Tiny little birds these guys. I have no idea how this guy got banded or by who.
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I have a question concerning filters
I have the Lee system
I have the 77mm size, plus an adapter for a couple smaller sizes
but I've got a 16-35 and its 82mm
I haven't been able to find an adapter for that lens
I am quite curious to see how a non-IS standard zoom lens costing $2,300 performs. 70-200 IS II is one of the few zoom lenses that is sharper than primes (or as sharp as) wide open. I wonder if 24-70 II will achieve the same for say 24L, 35L, and 50L.
It will certainly for the 35L, considering the mark I already did that. The 24 and 50 are yet to be seen, I highly doubt at the 24 end, but the 50 maybe. However, the 50L's strengths are where the 24-70L II can't go. So that is really not a contest truly.
Sorry, I'm quite confused. I rented 24-70 a few times, the images were nowhere near sharp and there is no way it comes even close to 35L in any aperture. The only thing that comes close to 35L, but does not beat it is the 70-200 IS II. I have both lenses so I am not making this up. I don't know what aperture that MTF chart is posted there at, but I'd highly doubt they made a lens that beats all of their primes. A lot of people buy the primes not only for their low light capabilities but also for their sharpness.
Please also see:
If you want more than 3 shots, you may need to resort to Magic Lantern.
The OP has a 5D3, he can do 7 AEB brackets at +/-3EV.
My preference is 3AEB +/- 3EV for handheld or moving subjects like leaves etc. 5AEB at +/-2EV for tripodded stuff. Extreme cases like shooting indoors with an open window, you might need 5AEB @ +/- 3EV.
If you're shooting digital, there's rarely any situation in which graduated (not solid) neutral density filters make sense.
Rather, what you really want, is the simplest type of HDR. Take two exposures, one for the part of the scene where you'd use the dark part of the filter and another for the light. Then, in Photoshop, put each on their own layer. You can then use a mask with the gradient tool to perfectly mimic the effect of the filter. Or, for something that'll work even better, use a big, fat, soft brush to brush in (or out) the one exposure (or the other).
That's really all that the best-done HDR work logically comes down to: a customized graduated neutral density filter. The quality of the end result is directly proportional to the quality of the masking, which can be seen as the skill in constructing the perfectly-shaped ND filter for that particular scene.
That's also why all those auto-tonemapped halo-filled neon photoillustrations look so weird...it's like looking at the world through the most bizarre ND filter you can imagine.
Moraine Lake in Banff National Park, taken this past weekend.
OMG this is amazing - what lens? It's so crisp at f11!
Moraine Lake in Banff National Park, taken this past weekend.96Brigadier, the reflection of the mountain in the water has blown highlights.
Just kidding! This image, this location, at this time...drink in the serenity! Nice capture 96Brigadier!
So I just sold my T3i and want to upgrade my body. I shoot primarily video, but am venturing into sports photography as well and want a perfect camera for both. Should I get the 7D? 5D Mark II? or wait and hope Canon announces a sub $2000 Full Frame dslr with the speed of the 7D?