May 27, 2016, 04:08:47 PM

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my tamron 15-30  works 100% on 5d3...
my Tamron lens is one of the earliest ones..
on the 1dx2  the 15-30 did not do live view or video but worked great as slr mode...
I will get it back from its update tuesday may31st

we will see...

I may have had the perif setting on on 1dx2...not sure... but now we can know....

thats the nature of the 3rd part stuff the moment...

I will add BACK to this thread...results...
...if it still here after I get my updated lens next week....

Can you read signatures?

Years since I looked. I was reacting to your post which seemed to deny it.

You totally understood it wrong. It was all about CAs.

Beats me?? But OK.

But same question to you... can you see the difference between a shot taken with the already existing Tamron and a 85mm f1.4 Art? I don't think so.

Maybe not - time will tell since we do not have the ART yet. However, some of the Tammy reviews are less than glowing, so I dropped getting it myself.

This has to be prooven.

Yes. And thus I make no claims. I only point to some issues I think may matter to a lot of potential buyers. We will see if the ART is a great lens or not.

Don't be angry about the 85L if you can't afford it.

LOL! Attempt at ad hominem attack on the poor! A forum low point I'd say.

Got rid of mine a while back now. Too much overlap with the 135L after I stopped using the 85L for nighttime street shots (one reason I want fast focus speed).

And... don't get angry just because your lenses are not be the best at everything but a mechanical/optical compromise - like all others. Just let it go and enjoy!
For Canon EF users who want an 85mm lens with AF, we now have a lovely 4 price point market:

Canon 85mm f/1.8 USM @ $349

Tamron 85mm f/1.8 VC @ $749

Sigma 85mm f/1.4 @ $869 --> Sigma 85mm f/1.4 Art @ $999 (guessing)

Canon 85mm f/1.2L II @ $1899

Which basically pits the Tamron's IS and weather-sealing vs. the Sigma's IQ.  Though this is (generally) a FL for portraiture, we tend to drool over sharpness and Sigma's recent track record on that front will likely have most folks more excited about the Sigma than the Tamron.

- A

They are all quite good.  It seems that it's hard to build a bad 85mm lens. 

A Sigma 85mm Art is really exciting.  However, the Tamron's IQ is excellent too, so it's not a question of IS and weather sealing vs. Sigma's IQ.

Rather, it's a question of individual priorities and individual price points.  For my current photography, I value the Tamron's VC over the Sigma's additional 2/3 stop.  Otherwise I would have bought the current pre-Art Sigma 85/1.4 because it too is excellent. 

When mounted on an aps-c camera, the Tamron gives me an image-stabilized 135mm field of view with a 1.8 aperture, which is unique outside of some mirrorless options.
And I should also mention, I have 35 and 50 art and both nail focus EVERY SINGLE TIME. Just try the art before purchase, that's it. Hope that's not too hard lol

I did, thank you very much.  And it laid an egg on my 5D3. 

Even after tuning with the USB dock, my 35 Art copy had an abysmal hit rate at f/1.4.  It was not front or back-focused -- it inconsistently missed.  I had to stop it down to f/2 or so before it performed as consistently my other Canon lenses.

And the problem was not behind the viewfinder.  ;)  Though I was shooting handheld, I never focused and then subsequently recomposed.  Further, I was shooting static subjects and had auto-ISO set for a min 1/60s shutter -- so it wasn't hand shake or subject movement.

The inevitable refrain "you just got a bad copy" very well may apply here, but the rate with which those bad copies are falling into the hands of reviewers seems troubling.  None of my first party Canon has ever demonstrated this phenomenon.

Again -- I'm not knocking Sigma, I'm just saying they still have room to improve.

- A
Lenses / Re: A New Full Frame Zoom Coming in 2016 [CR2]
« Last post by AvTvM on Today at 02:16:22 PM »


no need to exaggerate. judging from the posting volume and presence of "Neuro" and considering how much f*cling time i am wasting on this forum ... my calculations say: 3-5 people posting under neuro nick. all of them canon fanboyz. what else ...
Videography Technique / Re: anti-shake
« Last post by rfdesigner on Today at 02:16:06 PM »
I'm only familiar with Premier Pro, but just so you know, the way anti-shake generally works in post-processing is by cropping the image so that the subject matter can be kept in the the same spot in each frame (or nearly the same spot). As long as you have room for the cropping, it will work, but you will lose resolution as well (which is one reason why 4K is desirable, even if the final product is not 4K.)

You could download a free trial of Premier and watch some of Adobe's videos to get an idea of how to use the program. It's not as difficult as it might seem at first.

thanks..   the wobble is at most only a few percent of the field of view, and as I was using a monopod, only horizontally, I can afford a slight crop.
Lenses / Re: So what goes inside a big white?
« Last post by Click on Today at 02:15:05 PM »
Cool.   8)

Thanks for sharing, Guy.
I have the Sigma 35mm ART and while I have heard stories of focus being iffy, I didn't need to switch copies. I would actually say it's comparable with Canon's USM speed. I had the Canon 28mm 1.8 and 85mm 1.8 and while it was slightly slower than the 85, it feels just about as fast as the 28mm 1.8. The only times that I wish it was faster was while shooting some really fast hip-hop dance shows, but I think any lens would struggle with the low light and fast movement.

Especially for portraiture, and photo-documentary style wedding/engagement photography, I can't complain at all. Any focus issues are attributed to my user error, not the lens' focusing speed.

That being said, I'm really excited for the Sigma 85 ART to finally come out and I'll definitely be buying it. I also have the sigma dock that I got for like $50. I'm confident if there are any issues with focus that Sigma will release a patch to the firmware like they have done in the past in other situations.

Also comparing it to Canon's 85 1.2, personally even though I focus on portraiture, I don't think 1.2 -> 1.4 makes much difference. The average person doesn't even notice a huge difference between 2.0 -> 1.4 honestly...The 85 1.2's ability to render things beautifully is more than the aperture and has to do with other optical characteristics.
Did you ever shoot the 85L?

Can you read signatures?

So you can see the difference between a shot taken with the 85L and the 85 f/1.4 if both were shot @f/4?

You totally understood it wrong. It was all about CAs. But same question to you... can you see the difference between a shot taken with the already existing Tamron and a 85mm f1.4 Art? I don't think so. And the Tammy has even Vibration control. By the way, the difference between f1.2 and f1.4 is more than f1.4 to 1.8...

But - except for the ability to shoot in darker space - many out there will probably trade better optics wide open @ f/1.4 compared to the 85LII and its (slight) f-stop advantage. YMMV.

This has to be prooven. If you stop down a 85L to 1.4 it could be better than a wide open Sigma Art. Don't be angry about the 85L if you can't afford it. I really like the Sigma Art Line, I just think there are quite a few capable 85mm lenses out there.
Canon EF Zoom Lenses / Re: Canon EF 11-24mm f/4L USM
« Last post by privatebydesign on Today at 01:46:22 PM »
Jack as we have talked before and I know you won't take offense here is my edit/suggestion.

I went this route like this, read internal dialogue!

What is the story? To me it is the railroad and the river and their juxtaposition with the mountains. Does the sun or sky add to the image, is it a balancing compositional element? Not really, the extreme brightness on the edge of the frame is more a distraction than a key element to 'the story'. In that case it becomes obvious to lose the sun and sky hence the hard letterbox crop.

Now to tell the story, bring back the blue in the sky, control overall highlights and shadows. Then put a curves layer on and mask it, then paint in the important bits, the railroad and the tree lines, they now give you very strong lead in lines to the heart of the story, the majestic mountains that are not lost because of the size of the sky.

Not sure if you agree, but I think it is a much stronger image now. If you are interested I can give you the breakdown on the adjustments, though apart from the crop I'm not too sure how well they will show up i the browsers.
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