September 16, 2014, 11:54:28 PM

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Messages - awinphoto

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31
does this offer anything that lightroom can't?  do people only use it because it's free, or is it better at anything?

Never been a big lightroom fan myself, however, at least with the 5d3 DPP was sharper from initial tests than Lightrooms ACR functions.  Not sure if adobes ACR has improved it, but when I shoot raw, DPP is what I use for processing my files... I was very impressed with how this DPP rendered the previews quicker and smoother than in the past...  makes things even more fine tuned... so far i like what I see. 

32
I emailed Canon support about this, and this is their response:
-----------------
Thank you for contacting Canon product support regarding your EOS 7D. I understand you have question regarding the New Digital Photo Professional 4. I am happy to assist you.

You are correct. DPP version 4.0 will only support the EOS-1D C, EOS-1D X, EOS 5D Mark III, and EOS 6D. Yes, there are plans for supporting already-released cameras with RAW capability. Support is already planned for [EOS 70D] and [EOS REBEL T5] with a release goal of the 3rd quarter of 2015. For other already-released cameras with RAW capability, current planning is to provide information (via Web site/FAQ/etc.) once a specific release period has been confirmed. In the meantime DPP version 3 is still being supported and can be installed on the same computer as DPP 4.

Please let us know if we can be of any further assistance with your EOS 7D. Thank you for choosing Canon.

Sincerely,

Third quarter 2015?  Really?  Glad to see they are paying overtime to these tech guys to get this done quickly

33
Well i downloaded it and played around with it... here are my thoughts... For giggles, i tried using raw and jpegs from an older (unsupported camera)...  RAWs the software, at least for now, is not able to do squat with... no edits, no conversions, nothing.  Jpegs however opened just fine with some caveats...  jpegs had full access to things like sharpness, auto light optimizer, curves, color adjustments, etc... some "advanced" options such as contrast, shadow, highlight, etc was not available.  Overall performance from supported cameras and files seem to be rather impressive...  I reserve the right to change my mind once i play with it some more with some of my other cameras but lots of functions are more intuitive and seamless than the clunky prior versions.  Everything from the Noise removal to dust removal are more streamlined... They even add things like cropping and so forth to make it more functional.  I will keep you updated later.

34
here is a download link
http://support-au.canon.com.au/contents/AU/EN/0200372802.html

all you need is your camera serial number written at the bottom next to the battery slot (in my case 5D3)

any chance there's a link to download for mac?

Here you are. http://support-hk.canon-asia.com/P/search?category=Digital+Cameras&series=EOS&model=EOS+5D+Mark+III&menu=download&filter=0

Thanks... makes me enter a serial number just to download it... hope this is good =)

35
here is a download link
http://support-au.canon.com.au/contents/AU/EN/0200372802.html

all you need is your camera serial number written at the bottom next to the battery slot (in my case 5D3)

any chance there's a link to download for mac?

36
Business of Photography/Videography / Re: Canon CPS
« on: June 17, 2014, 11:30:01 AM »
Did you send it in with the CPS mailing label & cover sheet?  If so, I wonder what happened, if not, is that what happened?  I'm getting ready to send a lot of my gear (first time post clean & check coupons) in so I want to make sure I do it right.

Actually, I handed it over the counter directly at the Canon repair center... (CPS Europe) :o
Wow, that's really bad!  Sorry.  So far I've had mostly good luck with CPS USA.

Once i forgot to attach the CPS Rush sticker to the box and it got sorted with the regular every day submissions...  Once they found it and realized it was a rush, they worked on it right away... 

37
I was doing a shoot this past weekend - full portable studio set-up with backdrop, four lights etc and the model's family were taking mobile phone shots over my shoulder as I was shooting.

Even asked me to step aside so they could shoot using my backdrop and poses!

What do we think about this one fellow photographer?
Rude or okay?

THis is why i shoot strobes for everything with little or no modeling lights on...  They can get the same angle as me but they will under no circumstance be able to replicate my lighting... so raccoon eyes, shadows galore, etc...  just wont have the same effect... ever.  And as photographers, we all know lighting makes or breaks the image...  Even the infamous Sal Cincotta says if uncle bob wants to take a picture, he will take his camera and shoot it for him.  He knows it will never be as good as his gear and lighting, but the good will and buzz caused by it will speak louder than words. 

38
Yesterday I also had Facebook, Flickr, Dropbox, whatever Microsoft offers,  etc.  If you have a new product introduced into the marketplace after market saturation has occurred, it better be impressive in order to get a foothold. 

If you want to call this evaluation negativity, go nuts... but it is a legitimate critique of a business model with consideration of the market.

Marketplace viability is a reasonable topic of conversation.... especially when we are their target demographic... if we have no interest, they are doing something wrong.

Yesterday you had no Irista, today you have 10GB of Free Cloud service to use at your discretion.  If you aren't interested, that's no a them problem, thats a you problem.  Frankly i dont think they give 2 poops whether or not we use it or are interested, but those who do use it and are interested, all the more brand loyalty, and i'm sure it costs them little to nothing.

Whatever floats your boat dude...  check out the cloud service nikons offering

39
Marketplace viability is a reasonable topic of conversation.... especially when we are their target demographic... if we have no interest, they are doing something wrong.

Yesterday you had no Irista, today you have 10GB of Free Cloud service to use at your discretion.  If you aren't interested, that's no a them problem, thats a you problem.  Frankly i dont think they give 2 poops whether or not we use it or are interested, but those who do use it and are interested, all the more brand loyalty, and i'm sure it costs them little to nothing.

40
Guys, there's a lot of negativity here going on... (yet another reason why i try to limit my involvement here... )  It's a storage option... not an overly big storage option, but a FREE option to store your best photos to show any one any time any where...  They dont owe you anything...  If they had a 1TB option for a couple hundred i'm sure people would still gripe...  Just be grateful they are trying to look after us a little bit and if you dont want to use it, dont use it.  And BTW, the site worked for me and I was able to set up my free account.  Stop whining. 

41
EOS Bodies - For Stills / Re: 70D Mode Dial Failure?
« on: June 04, 2014, 11:35:02 AM »
sounds weird...  How old is the camera?  Any chance it's within the "return" period for the store to swap out for another body?  How close are you to a Canon repair facility?  Irvine, CA, NJ, NY?  Maybe you have an authorized repair guy near you that can do it quickly under warranty? 

42
Portrait / Re: Mobile studio portraits - am I doing this properly?
« on: June 03, 2014, 01:09:22 PM »
This is my 2 cents... I do paid photos for a local talent agency who needs updated head shots on a regular occasion.  They provide a room that is about 10 feet by 10 feet give or take.. it's painfully small but it is what it is.  I'm trying to convince them to send the actors to my studio instead where i have more room to play with, but until then i got what i got.  I bring 2 of my studio strobes with me.  1 Beauty dish, 1 softbox and 1 reflector.  Beauty dish for face, softbox for rim light/hair light, and I bring about 5-6 different backdrop choices (muslins) and background stand.
I often use a similar set up for portraits but I like to use a wide angle (180 degree) reflector behind the subject.  It serves 3 purposes - (1) light the background, (2) bounce light for a rim light (with lighter backdrops), and (3) adds a nice hot spot behind the subject for a vignette effect around them.

Thats a pretty good setup...  For the most part, my main light, and bouncing of the light, tends to be what lights my backgrounds... I prefer darker backgrounds if I can help it, which is where the nice soft rim-light comes in beautifully to separate them from the background.  In a perfect world, I would bring more lights and have all the bases covered, but then in a perfect world I would be in my studio, or a bigger studio where I have space to add that light and not run out of space and have to worry that by adding that additional light, my overall combination of lights doesn't overpower the overall exposure allowing me to have a nice wide aperture without the use of a ND filter =)

43
Portrait / Re: Mobile studio portraits - am I doing this properly?
« on: June 03, 2014, 10:35:21 AM »
This is my 2 cents... I do paid photos for a local talent agency who needs updated head shots on a regular occasion.  They provide a room that is about 10 feet by 10 feet give or take.. it's painfully small but it is what it is.  I'm trying to convince them to send the actors to my studio instead where i have more room to play with, but until then i got what i got.  I bring 2 of my studio strobes with me.  1 Beauty dish, 1 softbox and 1 reflector.  Beauty dish for face, softbox for rim light/hair light, and I bring about 5-6 different backdrop choices (muslins) and background stand.  The one upside to shooting in such a confined space is I can have my flashes at their lowest settings and still get great lighting at ISO 100.  They also do a good enough job with their "studio" space where I get no stray ambient light so everything is lit by my lights and no anything else.  They require both indoor and outdoor shots for a good variety so for outdoor shots I bring reflectors, canon flashes, and modifiers and look for open shade with no dappled lighting.  I bring basically my whole studio with me minus ottomans/chaises/props, but I get a great result overall.  Good luck with your ventures!

44
And this is why I dont spend much time anymore on this forum... but is fun to watch the banter back and forth... let me get the popcorn warmed up... extra butter this time!

45
The pricing is right on this lens, easily worth spending the 275 over 17-40/4L.

16-35 II is a different ballgame though.  If you are interested in doing indoor event work, IMO the 16-35 II f/2.8L is the better purchase; there simply isn't enough light at many indoor events to use an f/4 lens.  In fact, often f/2.8 isn't even enough; f/2.8 is more useful in low light than f/4 IS at 35mm, and with shutter speed needing to be 1/100 minimum to freeze motion f/4 will hurt in the ISOs department.  A noisy picture caused by five digit ISOs or motion blur will be much more noticeable in low light than less than perfect corner sharpness, and IS aside from not being as effective at wide focal lengths also will not freeze motion.  I do have primes that are below f/2.8, but none of them at 16mm which can be useful in tight quarters like a dancefloor.  The 16-35 II is one of the rare lenses that has a UWA-wide/normal zoom range, f/2.8, and accepts filters (I don't know how I'd feel with a bulbous element at a crowded event).

On the other hand, for landscape work this new 16-35 f/4L IS looks like an easy winner over the 16-35 II f/2.8.

So it depends what you are going to do with it, as is often the case :)  IMO, 16-35 II f/2.8L remains king for now for event photography.

I'll definitely pick this one up, shortly after my daughter is born my bills are all in order...  As far as the 2.8 vs 4 debate, i've been well vocal enough on this...  and for giggles, as a weekend long event we were hired for to do photography coverage for, (all indoors) we played with different lenses and combinations...  Needless to say, Regardless whether it was F4 or 2.8, we needed flash.  And 2.8 made the DOF even more shallow and unforgiving than the F4 was to boot.  In the end, i instructed my assistant photographer, and my wife and I to use our 24-105's.  Had Flash, chewed through batteries but got a good thousand or so images after culling that were sharp, ISO was ok (manually set at around 4000 which on our 5d3 and 6D came out gorgeous), and flash...  I personally feel the argument that you NEED 2.8 for indoors is just wrong.  If F4 cant pull it off, 2.8 really isn't going to buy you much latitude, and you have a narrower DOF.  1.4 and such is even tougher with DOF, especially for event coverage.  It's good for artistic expression and isolating subjects, but shooting groups of people, shooting moving subjects, shooting events, you will likely still need flash or ISO to get good shots, and with modern cameras, ISO is becoming even better.  I've had indoor wedding shots around 20,000 ISO that came out gorgeous with minimal noise...  It is what it is.

I agree with most of what you say. I shoot my 16-35 2.8L II at 5.6 - 11 most of the time, and I probably use f/16 more than I use f/2.8 on that lens.

 f/ 1.4 DOF can be difficult to get a subject in focus, but mostly on lenses >50mm FL. I think the 24 1.4 is not hard to get the whole subject in focus unless you are  less than 5 ft away. The 35 f/2 IS is not hard to get a sharp focus on subjects at f/2, and I suspect the 35 f/1.4 is not much harder either.

Thanks for your reply.  I would say that it isn't so much that it's hard to get focus as that the DOF is so thin, especially for indoors and shootings, lets hypothetically around 8-10 feet, if I were to shoot a small group, or even a couple, at 1.4 the DOF is still less than a foot (2.8 on average about 1.5 feet).  That would be tough to pull of in a studio setting let alone a grab shot, wham bam thank you mam kinda thing.  So, since most people equate needing fast lenses FOR INDOOR EVENTS, that 1.4 or 2.8 is still very thin. I would estimate the vast majority of event indoor work still settles at around 5.6-8 so most small group shots are in focus, which throws out the advantage of 2.8 or faster anyways.  Now there can be that argument that it may let more light into the lens for AF, and that's always nice, but at the inherent tradeoffs such as weight, cost, and bang for the buck), IMHO Meh

f/2.8 is not that thin DOF as you go to UWA. A 50 mm FL at 6 feet away f/2.8 gives DOF 0.78 ft (very thin, and difficult to manage), whereas a 24mm FL gives 3.4 feet, which is more than enough. At 15 feet away for a group, 24mm lens gives a whopping 36 feet of DOF. The razor thin concern doesn't apply at ultra wide.

An extreme example here: 24mm f/1.4 at 15 feet still has a DOF of 11 feet (but Canon's 24 1.4L is very soft in the corners at 1.4, different issue).

16mm f/2.8 at 6 feet away still has a very easy to manage DOF of 11 feet. Even as close as 3 feet, gives about 2 feet DOF.

So, f/2.8 really can help indoor photography for ultrawides without causing DOF problems.

Totally fair enough, but under very few circumstances you would ever want to use 24mm for group shots... way too much distortion on the edges, even with the best of lenses...  the guys in the middle of the frame would look good, the poor guys on the end would look huge.  That being said, it is what it is... 

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