If you want a 400mm f4 LIS...then consider the new 300mm f2.8 LIS mkII and a 1.4x TC
It's an astonishing combo.
It's an astonishing combo.
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Strange ... Curling is normally used as The example of boring winter sports. But apparently not amongst photographersThe first time I saw the Winter Olympics on television, I thought curling was a funny sport. But I was only seeing the men's teams. This year I discovered the girls' teams and was a fan of this sport. It is a pity that in Brazil the temperature is between 20 and 35 degrees Celsius throughout the year. We will have no ice around here, much less the beautiful girls of the Russian team.
...the cost of ownership of the Canon big tele's when you take resale value into account is very very low, many have made profits owning them.I have sold all but one Canon lens for profit (~4 Ls and 4 non-Ls), broke even on one L, and lost nearly 50% when I sold a Sigma in mint condition after a year of ownership.
I'm really looking forward to this. Sigma art lens have a really good reputation. If this is a sharp as the hype Sigma is getting my money. The Canon 1.4 was so fragile (better build quality my ass) I had two of them go bad (broken auto focus) so I just stuck with the the old series 1 1.8. Hoping for good things and a reasonable price but I will settle for super sharp
Having looked at the WonderPana 145 Essentials Kit I am interested in getting one for the polarizer. Could somebody who owns one post a picture of it mounted on the 17TS-E please? Whilst I can understand how it works on the 14mm and the Nikon 14-24 I don't see how it fits the 17TS-E without mounting on the focus ring. It would be a great help if I could see one before ordering, thanks.
Yep, I took a leap of faith with this system just as it was made available. I had to wait months for the various filters to become available. The ND filters are far from neutral, there's a gold colour cast which is quite strong. But it's certainly usable and the system works well. It's great to be able to use a polariser. But wrestling with 165mm filters out on a cold and windy morning can be a problem. One rain spot and it really shows in the final image and the size of the filters is a little bit like handling a large diner plate! Not a system to use in Cornwall, UK for windy landscapes!
Here you go. As you can see it is mounted via the bayonet of the lens cap. Very secure and does not vignette with movement.
Added Bonus is some protection of the front element.
Normalnorm, how are you finding the WonderPana 145 holder? There's not much information about it in the way of reviews. I'd like to know if it in any way marks the lens.
Anyone else should pipe in too if they own this holder. Thanks.
It is a superb system. I got it and couldn't be happier. The holder is custom made and mounts to the lens cap bayonet mount of the 17 TS-E, it does not mark the lens at all, it is a much neater implementation that how they do it to the Nikon 14-24 as there is no locking collar.
They have since come out with a modification to the 66 part of the system, if you are a grad filter user then 100% get the FreeArc version, I am not so am quite happy with the cheaper and smaller original version.
Couldn't recommend this higher.
I find it strange that Fotodiox have not done more to show the implementation of the holder on the 17mm TS-E or any lenses that are not the Nikon 14-24mm. There are very few examples out there.
There actually can be degradation of a digital file... And far faster than analog. The best way to ensure archival of a photo remains a print and a negative. I heard a few years back that Hollywood briefly attempted to archive via digital format only until they lost a whole film. The response was to reverse course and make an analog master print of every movie made (including ones shot digitally) to ensure future revenue years down the line.
The archival standard in photography is at least 100 years of durability. Digital has yet to be proven by this standard. Burning to DVDs, maintaining RAID drives, or even storing on SSD are all rife with potential failure and loss of data. Each successive copy made over the years increases the likelihood of a corruption of data and loss of access to your images.
I have yet to gain faith in the likelihood of my digital images being around in 100 years but I remain confident that my negatives will.
- May I help you ? - I'm just checkin' some L lenses out.
Are you looking for something in particular ?
No. Well, yeah. Something... with pretty bokeh and reach. 200 f/2, 200-400 x1.4, 85L...
- You got nice stuff. - Thank you.
- How much is this ? - I don't think this would fit your body.
Well, I didn't ask if it would fit. I asked how much it was.
How much is this, Marie ?
It's very expensive.
- It's very expensive. - Look, I got money to spend in here.
I don't think we have anything for you.
You're obviously in the wrong place.
Not a single 24-70 - that's surprising.On Canon's CPS blog, one of the photographers said that they shipped this gear by boat to Russia and so the photographers were asked to give them whatever gear they could do without during the long transit period. I'm guessing most of them held onto their 24-70s and other core lenses.
It is a brave photographer that would test a brand new body at such an important event.
A lens is different. I would not mind testing a new lens on my favourite top of the range body.
But if I was at either of those two events mentioned (Sochi and Brazil), I would want the 1D X and only the 1D X (in multiples).
I don't get your remark about the 5D. It hasn't been around even two years and still has no real competition in the market.Yepp. I think the Nikon D4s is no catch for the 1Dx, it's just closing the gap. It's just newer, so what? The D3s beats the "newer" D4 in a lot of situations...
For Canon I don't think its nearly as important to have the latest greatest camera in this section of the market, even if the new Nikon were slightly better I think they would be happy to leave it another year or two until the more natural end of the 1DX lifecycle to update.
Good point, Canon has the luxury of approaching it from a position of strength. Either way though, (based on previous product cycle durations)...I see a 2015 development, or even very likely a replacement announcement for the 1DX, with units being widely available to everyone by spring or summer 2016, if not before. I'd be more surprised if units are actually on sale before the end of 2015. That might mean a development announcement (or even a reliable rumor of one)...this year in 2014.
The Rio summer Olympics, will surely not come before a 1DX replacement is not only set in concrete, but in full production.
It need not have vastly more MP...anywhere from 20 to 26 (or perhaps slightly more if they would just bite their lip and include some in-camera sensor crop modes...for instance a 1.2x crop would be ideal...such as Nikon has done for going on a decade now).
The real and more pressing question for Canon, is when will the 5D4 be available? 2014 or 2015? I would be surprised if it's before 2015, but it would speak well for Canon if that happened. It would mean they are really focused on not only testing new technology, but perfecting it more quickly than they have been doing the past 5 years or so...at least in my opinion!
Was thinking the same thing Re:5d4. The 5d series seems to be following a similar upgrade path as the 1 series - so, if history repeats we'll see a spec list for the 1dx, followed by silence, followed by spec sheet for a 5d4 in late 2015, then the 5d4 will hit the shelves in the spring of 2016..if we see it in 2015 it will be at the tail end of 2015..
I for one would rather them wait till 2016 - if that means totally new sensor, new digic, better DR...more MP's aren't what I NEED, but, I wouldn't say no to that as long as more MP's don't gimp any of the current features and capabilities of the 5d3.
either way, this is where I like that canon can do what they are doing from a strength position - they can hold steady, make the 5d4 and 1dx2 what it needs to be, not a rushed product that amazes on one end but falls short on many others...
The 1DX was "introduced" before the 5D3, so I suppose a 1DX replacement might get released before a 5D4. However, the 5D3 was delayed a bit longer than it should have been...likely because it got essentially the same AF sensor as the 1DX (but they wanted the 1DX to have it first...also there was the earthquake and nuclear meltdown...).
Remember the 5D2 came out in 2008, where the 1D4 came out a year later, late 2009...yet got replaced by the 1DX first. The first 5D was released in 2005, was it not? That was a 3 year replacement cycle...
In my speculation, I feel that a 5D4 will not be getting some ground breaking AF sensor inherited from a 1DX2 (and thus might not need to be released afterward), so I was assuming a 5D3 replacement might happen before a 1DX replacement.
Anything is possible...it just seems to me the 5D3 might get replaced first this time...especially if Canon actually do introduce a new 1 series body soon, such as 2014.
If they released this, it would be the ultimate landscape zoom assuming the optics are good...
A perfect fit between the more effect-driven 8-15mm f/4 fisheye and the event-oriented 16-35mm f/2.8...
Hope this one comes out! Given Canon's current lineup, it makes more sense than a 14-24 f/2.8.
Why does everyone assume a wide angle is perfect for landscape?
FWIW, I've watched professionals use the 16-35 when shooting models...
Because land is bigger than models...........
11mm might be a bit wide for most fashion work..
24~28mm works great..
If you like landscape portraiture then ---how ya gonna do that without a landscape lens? I love my 24mm, but, there are times wen you want wider than that.
"A perfect fit between the more effect-driven 8-15mm f/4 fisheye and the event-oriented 16-35mm f/2.8..."
what about the 14mmm prime? Wider than the 16-35, less distortion, better IQ than the 8-15mm...it's a lens on my list to check out for sure!!!!