« on: September 24, 2013, 10:38:59 PM »
I am in Canada and received mine a couple of weeks ago.
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Glad to hear that Adorama came through for you. It is a great lens -enjoy it
I've never understood these "cinema" lenses. They're used for a pixel count far below that of still photography and don't have to AF, so why are they so absurdly expensive? And why do they exist at all?
4 pages is to many to read.....
but seriously CANADA? I mean I love visiting but you can't tell me that Chicago New York or London UK wouldn't be a better launching point
Is it me or the lens does not look that huge? I would be delighted if it is not huge.
Well, here goes:
2011: Bought 400 f/2.8L I IS, 300 f/2.8L I IS, 70-200 f/2.8L II IS, and 200 f/2L IS
2012: Bought 5D Mark III and a pair of 1D X's
This doesn't reflect selling things that I did, but you can do the math quickly on purchases .
However, I do make money from photography.
Considering you're going to be going through the hassle of setting up softboxes on stands, I would strongly recommend that you should go with a studio flash setup instead of a hotshoe flash. You'll get a hell of a lot more bang for your buck.Excellent information from you and the poster below. These forums are so valuable when there is experienced feedback such as above.
Hotshoe flashes are great for what they're designed to do, which is to be something that you can mount on top of the camera. But you pay a premium for that type of miniaturization, in terms of both performance and price.
A Paul C. Buff Alien Bees B800 costs about as much as that 430 EX II, and it puts out so much more light that it's not even funny. The Buff Einstein flash, their flagship model, is cheaper than the 580 EX II and is ludicrously far superior in every way except that you can't stick it on top of your camera.
Don't fret too much if you're going to be shooting at locations without power. There are battery packs for most studio flashes. Buff sells the Vagabond which is good for hundreds, if not thousands, of pops with the type of setup you're describing on a single charge.
I'll also note that softboxes only work their magic when they're so close to the subject that you're having trouble figuring out how to shoot around them. It's a geometry thing...a 2' softbox is going to have to be no more than 2' away from the subject to be truly effective, preferably less, and it's not going to light up more than the person's face. a 2' softbox at the photographer's position of a 10' working distance isn't going to be significantly different from on-camera flash. A 5' softbox 5' away from the subject is going to be as effective as a 2' softbox 2' away, but it'll light up the whole person...and you can put that 5' softbox 3' away and get some amazing soft and even light wrapping all the way 'round your subject.
Buff sells parabolic reflectors...basically high-tech umbrellas. And they go from 4' across to over 7' across, and they make diffusers for them that make the light very similar to a softbox....
As always we have descended into "I-need-120MP-on-a tiny area-cuz-I-can-argue-it-will-work".
Prior to the 1DX and 5D-III release, the same crowd (you know who you are, you have spent hours typing pages on here selling the same old 3 day old fish) screamed for 40+ MP and were bitterly disappointed when Canon went the low MP route for both bodies.
Its not about what you "want"...its about what they can sell in a profitable way in a competitive market.
Most pros own a 1DX... not 7D... so much for the high MP whining. Every flagship that Nikon and Canon have released so far have been lower MP while they release high MP APC and consumer grade bodies for the "My-MP-is-Bigger-than-your-MP" crowd.
I guess learning comes a tad slow... but there is no harm in asking....please continue
So...what people are saying is there may be some manufacturing variations that result in some lenses being slightly less awesome than another one? On a brand new lens with brand new elements. So maybe it's a good thing I can't afford this now, by the time I buy one they likely will have worked out any minor manufacturing issues.
I bought one copy and it is really great.
I own both the 5DII and the M9. I don't own the Nocti, but I have used it plenty of times.The difficulty with taking these claims seriously is that there are little to no comparison photos. Leica images are often described using airy fairy pixie dust descriptions.
One thing I can tell you is that at low ISO (400 and under), the CCD of the M9 destroys the 5DII (and even my 1DX) - You heard it.
Yes, everyone likes to dog on Leica shooters, but it's a great tool that when coupled with Leica glass is an absolute beast.
FYI the Nocti actually costs closer to 11K new
Super expensive elephant camera (1D class).Give it a rest. You're not the target market for this camera so Canon doesn't care what you think of the size or anything else about the body for that matter.
Looks like the ones of us waiting for a "Canon D800" can just forget our hopes and dreams for now.