October 25, 2014, 05:58:29 AM

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Messages - Etienne

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16
Street & City / Re: Your best street shots of any kind.
« on: October 06, 2014, 03:27:38 PM »
Fall, and Winter

17
Lenses / Re: Shootout: EF 16-35 f/4L IS vs EF 17-40 f/4L
« on: September 27, 2014, 09:21:33 PM »

Should be compared to the 16-35 f/2.8 mkII

18
EOS Bodies / Re: Canon Says Higher Resolution Sensors Are Coming Soon
« on: September 26, 2014, 05:58:18 PM »
Won't be easy to get on the 70D or 7D Mark II either.

If they eventually get it working on the 7DII, I would be very tempted to trade in the 1D just for dual iso.  That looks pretty amazing.

Does anyone have a link to good dual iso shots? I haven't seen any. The resolution is cut in half, the skin tones look to be badly damaged (and hard to repair because there's only one shot) in the shots I've seen, and you will see moire and aliasing in both shadows and highlights. Since skin tones seem to a problem, this will mostly be "useful" for still shots, but you can't do near as much with the photo in editing as you can with an ordinary HDR shot, which gives you several shots to layer in addition to the HDR composite shot.

Dual ISO is a clever technical achievement, but not useful yet, IMHO. Maybe it will be useful when there's a 45 MP sensor, and a solution for moire, aliasing, and skin tones.

19
EOS Bodies / Re: More Talk of an October Announcement of a DSLR [CR1]
« on: September 26, 2014, 05:41:09 PM »
This is so funny to read.  I have a 5D3 and a 1DX and there isn't a Nikon wedding photographer out there that has better IQ in their images.  This all over a little DR in low ISOs.  I have printed off prints from my 1DX that are 50 inches and they look great.  What if Canon comes out with this high MP camera and much improved DR, is everyone going to come rushing back to Canon?  All of this because of DR and more MPs so you can print billboards or corop down half of you picture.  The D810 has been out for how long now?

It sounds like you're admitting that there is a slight difference??  The problem is that this noticeable IQ gap just continues to widen and Canon is either unable or unwilling to try and catch up.  Wedding photography is just one application to photography.  I'm a photojournalist and DR and ISO are crucial to my work. 

People like myself are tired of waiting for that "what if Canon comes out with a high MP camera and much improved DR" question to materialize.  A 1.6 crop factor 7D MII is Canon's big announcement of the year??  Really?  It seems that Canon have forgotten their professional market.  If I could get a decent price for my Canon gear, I would sell it and make the jump to Nikon today.

That's the first time I've heard of a photojournalist concerned about DR. They are usually concerned with ruggedness, high speed, fast accurate AF, high ISO performance (even when DR is reduced to about 8 stops), awesome zoom lenses. Canon DSLR's have taken most of the award-winning photojournalism shots for quite some time, and in fact a great many of the award-winning shots were taken with the 5D3 16-35 f/2.8 mkII combo. Even with the availability of the D800. The DR advantage of the D800 is only in the Low ISO region. The Canon systems are still the most popular among photojournalists, who often grab video as well as photos.

20
EOS Bodies / Re: Canon Says Higher Resolution Sensors Are Coming Soon
« on: September 26, 2014, 04:14:58 PM »
You can have very high contrast and no issues with shadow detail, you are in control!

It is like people who blast two lights at full power onto the background and then have all kinds of scatter and pollution to worry about, make the blacks just black and create an import profile with a touch of the "Blacks" slider and you are done. Very high contrast and as much shadow detail as you want with zero noise.

Stop thinking camera exposure, start thinking light for the optimal exposure to get the look I want when combined with an import profile, it will save you a shitload of time and money and get you the results you want with the gear you have.
This is what I do
http://robertodemicheli.4ormat.com/
I know my light modifiers and I've played with high end equipment (profoto and broncolor)
I'd rather not be patronized thanks

Nice work!

21
EOS Bodies / Re: Canon Says Higher Resolution Sensors Are Coming Soon
« on: September 26, 2014, 01:25:17 PM »
The important thing is Canon's admission its customers need more MP.

I wouldn't interpret it this way, imho Canon just stated the obvious - *some* (select) applications like studio or maybe landscape work might need higher resolution, just as higher dynamic range only benefits just a part of photogs. In no way they're up to questioning their past product policy, so certainly no killer 5d4 in sight.

I'm curious to understand who wouldn't benefit from higher DR?

Everybody can benefit in certain situations.  But there is a difference between wanting it and needing it.  Some people need it, some just want it, and some don't care.  It's like having a car that can do 110 miles per hour.  If the fastest you ever drive is 65 miles per hour, then you're all set as your car does a splendid job of going 65 miles per hour, and it's reliable and has a bunch of other features you like.  Now your neighbor comes along and he says his car can do 150 miles per hour.  Wow, that is an awesome spec, clearly better right?!  So you start to feel jealous and think about buying the same car as your neighbor.  But will it make a difference in your life such as when you drive to work?  Well, there are in fact situations in which it may be a benefit to have the neighbor's car.  But you may also rationally conclude that your car serves you extremely well and will continue to do so, even though it's "limited" to just the old-style 110 miles per hour.

I don't think anyone here is ever going to complain about an increase in DR. In fact when Canon leapfrogs Sony on DR, we will all be boasting  ::)
I'm not jumping ship for anything I've seen yet in other DSLRs. But video stuff from Sony looks promising.

22
EOS Bodies / Re: Canon Says Higher Resolution Sensors Are Coming Soon
« on: September 26, 2014, 10:37:58 AM »
Well, look what I saw this morning

Weasel words like "soon" remind me of the current "year of the lens", only to just hear that new L primes have been moved far into 2015. I do believe Canon will sell a very expensive studio high-mp 1dxs soon, but I don't see them replacing their whole current lineup with 6d and 5d3 anytime "soon" with high-mp updates.

The 6D and the 5DIII are still sold well. The pricedrop phushed both cams again. Maybe there is an near replacement, but i do not think so too. Another reason why Canon will hold such a replacement back, is the 7DII. I think, they will wait until the 7DII hype is over (let us say 1 year), then maybe they announce an successor of the 6D or 5DIII. An near announcement of an very high priced 1DXY will not depress 7DII sales.

Remember he difference between being announced and being release.  In the year of the 1dx, the 1dx was announced in November, and the 5d3 wasn't announced until March - but the 5d3 was released and available within a month of announcement while the 1dx wasn't avaialble fort he general public to buy until summer of that year.  If they follow their own history, yeah, we may very well see the official announcement for the studio soon, that is of course if this thing is gonna be around by the summer of 2015.

Also, I am kind of hopeful that they will split the line - have the 5d series be about event work, low light work, and then have a big mp body in a 5d style shell.  This won't interfere with either because this would hopefully be a totally different beast --- I would be real happy with a 40 MP canon that only has a burst rate of 2 fps.  If i were to ever buy such a camera, maximum burst rate would not be a big concern to me (do you really need 10 fps to shoot a landscape image, or a model in a studio shoot (would your strobes ever have a chance in hell of keeping up with 10 fps?????).  the 1 series big mp would get a larger buffer and thus greater fps, but even there i don't see the point ---splitt he lines I say...I would love to have the extra bump for about 20% of my work - the remaining 80% though will never see print, or if it does, it's a 4x6 or in an album...so all that extra mp just means extra HD space is needed....

I hope they split the line too. They won't make the camera I want, but I'd take a 12 MP low light monster, with awesome video (no moire or aliasing, DPAF, focus aids, etc etc) and swivel touchscreen.

23
EOS Bodies / Re: Canon Says Higher Resolution Sensors Are Coming Soon
« on: September 25, 2014, 10:36:14 PM »
Canon's G7x sensor is from the original RX100 or the RX100 mk II, not the same as in the RX100 mk III

Do you have a link to prove this?

Also, according to DXOMark, the RX100 Mk 1, 2 and 3 sensors are nearly identical in performance with Mk 1 only being very slightly behind for low light ISO.

Two things:

1.  The RX100 mk III is 20.1 MP, mk I and mk II are 20.2 MP as is the Canon G7x

2.  DP Review interviewed Sony rep who confirmed that Sony does not sell their most current sensors to anyone, but keeps it for their own cameras. Sony sells only the sensors that no longer have unique value.

24
EOS Bodies / Re: Canon Says Higher Resolution Sensors Are Coming Soon
« on: September 25, 2014, 03:40:59 PM »
Canon's G7x sensor is from the original RX100 or the RX100 mk II, not the same as in the RX100 mk III

25
EOS Bodies / Re: Will Canon answer Sony's new cinema cameras
« on: September 24, 2014, 09:18:26 PM »
The Canon WTF-E6 wireless transmitter works with the C100, C300, C500, 1DC, 1DX, and I think the 7D mk II now. It supports autofocus when the DPAF upgrade is installed too.

The C100 is not included. See here:   http://www.canonrumors.com/2013/11/firmware-canon-eos-c100-eos-c300-updates-available/

Yes I was mistaken sorry, the C100 does not have wifi capability. It was listed mistakingly on the B&h page before. The WFT-E60 is compatiable with the C300, C500, 1DC, 1DX and now 7D mk II.

It seems like such a useful feature to remove from the C100 for product differentiation, the C300 already has the broadcast ready 4:2:2 50mbits codec, 60p, the usable EVF, better articulating screen, HDSDI out, CF cards, and many. The Wifi feature would actually be more useful to the low-end indie market rather than the higher-end one.

Idea: would anyone be interested if Canon made an even lower-end version of the C100 for around the 5D price point? If it has the same beautiful image but they remove the evf, only 1 SD card slot, the 4:2:2 clean hdmi output, the ND filters, and put is in a smaller/plasticier body, a C50. I think it would be an incredibly powerful upgrade for the Canon DSLR video shooters.

I'd be interested.  Or just a C100 mk II with updated competitive feature set.

26
EOS Bodies / Re: Will Canon answer Sony's new cinema cameras
« on: September 24, 2014, 01:58:14 PM »
The Canon WTF-E6 wireless transmitter works with the C100, C300, C500, 1DC, 1DX, and I think the 7D mk II now. It supports autofocus when the DPAF upgrade is installed too.

The C100 is not included. See here:   http://www.canonrumors.com/2013/11/firmware-canon-eos-c100-eos-c300-updates-available/

27
EOS Bodies / Re: Will Canon answer Sony's new cinema cameras
« on: September 24, 2014, 12:53:21 AM »
Lets sets some records straight on this thread. Sony did not create CineAlta with Panavision trust me I know.
Sony have brought out the FS7 not because of  Canon but because of Blackmagic and the URSA and the AJA Cion, Blackmagic along with Red had massive presence at Photokina.

Canon have done remarkably well with the C300 less so with the C100 and C500. For serious Motion Picture the Arri Alexa is still outfront followed by the Red Dragon, Arri are also doing really well with the Amira.
Red have a module to use the Canon ultrasonic motors with a remote control and the camera can also perform these functions via an upcoming smartphone app. this is an area both Sony and Canon miss to be taken seriously at the high end pro end.
Neither Sony or Canon do full-frame motion picture only Super 35 this means proper anamorphic is out of the question and even the v.good F55 only gets considered for TV.
Lastly the Alexa success is as much down to its uncluttered user controls and simple menus something both Sony and Canon fail to understand.

No offence intended Jeffa but this comment is nearly entirely incorrect information.

-Sony worked with Panavision in designing many cameras, most notably the F35 which is also rebadged as the Panavision genesis.
-The FS7 is more likely a response to the most successful camera in its target field (C300) rather than a response to two cameras that have not been released yet, and that are designed for a different field anyway (controlled environments) as they max out at 400 ISO. The FS7 is a documentary camera intended to replace the C300's position.
-The C100 is more successful than the C300 in sales numbers, both are extremely successful, the most successful video cameras today actually. The C500 is less so due to the fierce competetion from Arri/Red.
-The C100/300/500 can be controled wirelessly with a smartphone/tablet, giving you a live video feed, ability to change all the settings and start/stop triggering. I used it myself, works brilliantly on the C300, you just put the dongle in its dedicated port and open your web browser on your tablet/phonehhhhh
-Nobody does full frame motion picture cinema cameras, super 35 is the "full frame" of the video world. Red Epic and Scarlet are s35, so are the Arri Alexa and Amira, and Canon C100/300/500 and Sonys FS7/FS700/F5/F55/F65 and Blackmagic ursa and Aja Cion, and all cinema cameras. You don't need full frame to shoot anamorphic, it doesnt have anything to do with that, what you need is 4:3 aspect ratio, only the Alexa offers that. You can still shoot anamorphic on all these cameras given their high resolution though, and of course anamorphic is a very small/niche market.
-The Alexa's success is not due to the menu interface, it's due to the special colour science they employ, and extremely high dynamic range and very filmic response in the highlight roll off. Skin tones look absolutely lovely on the Alexa, very organic. 99% of the Alexa shooters use it only because it's the closest digital camera to 35mm film in terms of image charachterestics. They would not care less about the menu system as long as everything works, it's all about the image unless it's an ENG camera. Actually the Alexa is the farthest from simplicity and ease of use compared to Canons/Sonys, it's extremely heavy, requires a matte box, EVF, monitor, requires an external Codex recorder, and requires heavy media managment, but that's fine because it's designed to be used in controlled environments where you have time to set up your camera. If you need a ENG style camera they made the Amira for that Canon menus are very simple too. Sonys are fine too.

Interesting post, but I don't thing the C100 offers wifi control.

28
EOS Bodies / Re: Just for Jrista: 2014 Market Data
« on: September 22, 2014, 10:21:29 PM »
zlatko:

It's not 'unreal expectations' when I can do it on my D810. Which is my entire point. I *can* shoot 24/1.4 and get zero vignetting in post-processing.

Also I do shoot 35/1.4 (and 85/1.4) if you must know, but I, surprisingly, actually like to use different FOV for different shots. Imagine that!

You don't understand how HTP works - it does nothing to the Raw file when you shoot manual.

And you still don't get it - 5 stop pushes are fine and not 'bad technique' if you're doing it to save highlights. And totally possible with good sensors.

And ultimately, for sensors with little to no read noise, it's almost the same thing as shooting ISO 3200. So if you don't consider it unacceptable to shoot ISO 3200, then you can't say it's unreasonable to shoot ISO 100 & underexpose by 5 stops -- as long as you're doing it for a reason (say to protect highlights).

Unfortunately, I don't think you're going to be able to wrap your head around what I'm saying until you understand how these sensors/cameras work.

And if you must know - I shot multiple exposures & have one shot with 2 stops more exposure where the noise is acceptable in the subjects, but of course the sky is completely blown. My *point* is that I wouldn't have had to with a good sensor.

I get it that the D810 sensor is nifty.
But, why didn't you use a fill flash on that? It would have solved all of your problems, and you should probably have a flash on your camera at all times for outdoor portraits, especially weddings.
Were you just trying to rescue a bad error?
This is a legitimate question. Fill flash for outdoor portraits, pretty standard.

29
EOS Bodies / Re: Just for Jrista: 2014 Market Data
« on: September 22, 2014, 08:38:58 PM »
Saving the sky and clouds usually doesn't require underexposing by 1.5 stops.  Are you using Highlight Tone Priority?  That saves some of the sky/cloud highlights.  Are you using any fill?  Use just a little bit of fill flash (or a reflector) and you are reducing the need to brighten a photo in post.  One stop of brightening is usually perfectly OK, while 4.5 stops of brightening is not OK.  Requiring a photo to withstand 4.5 stops of brightening in post looks to be the result of a combination of mistakes.

Finally, I wonder about the processing technique here.  Was any noise reduction applied?

Really? I typically run into skies where I have to underexpose by 3 stops or more.

And 4.5 stops is not OK? But it is on many cameras today; that's my point. Let me put it this way: do you ever shoot at ISO 2200? B/c that's ISO 100 underexposed by 4.5 stops. So if shooting around ISO 2000 is acceptable to you, then underexposing ISO 100 by 4.5 stops shouldn't be 'not OK'. You may as well as criticize everyone who shoots above ISO 1600.

Also, I underexposed by about 1.5 stops compared to what the meter would've chosen here, IIRC. The extra 3 stops came from vignetting - so I didn't even choose to underexpose by 4.5 stops here...


Following this discussion, there are good points on both sides.
I'll take every bit of improvement a camera can offer, including 18 stops of DR if they can do it, so that's great that the D810 sensor gives a bit more leeway. But that doesn't define the entire system, both have their advantages. The Canon 5DIII is an amazing all-round performer that does better video, without moire or aliasing, better low light performance, excellent color rendition, excellent AF, a better selection of high end lenses (IMHO), better ergonomics (again IMHO), and that's before we talk about magic lantern or the fact that the 1Dx is deadly or that the 5DIV will be here long before the next Nikon.
Either system can deliver great results, and in most cases indistinguishable. This sometimes sounds like a left-twix vs right-twix war.


30
EOS Bodies / Re: Just for Jrista: 2014 Market Data
« on: September 21, 2014, 05:34:38 PM »
It's also because being a "pro" doesn't mean anything.  there's really no standardization, so anyone can be one.

Being a pro generally means earning your living by practising your craft.
Many amateurs are more skilled than most pros.

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