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Messages - Canon 14-24

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Lenses / Re: 2013 EF / EF-S Lenses ... Canon, where are you?
« on: October 17, 2013, 01:49:30 AM »
Well closing near the end of 2013, the ball is in Canon's court now for some lens announcement. At of currently, only 4 "unexciting" lens were "officially" announced/released from Canon this whole year.

Would have jumped shipped if if they had a better lens line up with more pancakes, fast primes, "fast" 2.8 zooms, or a 14-24!

They got the price point down for the A7 and A7r, but charging extra to buy a charger (camera usb charging?!) and a 35 f/2.8 and 55 f/1.8 being sold for almost $1k over cheap pancake alternatives doesn't make much sense.

On the contrary, having the original packaging suggests that you're the legitimate owner, as opposed to having stolen the gear from someone on the street or out of their car, hotel room, etc.

This is exactly why especially on Craigslist and Ebay 2nd hand. Matching serial #s on the lens/camera and the box w/ blank warranty card, and if you have the original receipt an extra bonus.

To prevent the reselling and purchasing of stolen goods, plus when you sell it helps with the shipping of the camera/lens! Keep the original packaging!

Why doesn't somebody over at Fred Miranda mention the Fotodiox solution. There is no limitation to tilt and or shift. I am not a member there so can't.

As for an expensive never arriving Lee "solution" with limited usability, it is a joke. Go on Amazon and just buy a ready made high quality solution, I just did and the Fotodiox Wonderpana just works.

privatebydesign would you have sample images of the fotodiox setup on your 17mm at max -12/+12 shift? at f/8 and/or f/16? I am curious to see if there is any vignetting with the fotodiox setup+filter attached.

I am also curious to your opinion on the fotodiox 145mm filters in particular the full ND as there aren't many reviews on it. Comparing prices on Amazon I see a regular photodiox nd8 for $80 and a Lee ProGlass 0.9 for $180! Almost 2x the price, not sure if there is a significant difference in quality between the two brands?


so what they mean is roughly +/- 6mm of guaranteed movement before vignetting? just tack on an extra 30 bucks or so not doing it yourself from a 17mm tse lens cap and 82mm lee adapter.

EOS Bodies / Re: Bad News Closing out 2013? [CR2]
« on: September 21, 2013, 05:20:51 AM »
noooo my precious 14-24!!!

Pricewatch Deals / Re: Deals: Canon EOS 5D Mark III and more
« on: September 18, 2013, 06:04:57 AM »
Just received this deal.

False advertising that this is "NEW - unopened" instead should be changed/labeled to "NEW - other". As the previous poster mentioned above, the original listing was described for a BODY only, however the box that was shipped was labeled with the 24-105 kit lens that obviously was missing. Contents were shrewn and disorganized upon opening, the battery charger was out of packaging and the EOS CD packaging was bent and nearly torn off.

I did verify that the camera they shipped me has a 0 count from eoscount, so most likely they opened the box and were sloppy when removing/selling the lens. Given that no warranty was mentioned/implied, it is highly likely the camera body is grey market and not USA making the "USA/CANADA warranty card" that was supplied in the box (which is pretty easy to dupe/counterfeit) useless.

Given that the description was not completely honest to begin with I'm slightly thrown off and disappointed. Pending how Canon and BigValue respond I may end up returning the camera.

Canon General / Re: Lens advice for New York City
« on: September 15, 2013, 01:51:22 PM »
ULTRA WIDE focal lengths, so go with the 11-22mm.

You already have a 18-135 and 50 1.8, so the 18-55 and 50 1.4 are crossed out.

You would only use the 70-200 for like on the ferry shots/street photography/marathon or up top Rockefeller/Empire State building if you want to purposely have that pincushion distortion (otherwise probably about 5-10% of your trip shots).

The wide angle will probably be used like 70%+ of the time.

If you have the time try and squeeze: The High Line, DUMBO / Brooklyn, Roosevelt Island from the Tram, NYC Public Library 3rd level rooms + Bryant Park, Times Square, Central Park (early morning dawn/sunrise to avoid the tourist hordes).

Lenses / Re: New Wide Angles Lenses in 2013 [CR2]
« on: June 19, 2013, 07:18:01 PM »

I don't agree that canon has massive shoes to fill in the landscape department.  If you are already on a tripod and doing serious landscape work than I'd put the 17 TSE against the Nikon 14-24 anyday.

Sensors are another matter of course.

Some people just like the versatility of a zoom especially in the ultra wide angle range. It doesn't hurt to even bring/have both a 14-24mm and 17mm tse as I do plan to keep my 17mm tse and pair it with a 14-24 type of lens. It doesn't hurt having a wider lens too to get a single wide shot without having to shift multiple images that results in a more narrow pano shot nor does it hurt also carrying around the 17mm for perspective correction. Additionally, in the event of wind/dust/dirt/rain environments I'd probably slap the 14-24 on over shifting/tilting with the 17mm as well.

In any case, my money is ready for this lens!

Lenses / Re: Poll: Most Wanted New Lenses of 2013.
« on: May 16, 2013, 11:27:52 AM »

Everything else can wait or use the older/current versions.  :)

Software & Accessories / Re: Adobe to Stop Making Packaged Software
« on: May 08, 2013, 06:30:13 PM »
I'm sorry but I don't really get many of you guys. Lightroom stays as a standalone application. For some reasons, many amateurs think they have to have Photoshop (and it has to be the latest version, of course) to do their photo editing. Old version of Photoshop/Photoshop Elements/Lightroom may be more than enough for a lot of us. I personally have Master Collection CS5.5 which I got at a discount when I was a student and I'll use it until I upgrade to an unsupported camera or new OS.

I have to have the latest photoshop CS6 just to open my damn 5d3 raw files. That was the only reason I upgraded from CS4 and the only reason I upgraded to CS4 from CS2 was to open the damn raw files for the 5D2!

Remember that if you buy the Pixma Pro series you should preferably print (size does not matter, so it can be very small) once a week to prevent it from drying out, thus having to waste a lot of ink when enabling the program to get it rinsed. Ink is always an issue, but it takes many type of 3 party papers, thus giving you the chance to print on excellent paper like Canson and Hanhemuhle and other great paper sources.

I print on my Pixma Pro9000 Mark II maybe a few 13x19" every 3 months or so. I havent had any drying up issues and the ones still in there seem to work and print fine. I though the "drying" up issue was with pigment based inks over the dyes in the Pixma series?


I found this link very helpful in my tripod selection between Gitzo's Mountaineer and Systematic.

I at one time had a Manfrotto CXPRO3 with 488RC4 ballhead. The flip lever on the top plate of the ballhead got really jammed/stuck that at times it was hard to lock that I decided to just replace it with a RRS. I did swap out the top plate for a RRS plate and the screw didn't 100% secure in. I was at the RRS headquarters in San Luis Obispo and they kinda glued the bolt to secure the plate to the Manfrotto ballhead. In sum, it was fine for what as a cheaper alternative for 1-2 years until I finally upgraded and got a RRS BH-55. It may be overkill, but the large surface area of the ballhead I found welcome in composing the image, not to mention on my series 3 Mountaineer tripod the BH-40 is just too puny. Typically a BH-40 will serve you fine or a BH-30 if you want to go Gitzo traveler and fold up the legs.

Now my experience with the Manfrotto tripod was painful. The rubber covers caps at the end of the legs would get loose and come off compared to the Gitzo's that would screw in at the bottom. Additionally after numerous trips to the beach, desert, or other sandy areas bits and grains would get stuck in the flip lock joints and it'd be a pain to disassemble and clean compared to the Gitzo's twist/screw.

In sum my lesson learned, tripods depreciate in value significantly compared to lenses. If I could do it all over again, I would just wait and save and go with the best out there over upgrading a little bit to what my budget at the time could spare. I have carried my Series 3 Tripod which is a bit more sturdier/solid than the series 2 for up to 2 mile distance/hikes and I would push for that if you don't plan to do a whole lot of walking with it. Otherwise go with the Series 2 and a quality ballhead like a Markins, RRS, or AcraTech (you will probably need to budget around $1100).

Another ballhead brand to look at is the Acratech ballheads: http://acratech.net/

They are cheaper than the RRS, super easier to clean (don't have to take it apart or ship it back to RRS to clean), and one of the lightest on the market.

Technical Support / 30" Monitor Lenovo vs Dell?
« on: April 02, 2013, 03:42:54 AM »

I am curious to as spec wise, why this Lenovo is priced more than the Dell U3014 when the dell has usb 3.0 and a card reader? Or any other thoughts of other 30" monitors priced under $1.5k?

I am a fulltime photographer and really like the 2711's and when working on photo's for print etc it's really good. But some of the work I deliver is digital only to consumers and that's where it goes wrong. I like my photo's light and fresh and I push that in my workflow. On my calibrated screens I have no blown out whites and really like the photo's. On the clients laptop / crappy screen with no wide-gamut the photo's are to white and have blown out colors.

My solution is placing de U2412m in sRGB mode and since it has no wide-gamut I use that screen to "proof" what the client will see.

Hopefully not to detract from the original poster's thread, but what you posted are some of the concerns I have in my search for a 30" monitor which for a budget under $1500 seem to be really limited to just the Dell and HP.

In regards to your solution of "proofing" what the client would see on their monitor, does this involve having to re-edit or tweak all your previous work for the client to be viewed on a standard non-wide gamut sRGB screen? I am just trying to get an idea into my work flow, if I will be doing "double-duty" in my workload with the use of a wide-gamut monitor.

Also, would it be easy to swap modes in these Dell monitors with minimal re-calibration work for the novice user? For example, these wide gamut monitors can be set to a sRGB mode for the 99% of the work I do, and then for that 1 picture the client wants an enlargement print, I can change the sRGB mode to a saved preset wide-gamut mode with minimal or no re-calibration work necessary?

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