or iPhone to get you the same "unique look" as your FF camera and your 135 f2 wide open? You can't. You are just being stubborn, obtuse and foolish.

52
EOS Bodies / Re: No 7D Mark II in 2013? [CR2]
« on: May 10, 2013, 11:18:45 PM »
I find this thread quite an interesting read. My opinion can stir so much here but have yet to be proved otherwise from my original statement. It's really a true statement from the dawn of photography. I'll just say that consider how wet-plates, to dry plates, to roll film and to digital have been made to make the art form more convienent. Yet the actual art form of composition in the frame, predates photography by thousands of years.


So you do now admit there is no difference between a portrait taken with a 135mm @ f2 and a 100mm a little closer for the same framing @ f2.8? http://www.canonrumors.com/forum/index.php?topic=12567.msg226691#msg226691

If equipment doesn't matter where are you going to get your 35% more compression from?
Quote
"- 35% more compression. = a unique rendering physically because of focal length.
- 1 stop advantage = a unique rendering physically because of aperture."


Or a 200 f2 and a 135 f2? http://www.canonrumors.com/forum/index.php?topic=12545.msg223532#msg223532


53
Lenses / Re: Canon 85L II AF speed on 5D III???
« on: May 10, 2013, 08:31:51 PM »
Guys, I didn't want to start a new thread but does anyone know how much slower the 85 1.2 i version as compared to version ii?

Much slower, on pre 2012 bodies the 85 1.2 MkI is really AF in name only.

54
As I have already said, I have done it and I wouldn't do it again. Of course there is a performance hit.

But you are missing my point. I have half a dozen HDD's with old OS's on them, I can plug any of them into either of my current Macs and boot in them. Even when CS6 no longer runs in the current version of OS?, whenever that might be, you will still be able to use your programs.

I still have a drive with Leopard and Rosetta on it that allows me to use any kind of legacy hardware, even an ancient $100 scanner. You are over thinking this.

55
Third Party Manufacturers / Re: Fuji x100(s) to Supplement an SLR
« on: May 10, 2013, 02:57:50 PM »
I have been thinking the same thing, I was waiting for a 35mm L MkII, but the more I thought about it the more I realised I could get an X100s for less money and have a second, very useful, but smaller and good fun body effectively for free.

I haven't had a good play with the Fuji yet, but I am pretty sure that is the way I will go, I'd prefer a black one.

56
One more thing I have done several times and is a very good door opener. Print some cards, doesn't need to be anything fancy but with your email and preferably a blog on there. Take pictures of the crew, stagehands, lighting guys sound booths etc etc give them all a card and get your images up online somewhere.

57
Lenses / Re: Can the 70-200 2.8L II IS replace my 100L and 135L?
« on: May 10, 2013, 11:03:25 AM »
Everybody will have a different opinion, only you can make the decision for your photography. And you are a superb photographer that gets the best out of both the 100 and the 135.

Personally, I believe, after getting the 70-200 and the initial love fest, you will start to see slight limitations in it, it doesn't focus as close as the 100, we are not talking macro shooting, just tight closeups, and it isn't as smooth as the 135.

I would strongly advise keeping what you can until you have owned the 70-200 for a while, then make a decision based on your actual images.

The one negative that has been leveled at the 70-200 is the harsh bokeh, your images often display very smooth blurring as an integral aspect of the image.

58
Even when, and that could be many years, your Suite is no longer supported on OS X Shiny Goat, you can still dual boot a Mac with whatever OS does work.

For an example just look at Rosetta, which will run just about any old Mac program or driver, on a brand new machine.

59
EOS Bodies / Re: No 7D Mark II in 2013? [CR2]
« on: May 10, 2013, 10:06:12 AM »


As for the avatar, it says what needs to be said without having said it. YMMV.

It says, very clearly, you are a conflicted troll who can't live by your own perverse opinions.

60
Quote
"the second one though, the black line going all around the ring is the damn camera"

It can't be, it is a reflection of the camera and the scene around it, the edge of the table and studio etc, the angle of reflection can only equal the angle of incidence, the camera would need to be huge to take up that much "horizon". You can't have used a hole in white paper for that shot, if you had, as you have said, you can only get a dot, which is comparatively easy to remove in post.

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