I use eye fi card. I didnt know it was widespread. Have to go and research it now.

You can still get the sun in front of the subject and not have them squint, but only for a few shots, and with practice. You ask them to close their eyes, get them in their pose/how you want them, and then ask them to open their eyes normally. You take the photo, very quickly. Instantly. It works very well, but of course some people just can't handle it if it's TOO bright.

So, use open shade. Look for dappled light. You can indeed use the sun facing them, but you have to be far picker about it. Plus, you can always turn them away from the sun, and at least have their face be in shadow profile now.

I just took this of my girlfriend, testing out a new film camera, as we went shopping in a popular part of the city. Just a candid shot really, but it shows that by easily turning them away from the sun, you can get nice/basic/easy results. And no editing. I don't "edit" my film photos. Purity is fun, sometimes.


Good evening, square. by Sandy Phimester, on Flickr

Same thing here, the sun is mostly to her side, but by using the cover of these cherry blossom trees, we are getting a very small area of shade, and you can always be tricky with your shooting this way. More film, and no edits on these. Another reason I love me some film shootin!


Kirsten. Blossom. by Sandy Phimester, on Flickr

Both of those examples were in very harsh light, similar to what the original poster of this topic was complaining about. Yes, it can be harsh, and annoying, but when it's beaming that sunshine out, I like to wait, if I can, or plan to use it wisely to get good results.

Or you can just get creative with the hard light and use shadows in other neat ways...


Avery by Sandy Phimester, on Flickr


There are always options. You need to "find the light".

On the 5D Mark III, you can shoot in M mode and set AUTO ISO for the full range. I tested that feature out last night. I am not sure why the 5D Mark II is like it is. Although, I shouldn't complain because the 1Ds III you cannot set ISO to auto at all in M mode. That's why you do the Av mode trick, so you get shutter, aperture, ISO, and exposure comp, ALL FOUR able to adjust in one mode!! 8) Not to be in the 5D Mark II though. But that's ok. Just manually set your ISO and you're just fine.

Marsu42 said:

n0iZe said:

I made my decision and picked up a 100mm f/2.8L IS USM at my local Canon Pro store. Also I got me a 1.4x Extender III to make that 70-200 lens a bit longer.

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Good time to get them with the current rebates - but still enough time to get doubts because the Kenko 1.4x tc is up to par with the Canon concerning iq & fits the 100L, too :->

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There will always be space for doubts. Everything has it's good and it's bad part, so I'll now just have to live with my decision. If I really need the 1.4x Extender on the 100L as well I can still get me a Kenko one - and that combo is still cheaper than the 180L.

.

Couple of thoughts.

You may be constraining yourself with the perceived need for two cameras. Aside from giving one to your sister, I don't see why you really need two for what you say you're doing. Also, your aversion to zooms seems constraining.

Given that you're doing event photography I think you might address AF issues before lenses. The two bodies you have are inadequate for the versatility and quickness you really need in event photography -- which is people-centric (as is street photography). Someone suggested selling all and getting a 5D3. With a 24-70 and 70-200 (probably f/4 IS) that would do everything you need. Another possibility is a 7D -- replacing the T2i with that will solve the AF/speed issue and might allow you to keep the 5D2.

That may take you in a different direction, but I always think it's a good idea to match a body to shooting needs before addressing appropriate lenses.

For what it's worth!

sanj said:

I know what you saying...
BUT I live outside USA. Tried making a transfer but BOA asked for my 'pin' which I do not have.
I just have a bank account in US without any ATM/Credit card.
So couriered them a cheque.
Wonder why it would cost them anything to encash... Hmmm.

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US Banks are tacking on fees everywhere. If a business processes large numbers of checks, there is a fee added on. However, I expect that large businesses do not pay those fees, just small ones with little clout.
Most banks do not charge consumers a fee for depositing a check, but it you take it to a bank, watch out! About 2 years ago, I sold a camera to a newspaper and they paid with a business check, as is still very common. Normally, I'd just deposit it, but in this case, I took it to the issueing bank (Wells Fargo) and they charged me a fee to cash their own check. I complained to the manager, but he would not back down.
I have nothing more to do with Wells Fargo.

I think the 200-400mm f4 is a great idea for well lit sports. The capability of framing in camera, with out post production cropping is very desirable. The loss of one stop vs a 400L might be a problem.
It might also drop the ability to isolate from the background, so it depends on how close one can get to the action and what it's MFD is compared to the 400L.
Watching the male finals on Saturday, i spotted a 200-400 L IS, a few 400L's (mk 1 and mkII) and a 500L (mkI). So I guess it's a game of what works for you. I suspect that a 500mm focal length was needed, and the 400L's had 1.4x converters or were post cropping. I'm guessing that the 200-400 LIS had it's TC engaged.

If I want to get close to an item to photograph it, the 50L would never be my main choice. It's focus shift under 1m is well noted...although it's only a problem if you stop down. Wide open, my copy is pretty spot on. but it's not the sharpest of the L primes in that zone (close to MFD wide open) and it's noticably sharper at infinity or stopped down. It's not a soft lens per-se but it's not in the same league as a 35L or an 85IIL.
I prefer the 35L's wider view when shooting up close, I like it's rendering and angle of view. But neither lens performs as well as the ef 100mm L IS macro. That lens is quite increadible, maybe one of Canon's sharpest designs.
I've had every version of the Canon 50mm lenses, including the macro version and the best of the bunch is definatly the 50mm f1.2 L. It's far from perfect, but it's flare control, sharpness, contrast and build quality are as good as it gets (across all the brands). But not everyone needs these features, which is why it's expensive and Pro-oriented. It also underlines just how good the 50mm f1.4 USM is.

TC1006 said:

Hello,
So I validated that the PIC setting is enabled. Here is a test shot I took of a wall where the vignetting is really visible. Please advise.

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The exposure makes it look terrible. Try using the correct exposure.
Here is a image recently taken with my 5D MK II and the 50mm f/1.4 at f/1.4 with no lens corrections. Viginetting is hardly a big deal, but its there.

If you can't get a similar image, then yes, your lens has some issue.

No one can tell me it is a shame to put my 24L on a 1dm3. It is the perfect focal length for candids, just a bit wider than 35mm on a crop body so it really helps when shooting weddings to have that extra 5mm. Basically on any body you buy it will be like pure gold to your images. You want lenses get them. You can use a FF later but enjoy the amazing bokeh and sharpness of the 24L & 50L on your images. The 50L is on the 5dm3 most the time and the 24L is on the 1dm3 most the time, sometimes i swap them but always end up with blissful images.

What I actually want is a Canon compact superzoom of similar size to my SX200 IS; with the same level of controllability; RAW out of the box (no CHDK hack needed); and the APS-C sensor out of my 7D. I'm prepared to pay very good money for such pocketable convenience and image quality - but realise that I am probably in for a very long wait!

Coming down to earth with a bump, I find myself needing to replace the SX200; it travels everywhere I fly on business where 6Kg of 7D and paraphenalia is a showstopper, but the front optic has picked up a scratch that is visible as a soft-focus area in the middle of nearly every photograph. Repair cost exceeds the purchase price of an SX240 HS.

I realise that there is always a new model just around the corner, but is there likely a quantum image quality improvement for compact superzooms "just around the corner"? Perhaps not my 7D's APS-C sensor, but none the less a substantial step in that direction? A new technology rather than a tweak to today's CMOS?

I ask because I borrowed an SX240 HS to help me decide whether to buy one, and found that whilst it takes images of demonstrably higher quality than my SX200 IS, they are still very obviously "compact" images with a gaping chasm to what I get from old 400D, never mind my 7D. The biggest of all the weaknesses is easily blown highlights.

Many thanks.

wickidwombat said:

thank god its not a fine art forum, it seems everyone that took an under / over exposed blurry photo calls themselves a fine art photographer these days

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Damn, well there goes my last hope of being a 'fine art' photographer, you've seen through my idea already.

Oh well, at least i've got a day job not to quit...

That makes a lot of sense. In my humble opinion you should purchase at least one lens much faster than f2.8 at a useful focal length such as 50mm. This gives you a lot of options for narrow depth of field or low light situations you would otherwise miss completely.

Did you switch off the auto-lighting-optimizer? Today I intentionally tried to lure my 5D Mark III into overexposing some streetlights while shooting in the dark with up to ISO 12800 and the camera handled it just fine.

In case you switched the auto-lighting-optimizer off and you don't want to use it, you may have to manually underexpose the picture to get things right.

thx

Marsu42 said:

With a new version with "amateurish" IS and maybe replacing the 24-105 as the kit lens, the price might be oriented more towards the general dslr crowd and thus not much higher or even lower if the iq is great, but not as stellar as the non-IS.

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A couple of problems with this. One, they already did the R&D on the new IS, so, they'd put it in any new lens. They aren't going to invent a crappier version..and I can't see them willingly putting on an older version to a pro kit lens.

Two, the 24-105L isn't that old a lens, and people seem to like it well enough. They kitted it with the 5dIII, and I can only really see them changing kit lenses when they release their next pro-level camera. The closest thing that would be is a new 7D, which seems to be a ways off.

And, most likely they wouldn't make the new kit f/2.8, as it would kill an upgrade path for users. People who need more light upgrade from the f/4 to f/2.8 or primes. If you're already at f/2.8, you'd only be upgrading for IQ.

Marsu42 said:

They have 2x 70-200/2.8 in the lineup

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Mostly though, I can't see them releasing a 24-70 f/2.8IS that is say, $1500 (or less). For most users, they're gonna take the IS version because it has IS and is cheaper. Those that read deeply into reviews might go to the mII for sharpness, but, that's not the majority of users. Now they've just made their 24-70 obsolete soon after releasing it...a $2300/lens mistake.

Plus, it doesn't match the Canon philosophy, which is that IS versions cost more...in fact, I can't think of a single Canon lens where the non-IS version costs more than the IS version. The 70-200's nearly double in price with IS; the new non-L primes doubled in price with IS, etc.

This just sort of seems like a solution looking for a problem. The 24-105 kit lens is good for what it is...no need to update it to something that confuses users.

PowerShot honestly, I do quite a bit of mountaineering and you don't want any extra weight. If you are doing some alpine or rock climbing it's a different story. The lightest, most versatile equipment is your best friend.

Is there any article bound to this video? Just wanted to see high resolution images

markd61 said:

NormanBates said:

my theory is that, once manufacturing issues are solved, Canon will have to lower the price of their 5D3 because of low sales numbers, given that the D800 is so much better for stills in nearly every image quality metric, and its price is significantly lower too

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Why aren't you on a waiting list for the D-800 then? ???

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Likely because he is just a troll or realistically does know that it will Nikon take quite some time to resolve all these issues with the D800.

@Norman
I compared these 2 cams myself extensively too, out of 3 D800 I tried, in 3 different countries (UK, Germany, Spain), from 3 different production batches, at least one of them suffered from the following defects (some of which, like the left AF, all 3 showed the defect):

- strange spots on the sensor, (dirt, oil, I don't know) out of box!
- green tint on LCD, no color accuracy (officially not acknowledged by N, though obvious!)
- AWB with green tint
- outer left AF points not working, AF point pivoting
- soft focus on left side with some lenses
- scratches on mirror, out of box!
- total camera hang ups in some configs (by now there was a firmware update, but I read that it did not solve it with all cams)
- HDMI out not working with some recorders (one dealer couldn't get it to work, well I don't need that anyway, but an example for Specsheet hype vs RL)
- long exposure issues (see some blogs for details...this is really an ... for landscaping)
- liveview zoomed in is "wobbly" & noisy, useless for manual focusing
- moire issues
- LCDisplay frame rate very low (not a big thingy, but I think its the quality of the chosen LCD/Rendering solution chosen, which is just subpar)
- high video noise
- high mirror vibration, blurring pics
- Flashes are wirelessly not triggered reliably
- faulty battery
- misaligned pentaprism (basically more than 3 cams, because this was noticed by one dealer and he had a second D800...he shouldn't have told me...)

For several of these defects you'll easily find youtube videos and threads in Nikon forums discussing these too...

For me, it looks like Nikon currently has severe quality control issues with the D800.
Some of these obviously won't be solved by firmware and Nikon is not showing any(!) interest in acknowledging them (compared to Canon, who acted fairly quickly regarding the "little" light leak issue). Spoke with Nikon Germany sales on a fair again just recently too...which reduced my expectation that Nikon is going to do a lot about AF or other things I mentioned.
They consider most of the list as up to specs... :
To me it looks like there are many, many more issues with the new FF from Nikon compared to Canon's... and Nikon does not seem to do anything or care about several of them (except battery issues so far, where they are basically forced to).
Put on top that, I have the impression that the German Nikon support is far worse than the Canon.
My conclusion:
I personally move the price difference now into the category "you get what you pay for".

Oh and by the way, if I expose correct, I do not need the extra DR at low ISO, but at mid to high ISO I'm happy about the extra DR (over the Nikon), because there I probably need it more often when shooting AL...
I still prefer the Canon Skin tones and the 5D3 is more responsive than the D800.
(and there is more about the 5D3, which I prefer, but thats not subject of my post here)

So no, in no way is the D800 in IQ or other aspects far superior to the 5D3. Only for controlled light situations and tripod landscaping it is, but in real life, only in these situations, and for my taste only by a small amount. In others she is NOT.

Lesson learned: stop comparing spec sheets, but rent and go out and try/compare the cams of your interest yourself.
And stop interpreting silly sales charts of Amazon, they do not tell you what the right Cam is for you!

my 2 cents ;D

PS I bought the 5D3 with a german warranty, plus my CPS dealer grants an extended Canon warranty to 3 years.
Again, you get what you pay for

Possibly, will go onto their development page and read up, could be the way forward for me, cheers

Thank you, I was coming to that conclusion, and will probably wait until the end of the year and get a 5D III from a UK retailer, hopefully by then there may be a bit of a reduction in price.
Cameras are too expensive and complex to the risk not getting good service.

The last item I bought from Simply Electronics was the Extender 2x III in March 2012 for £340, it arrived very quickly without any problems, and works perfectly.

dr croubie said:

But no focussing helicoid?
Or is this going on a 4x5 bellows cam?

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Yes, it was a pancake bellows, I'm sure (at least when compressed)

.

Thanks, but TMI for me!!

Giving scammers free advertising is not a good practice.

pretty nice shots!