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EOS Bodies / Re: Canon EOS 70D Spec List
« on: June 28, 2013, 01:51:54 PM »
Semi-random thoughts:

Obviously Canon was when they said they couldn't have both a pop up flash and wi-fi on the 6D.

I don't remember reading that.  I read that the reason was because of the larger pentaprism needed for the full frame.

I could be wrong.  Can you cite where Canon said that Wifi was the reason for no flash on the 6D?

I recall discussions to that effect at the time the 6D was released, but then again, it could just be my drug-addled child-of-the-sixties brain misremembering. Not a big deal anyway.

The point actually (and it was a small point in the entire post) was essentially the same as Neuro and Marsu: sometimes the "technical" reasons why a feature is not included turn out to be not so technical and have a lot more to do with market segmentation.

I do find it interesting that between wifi and GPS, they chose wifi. I'm indifferent to both, but I guess they had market research that showed the target audience wants to be able to instantly upload images or video to social media sites.

EOS Bodies / Re: Canon EOS 70D Spec List
« on: June 27, 2013, 05:57:19 PM »
Semi-random thoughts:

Obviously Canon was when they said they couldn't have both a pop up flash and wi-fi on the 6D.

Interesting that they include wi-fi but apparently not GPS.

A 20.2 MP sensor with at least one full stop improved ISO performance is great news to me. Of course, it depends on what the test results show, but if it holds up, I would be very pleased with an extra stop in a 7D.

Very pleased with the LP-E6 Battery. No new battery and charger for the 7DII.

This seems to confirm what I've expected for quite some time: 6D is to 70D as the 5DIII is to the 7D II. I'll expect the 7D will have better weathersealing, better autofocus, faster frame rate and dual card slots (one of each). 

It will have AFMA – Canon decided it wasn't worth the grief not to include it, even though only a tiny fraction of users care.

I predict this will retail at introduction in the $1,200 to $1,400 range (right where the Nikon D7100 is). That leaves plenty of room for the 7DII at $1,600 to $2,100.

Glad they are putting touch-screen on this. It's the future. People might as well get used to it.

Software & Accessories / Re: Camera RAW
« on: June 25, 2013, 11:26:31 PM »
Doesn't have to be difficult. In Adobe Camera Raw on the basic menu there is an "auto" button. Hit that and see if it improves your picture. If not, hit the default button to go back to your original shot.

Then, work your way down the various sliders, starting with exposure. Work in the order they are stacked. Make slight modifications with each one to improve the shot.  After you've gone down the list, go back to exposure or any of the other sliders in case you need to tweak them a bit.

After you've gotten comfortable with the basic menu, then you can start experimenting with the various adjustment tools and other menus, but really, about 90% of your work can be done from the basic menu.

EOS Bodies / Re: Pick between two options for the Canon 7D II
« on: June 25, 2013, 02:04:03 PM »
The thing I learned, perhaps Canon knows this too, that the people who answered this poll (which may be the potential buying public for this body) want better low light capability and higher FPS. 

Well, the potential buying public needs to be more than 79 people.

Actually, I've always argued that the potential buying public for the 7DII will fall into about four intersecting categories:

Current 7D owners who are basically happy with the camera and are seeking some marginal improvements in all areas – essentially an APS-C version of the 5DIII with image quality equal to or better than the final generation of APS-H sensor;

Current 60D owners who are tired of the compromises and ready to step-up to the flagship APS-C model;

Sports and wildlife shooters who want the reach of APS-C, but also want a high frame rate, improved autofocus and improved image quality at higher ISOs;

Full frame shooters who want the additional flexibility of an APS-C body as a second body.

All of these markets can be satisfied with incremental improvements in what  remains the best APS-C camera made even four years after its introduction.

Lenses / Re: Beware bad customer service Canon Direct
« on: June 24, 2013, 09:51:59 PM »
Sorry to hear about your experience. I have had nothing but good experiences with the refurbished store. In my experience they ship quickly and the products are excellent.

It looks like Panama is served by Canon Latin America I do not know, but strongly suspect that Canon USA is not permitted to sell items outside the U.S. Keep in mind that Canon USA is just one of many worldwide affiliates and Canon Latin America has the rights to Panama.

Perhaps they just routinely deny any orders coming in from outside the U.S. in order to avoid conflicts with other affiliates and with Canon headquarters.

If you just happened to be visiting Panama and will be returning to the U.S. soon, then I wouldn't despair. I'm a Canon Refurb addict and the 70-300 L shows up pretty consistently. Also, while the refurb price is good, this is one of those lenses that can often be purchased new for not a lot more than the refurb price.

Software & Accessories / Re: Gimbal heads - Benro or Wimberley?
« on: June 24, 2013, 12:50:16 PM »
Looking back to a related discussion from a few years ago on this forum, I would conclude that the better low-cost alternative might be the Manfrotto 393, which is a different design but serves the same purpose. Anyone disagree?

Canon General / Re: Is this a fair offer for an on location job?
« on: June 23, 2013, 11:44:51 AM »
Paul Walnut makes some good points. I'll add a few thoughts of my own.

If this a public re-enactment? In other words, do they invite the public to come out and watch? Or is it a closed set, such as for a movie or documentary.

I'm guessing it's a public or semi-public event, in which case anyone with a camera could come out and shoot pictures. They are then paying you $100 so they can get guaranteed access to your pictures and the ability to use those pictures.

Are they paying you enough? Is it fair? Not really, but then again, they are paying you $100 and presumably giving you some access that others don't have. Also, they may or may not be publishing your pictures. Since this a resume builder for you, only you can decide if it is worth it.

What I would not do, though, is offer them any sort of exclusive right to your photos. You want to retain your own ability to use the photos in your portfolio. If they just want a hundred or so nice JPGS that are processed and ready for conversion into CMYK, that's one thing. If they want you to agree not to use the pictures yourself, that's quite another. That's why it is important if this is a public event. If it is, then they don't really have much ability to restrict or limit how you use the pictures.

Personally, I'd try to negotiate photo credits and 25-50 copies of any publication they may use them in. That's far more useful to you than the $100.

Most importantly, I would strongly urge you to treat this like a job paying $10,000.

That means, doing research on the group beforehand. Clearing your day of everything else. Getting there early in the morning and shooting them setting up, getting ready, etc. etc., talking to the re-enactors to find out what roles they are playing (most model themselves after a specific person or create their own persona), asking them how the "battle" has been scripted (who gives the orders to charge, fire, etc. and etc.,) scope out the best vantage points, shoot detail shots before the action happens, shoot portraits before the action happens, etc. etc.

Many times, the re-enactors come in the night before and set up camp with tents, etc. Find out if that is the case and be prepared to show up the evening before to shoot some of that activity.

Why do this? First, to get the best pictures possible and second, to show them that you are a professional, even if they don't pay you like one. If people ask you what you are getting paid, tell them you are doing this as a pro-bono project because you want to help the organization.

After the event, turn around the images as quickly as you can. Give them a great selection of nicely processed images in both full size jpg and web-optimized formats. Make sure you clearly label them as such in their file names, so they don't try to use a 72ppi image in a publication. Give them the images on a USB drive.

You want to leave them with the impression that you are professional and you want them to spread the word around their peers that this person is a real pro and shot the best pictures they've ever seen.

Finally, by treating this as a professional job, you'll get a taste for what it entails. You'll understand better how many hours such an assignment really requires and you'll be better able to gauge 1) if doing this on a professional basis is worth it to you and 2) if the market could ever bear the cost that would be required to make this profitable for you.

Lenses / Re: EF 100mm f2,8 L IS Macro... is IS worth it?
« on: June 21, 2013, 04:01:54 PM »
Another yes.

If you wanted a dedicated Macro lens that you only use on a tripod, then I suppose not. But, I shoot a lot more at "near macro" than I do true macro and I like to wander around outside getting close to things.

Shooting macro in the field is very difficult. People who don't do it regularly don't always realize just how tricky it can be. It's a real challenge to get the tripod exactly where you want it to accurately frame the image in the the way you envision it.

Remember, everything is magnified. The light can be perfect in one spot for 30 seconds and then a tiny shift and it's gone. An insect on a leaf will move out of the frame. The slightest breeze and your perfectly framed shot suddenly has shifted. An image looks perfect when you are kneeling on the ground, but shift your back slightly, and you lose it.

I can't count the number of times when I've started out using a tripod and just gave up and switched over to hand holding, because I couldn't possibly position the tripod precisely where I wanted it or do it quickly enough so as not to lose the light or the framing.

Oftentimes I find myself framing an image, pre-setting the focus and then physically moving in closer or further away as I try to get the most interesting part of the subject in focus. That's pretty much impossible to do with a tripod, and the IS definitely helps.

Plus, it's a great portrait lens and modest telephoto. Both things that make the IS very valuable.

There are thousands of workshops out there. If money is no object, National Geographic will be happy to take some of yours for one of their destination workshops. Santa Fe Workshops is one of the oldest and well respected workshop operators.

Outdoor Photographer magazine lists tons of travel and wildlife workshops every month, both in ads and in a section of the magazine.

If you are still in the Midwest, Chicago Photo Safaris offers several one-day photo-walk style workshops. Digital Photo Academy offers photo walk and basic DSLR classes at locations in many major cities, including Chicago.

Adorama sponsors a number of workshops in New York. Scott Kelby's Photoshop dynasty is based largely on traveling workshops, mostly on Photoshop, but some on other topics as well. American Photo magazine does their Model Shoot tours in many cities if glamour photos are of interest.

Finally, if you've got $5,000 to spend, Jay Maisel is arguably one of the most renowned photographers that regularly does workshops.

Software & Accessories / Re: Hdd/SDD storage for trip
« on: June 20, 2013, 11:09:17 AM »
I use a Toshiba netbook and a WD Passport Drive. But, I only shoot stills. A found a free RAW viewer (Google?) that I put on the netbook, so I could see what the files looked like.

Plug a cheap card reader into one of the USB ports or just transfer direct from camera to the netbook. Take a quick peek at them and then transfer to the portable drive.

Not the quickest method, but it's cheap and you have a netbook for surfing the web while traveling. If your paranoid, you can always get a second portable drive and keep duplicate files on the second drive.

EOS Bodies / Re: A Big Megapixel Discussion
« on: June 19, 2013, 03:13:49 PM »
I have to wonder if the convergence of technologies may soon make the big megapixel discussion obsolete or at least more complicated.

Software solutions for upscaling are becoming extremely sophisticated. I recently used On-One's Perfect Resize on some cropped 7D images that I wanted to print at 20 x 30. I was amazed at the quality. Adobe's latest Photoshop CC has a new resizing engine as well.

In theory, upscaling may not be as good as having the original image shot at the desired resolution, but "in theory" doesn't always match real world practice, especially when it is impossible to tell the difference in the final print.

« on: June 19, 2013, 10:11:54 AM »
U.S. and Canadian law may be different, but since no one else has responded I'll wade in.

It depends on the relationship. Generally speaking, an employer owns the rights to anything an employee produces. For example, a newspaper owns the rights to all the photographs taken by its staff photographers. Or, as another example, if you work for a university and you take pictures at a conference sponsored by that university they own the pictures.

Contractual relationships are different and governed by the contract. For example, most wedding photographers are not "employees" of the couple getting married, they are instead selling their services to a client. The client only owns whatever the contract states.

Confusion and conflict comes in when there is no explicit contract or agreement. That's why it is best to always have everything understood up front.

Without knowing the specifics of your situation, it's not possible to sort this out. But, there wouldn't be any automatic ownership granted to an event sponsor, unless specifically stated in the agreement or terms under which you are shooting. In this case, it sounds like the event sponsor is essentially saying that if you do shoot the event, they own the rights to the photos. The implication is that if you accept the assignment, you are also accepting those terms.

You need to talk to the event sponsor and come to agreement with the terms, otherwise, if you accept the assignment and they have notified you that they believe they have the rights to the photos, you may have unwittingly agreed to a contractual relationship that you didn't intend.

Site Information / Re: banning people for nothing at canon rumors
« on: June 18, 2013, 01:49:59 PM »
...This forum seems pretty much like all human-moderated forums.  The playing field is not level, and certain members receive more perks and latitude.  That's true of all such forums of course.  These members will make snide remarks, and if you respond in will get banned...if the mod wants to ban you.  It's all very juvenile and click-ish like junior high school (or perhaps prison), but that's a forum for ya...

Very well put. Personally I find some of the sarcastic, snide comments that the "popular kids" use to goad some of the less sophisticated users more objectionable than the outright insults. Especially when those being picked on are from outside the English speaking world and may not understand certain nuances of language and behavior.

I actually think "banning" someone is itself kind of childish and needs to be reserved for extreme cases. There are a certain percentage of participants that are clearly social misfits with obsessive tendencies. The rest of the community has a certain responsibility not to feed their compulsions, even if it might be entertaining at times to try to do so.

Canon General / Re: Question about editing for online consumption
« on: June 17, 2013, 05:29:46 PM »
Welcome to the Internet.

Short of traveling the world and personally calibrating everyone's monitor, there isn't much you can do.

In the world of print, there are standards and you can process you images to meet those standards so as to have a reasonable assurance that a properly prepared CMYK image will print consistently. Nothing like that exists for web displays. Although, starting with a properly calibrated monitor is important since you will at least know what the image should look like.

I wouldn't just give up. Here is what I do: I test out my site on every machine I can get my hands on. Not only for how images look, but also for how the website itself functions. Every once and awhile, I'll stop in at my local Best Buy and call my site up on every machine I can find, just to see how things display. When I'm  traveling and they have an Apple Store, I'll go in and navigate to my website on their iPads, to see what things look like.

Most stores are pretty understanding. If they ask I always explain what I'm doing. Since the salespeople are usually Geeks, they get it and some even help. I figure I'm probably not the craziest customer they've dealt with (although maybe close).

If 90% of your images look decent on 8 out of 10 monitors, that's pretty good. If it's only about half the monitors or half the images, then maybe you need to reconsider your post-processing. As with most things in life, the more you play at the extremes, the greater the risk.

If you want the world to see your images and be impressed by them (and who doesn't) you want to choose images that will display well. People on this site obsess over the margins, but most of that is for the benefit of personal pixel peeping.

The people you want to impress don't give a hoot about shadow or highlight detail. They don't care about subtle variations in color. They only care if the image works. If you find that a particular image doesn't work on a high percentage of monitors, then you have to be ruthless and take it out of your portfolio.

EOS Bodies / Re: Is This the EOS 3D?
« on: June 17, 2013, 01:59:07 PM »
I recall a similar thread a few years back. Went nowhere.

If a camera is in development or testing, they aren't going to slap a strap on it that broadcasts the model number.

It's a slow day at Rumor Central. Can't blame CR Guy for throwing a little chum into the waters to see if he can stir up some page views. But, no reason to swallow this one. Move along. Nothing to see here.

On the other hand – anybody recognize the other camera in his hand.

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