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Messages - Hesbehindyou

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1
Photography Technique / Re: photographing motorsport particularly F1
« on: March 26, 2014, 04:13:02 PM »
I have found that I want my body in its most comfortable resting position at the end of the pan. Then twist your body, with your feed stationary, to where you expect the pan to begin, wait for the car to enter the viewfinder and unwind your body while following the car. If you're most comfortable at the start of the pan, you'll tend to lag behind the car.

My technique is to sit/stand facing 35-45-ish degrees to the point where I'll take the shot. My aim goes off target a little as I go over 45-ish degrees, but by then the subject has been snapped. This is the opposite to Bob's, so I'll change it around and see if his way suits me.

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I wanted the car to be directly perpendicular to me or with just a little of the front showing, so timing was extremely tight.

Yeah, the amount of missed shots due to timing :-)  I'm trying to fill the frame with my subjects now which makes things harder as they're RC powerboats (and fast ones at that) and they skip all over the place with slight changes of speed whenever they catch on a ripple (or 'wave' to these models  ;) ). I'm gagging for a large sensor >10 fps camera with no lag in the viewfinder too.

Re shutter speed: 1/200 is fairly conservative. It'll likely give you the blurred background and plenty of keepers but I'd go real s-l-o-w and trade keepers for really blurred backgrounds - it'll give you fewer keepers but they'll have wow factor.  The nature of formula 1 means you'll get plenty of opportunity to take many shots of each car. If it's your first time I'd suggest mixing it up:

- Start out with 1/200 and pixel peep to check you've nailed 'em.
- Once you've nailed a car, reduce shutter speed to see how low you can go.

2
EOS Bodies / The best white super-telephoto...
« on: March 03, 2014, 06:51:07 PM »
The best white super-telephoto is the one you have with you.

Some will always pay a premium for smaller.  Re the size of the patented lenses, perhaps they've designed the DO lens, then designed a 'regular' lens optimised for compactness (as opposed to IQ), to illustrate what DO can bring to the table.

3
PowerShot / Re: Canon to Leave the Entry Level Point & Shoot Market?
« on: February 24, 2014, 06:41:19 PM »
Canon would be better suited putting development dollars into DSLRs, lenses, advanced compacts and the Cinema EOS lines.

How many development dollars does it take to put the guts of a mid-range model in a slightly larger body with crippled firmware?

That said, with sales falling off a cliff Canon will be losing the economies of scale that made the tight margins in this sector worthwhile.

4
EOS Bodies / Re: Full Frame Vs Crop Sensor
« on: February 23, 2014, 03:16:00 AM »
The more I read, it seems that crop bodies have a singular advantage over full frame and that is the increase in focal length.

If you are 'focal length limited', i.e. need a longer lens, with FF then yes, crops have an advantage. If you're not then they don't.

The main advantage of full frame (to me) is being able to get a sharper drop off from the in focus plane to the out of focus plane. How is this achieved? To get the same framing on FF as on my crop I have to use a longer focal length... and it is the longer focal length that gives you the sharper drop off. In addition the depth of field is shallower in the first place.

Pretty much everything else can be regarded as minor or for pixel peepers only. If you're not making very large prints you can ignore lots of info :-)

(one other thing to add is that the FF bodies have better ergonomics than the Rebels and a larger, brighter, viewfinder. My 550D is only used when I'll be cropping (my FF is only 12MP) or am focal length limited, such is my preference for the ergonomics and viewfinder of the 5D)

5
Photography Technique / Re: How (and Why) I Took the Shot #1: Overlook
« on: February 11, 2014, 04:16:52 PM »
For some reason the internet is riddled with the idea that one is not allowed to critize unless its based on something positive.

Please pardon me for continuing the thread drift, but no one has adequately explained why your comments have caused such ire.

In a nutshell, you suck at critique.  Why? You include insults and self-aggrandisement.

Insult:

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So is it succesful? Within a small back padding community... It might be

Self-aggrandisement:

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it falls very short. It reminds me of some of the shots of my very first film roll I shot.

Remove these two sentences (plus the one about celebrating mediocrity) and you wouldn't have got the adverse reaction.

6
Canon General / Re: Advice for future path please!
« on: January 10, 2014, 06:31:48 AM »
I don't want gimmicks like folding screens, Wi-Fi, GPS, (or video [...]).

[...]

on a F/F Nikon body, there is a crop function. This serves the same purpose as a physical crop of the image, it creates a 1.5 crop factor on a F/F body [...] Sorely tempted!

I wish the internet went back further - we'd have people scoffing at shutter buttons; "Why do they need a gimmick like a shutter button? They can just remove and reattach the lens cap when they want to expose the plate!"

You dismiss solid features that do something as gimmicks, but take a cropping mode (oooh, I can do a very limited crop in camera instead of in post!) and have that as your main reason for lusting after it :-P

Seriously though, the cropping mode looks great. I wish Canon had kept the 600D's video cropping mode, but they're certain to include a still-crop mode in a high MP FF body if just to stop Nikon having an extra tick on spec comparisons.

7
EOS Bodies / Filter redundant due to in-camera processing
« on: January 10, 2014, 05:40:13 AM »
This would tend to suggest that the reason for it being there in the first place (combating moire due to hamming) is not nearly as prevalent or significant as once thought.


No. It suggests that Nikon are removing the moire using in-camera processing.

"the design decision [to remove the AA filter] was made possible by the improved image processsing provided by the new EXPEED 4 image processing circuit."

Read more: Nikon D3300 review: first look | PC Pro blog http://www.pcpro.co.uk/blogs/2014/01/07/nikon-d3300-review-first-look/#ixzz2pzUHHSq7

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Question now has to be, when will Canon stop including it in their designs?


As soon as they can get a chip that removes it effectively without (m)any downsides - removing the filter gives them a free boost in IQ tests.

8
Charge what you think your time is worth.  I occasionally will charge a flat rate for being at the site, keep the copyright and then sell photos individually.  That way you are compensated for your time, but your work and work product actually determines what you are worth.

Is this for sports photography?

How much is the flat rate, and how much do you charge for the individual photos?

How many do you sell (appreciate that this can vary a lot)?

9
Lenses / Re: Get a 300mm or 600mm? Oh the agony...
« on: January 04, 2014, 06:59:07 AM »
OKee.. Here's the scoop. I have the 70-200 2.8L IS USM. But it just doesn't have the reach I want. I put a 2X on it and it gets me closer but still is short at 400mm.

Now if I get a 300mm 2.8 It will get me to 600 with the 2X but will it make me happy or not?

Since I can get to 400mm with the Zoom-2X combo,  would I just be better off with the 600mm that can get me to 1200mm if I ever want to?

The question you should be asking is 600 f4 vs 800 f5.6.

What you get will probably depend on how much light you get where you live; I'm in the UK so compromising on focal length to get that f4 aperture is probably worth it... but 600 is still pretty short if you're a birder.

You mentioned that 300mm is perfect for the sports cars. That may be but who needs f2.8 when you're panning? For freezing-the-action head-on shots f4 and 600 (or f5.6 and 800) will still give you sufficient shutter speed on a bright day and the steeper drop off you get from in-focus to out of focus areas you get from the longer focal lengths will help the cars 'pop'.

Don't listen to me though; my longest lens is a 300 f4.

10
I love this thread! I need to get to a low fly zone someday. Are schedules of flights taking place in these in the UK posted? Or is it luck/knowing personnel from an airbase?

Search for "mach loop". It's in Wales. RAF low flying route that draws in aircraft from all over the country. They've got other routes elsewhere in the country but the beauty of this one is that there are 'pinch points' that force the aircraft close to the valley sides (how close? close enough that a 300mm lens is fine), along with easy access for the likes of us to hike up and get level with, or even above, the aircraft.

The two points that most recommend going to are The Bwlch (good visability means plenty of warning of approaching aircraft) and Cad West (shots of aircraft banking onto their side). Both are easy to get to with nearby carparking.

They publish schedules. These bear no relation at all to what happens. Useless. Ignore them. Weather, maintenance, the whim of whoever is in charge... who knows. Note that they only fly these routes on weekdays.

This summer I unknowingly rented a lovely holiday cottage right underneath it. Hawks, Typhoons, Tornadoes and F-15s roaring over us at 250ft throughout the week. Best was the Hercules, banked at near 90 degrees 250ft above me. Absolutely awesome. Luckily the baby wasn't bothered at all by the noise.

Was a family holiday (with a new baby) so I had little chance to get any shots - spent one day up on a mountainside (with three other poor photogs) but that was the one day that nothing went up the valley  ::)

11
Street & City / Re: Impressions of the weekend, feedback appreciated
« on: December 09, 2013, 08:34:28 AM »
These are great. I'm just thinking out loud with the following:

I could definetly  up my game in the nightclub photography area and gain some experience with color gels and off-camera flash.

- The white flash looks out of place so gels would make it look more 'natural', as if you weren't using a flash.
- The white flash does really well at separating the subject from the colourful mish-mash of lights and objects that would otherwise distract my eye and 'hide' the subject.

Reckon go for gels for that 'wow you got lucky with the light/how did you do that without flash' look, and 'bare' flash for busy shots where the subject would otherwise be a little too well camouflaged.

An off-camera flash placed behind your subject (well, behind as in behind relative to the camera) would also help separate the subject from the rest of the photo, so if you wanted to get away from the bare flash look experiment with that.

The lens I used was a Tokina 12-24mm for APS-C sized sensors. The results when using long exposures, zooming and using multiple flashes are pretty interesting, especially in the range where the image circle can't cover the hole sensor of my 5D, it's almost like the light trails are coming out of the picture.

These look great - the vignetting  really focuses my attention and the light trails coming out of the picture adds a sense of depth. I was wondering how you managed to prevent the light hitting what I thought was a black wall in around the DJ's booth - last thing I expected was using the 'wrong' lens :-)

Other things to experiment with are leading lines, interesting viewpoints (i.e. up high and down low), shots with something small in foreground real close to camera that 'links' in some way with whats in the background (e.g. ticket stub/flyer - whatever).

12
Third Party Manufacturers / Re: Off Brand: Nikon Announces the Df
« on: November 05, 2013, 10:27:11 AM »
A true test would be for CaNikon  to sell say the 6D and D610 each in a video-enabled" "v"-version and a "p"- pure photography version with absolutely everything equal, including outer design, except video-capture/video out [not firmware hackable]. "p" version being sold at USD/€ 1500  and the "v" version at 2500.  One grand more is still dirt cheap compared to purchase of both a video and a stills camera. THAT way, we would see, whether videographers are just cheapskates piggybacking on stills shooter's DSLRs or whether they are willing to pay at least for a portion of their desired dual-use cameras.

How can you miss the point? I'll put it simply:

Selling in volume reduces costs per camera. By a lot.

Thus if having video features increases sales a lot then that camera is /cheaper/ than if it didn't include video (and sold a lot less).

When you say the stills version should cost less you are being ignorant; a stills version would cost more than the 'dual use' version we have now simply because it wouldn't take advantage of the economies of scale in both manufacturing, distribution and retail.

The video guys aren't piggybacking on you; you're piggybacking on them!

13
Any fellow croppers get a cheap 5D (CLASSIC) as a second body? Is it worthwhile to just get a taste of full frame goodness?

I got a 5D mark I to blur out the background a bit better for snapshots of my baby (i.e. use longer lenses for the same framing) and take full advantage of a Tamron 28-75 f2.8 that I was finding wasn't wide enough on the crop. IQ is good but a few niggles: rear LCD screen isn't a good guide to exposure so you need to use the histogram; it tends to underexpose so I dial in some compensation most of the time; resolution is limiting if cropping; low resolution of rear LCD screen means you may get home and find you've not quite nailed the focus; high ISO performance isn't great.

I'd say it's worth buying if you're going to be shooting around f2.8 or lower and wish to use the wider end of your zooms/wide angle primes.

14
Third Party Manufacturers / Re: Sigma 24-105 f/4 DG OS Outed?
« on: October 13, 2013, 11:30:30 AM »
NOTE: there is a shiny silver "A" on the side of the lens in the picture, meaning this is their "Art" line of lenses - the same breed as the 35/1.4 that has blown away many many people.

It's also proof positive that the pic is a fake. IIRC the Art designation is for lenses with a large maximum aperture.

15
I found really strange that Canon, that's producing both Camera and Sensors is not working on something similar.

A full frame sensor is by far the most expensive component in a camera body. There is little advantage, once you've taken into account the downsides, of a system that has an interchangeable sensor - you'd be better off buying two bodies, each with a different sensor. It would probably work out cheaper, too.

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