NancyP said:

A used Uni-loc aluminum tripod is on its way to me now. The lower segment goes over the upper segment, so you can immerse the tripod up to ~25 inches or a bit more without having water or mud/muck enter the works. The larger models ought to be able to be immersed up to ~35" or a bit more.

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I have used Benbo (the predecessor of UniLock) for over twenty years. As far as tripods go they are not fantastic, but fun and very good for field macro work. The offset center column doesn't make them anywhere near as sturdy as traditional tripods the same weight, but the top leg lock system really is cool.

http://www.wragge-law.com/insights/eu-copyright-reform-eu-parliament-vote-on-changes/?utm_source=alert&utm_medium=email&utm_campaign=aaa

plam_1980 said:

Very nice photo, I love horses. Did you use some diffuser for the light?

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thanks .
no diffuser , just a 430 exII on full power

Outstanding shots guys!!
I guess the deed was done in your second image Neuro!!! ;D

Dylan777 said:

2. Left, Right and Down Button set as Focus Setting. This setting allows me to move the AF point faster, kinda like joystick on 1dx.

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Thanks. I'll play with un-assigning and setting them all to Focus Setting to see which works best.

would you call this high key?

CanonFanBoy said:

zim said:

CanonFanBoy said:

Off topic, but why do I keep seeing people use:
"Canon have" instead of "Canon has"
"Canon were" instead of "Canon was"
"Canon are" instead of "Canon is" etc.

Just seems like strange usage to me. I never see people write:
"Ford Motor Company have announced three new models for 2017."
or "Kraft Cheese are spinning off the XYZ unit this quarter."
or "The man were upset by recent happenings."

I only see this on this forum. I've never seen this anywhere else. Some people here do it very consistently.

Maybe I am (are?)confused?

The Reuters news story at the beginning of this thread doesn't do this.

Dilbert, you do it (Not just you). I am just curious as to why.

Just wondering.

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Ah, English as she is spoke!
I think it might be something Canon done

Don't know about the pacific people your talk about but I think it's reasonable to cut a lot of slack to non naïve English speakers on the interweb

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It wasn't meant as a criticism. I think the person I mentioned and asked is a native speaker. Just curiosity.

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Collective nouns, names of companies etc should indeed take the singular of verbs. The Americans are much more careful about the correct grammar than the Brits. Our ill-educated politicians are among the worst culprits and usually say the "Government are.." instead of the correct the "Government is" etc.

Recent brief TN video comparing a7rII versus the usual suspects, both stills and video. AF experience with Canon lenses and Metabones Mark IV adapter was much better than Commlite adapter; but, still mixed performance. Up to ~ 300 mm seemed o.k., over 300 mm - i.e. long end of 100-400 mm zoom and 400 mm & 500 mm primes - performance was "not usable." Tracking seemed much improved but not fantastic.

Watch and draw your own conclusions. Remember, it's TN so not terribly scientific.
https://youtu.be/C1kI4NacaUw

The only way these make sense is if they have higher resolution for 4k video. That's the weakness of the current cine lenses from Rokinon, and if all these are adding is a better housing and longer focus throw, they are DOA.

I have to imagine they are a different (or better) optical quality though, cause Rokinon hasnt really taken a greedy path pricing wise. Their cine versions of the still lenses are only slightly more costly, whereas they could have marked them up 2x like a lot of companies

I do video for a living, amongst the many cameras I have used and presently use, from 2/3 type ENG to 1/3 type camcorder to DSLR I very very VERY ocassionally grab a quick pick up or cutaway shot on my Powershot SX230, primarily because in some occassions I see something that would be useful, and it happens to be the only camera I have on me (it lives in my glovebox)

In good light, and with a frame rate flash in Cinema Tools it actually cuts in very well with DSLR footage for GV type shots. The 400mm+ equivalent zoom is useful as is IS.

Downsides are that there is no manual control.

Do any of Canons other powershots offer any form of manual control in video, main problem is auto exposure ramping, sometimes WB is off, and occasionally too high an ISO kicks in...

It's not to replace a dedicated DSLR or video camera, its really something compact, big zoom with just a little control over video. CDHK can't help... any thoughts?

zim said:

I don't remember signing the model release form 8)

Me and the wife used to do callanetics. I think that might be a different thing, just a guess ;D

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Dear Leadfingers,

here is a link to an excellent article by canonpricewatch.com on how to buy online and what to watch out for.

http://www.canonpricewatch.com/blog/info/

Be sure to click on the blue links and read the underlying articles. While knowing whether you're buying a US/Canada or graymarket item is important, there are a lot of other things to look out for as well. Hope this helps.

Vivid Color

TeT said:

This lens is for when you want to strap the camera round your neck enjoy your day and take a couple of pictures along the way...

Some of you act as if you are disappointed that it's not Studio Quality Glass. If it is better than the current Canon EF-S 18 200 IS at $249 then this lens will be a roaring success... (either better IQ in the center range or faster on the focus would qualify as better; both would be sensational)

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if I want to strap a camera round my neck just to take a couple of pictures and i know that the quality is not studio or even good i would be more interested in a small p&s camera for around eur 350,- (sony rx100 or whatever)
- super lightweight
- much smaller than an (small) dslr with a big lens from which i know its not the best image quality

i never understood the combination dslr + cheap superzoom.
today, every p&s-camera can take also very good image quality... (how often do you print poster from your "walk-around-trip? ???

i often compared (daylight-) pictures - dslr and (for example) my fuji x20... downsize them in photoshop at 1920x1080 oder maybe 2048 x 1536 for ipad, do a little bit sharpening and you wont see a big difference.

(all together, maybe a little bit worse than crop-dslr - but the fact of size and weight makes a "p&s-walk-around-zoom-camera" much more comfortable.)


if i want good/premium quality (nightshots for example)... I take my FF and a good glass.
If that doesn´t matter (walk-around)... p&s is the way to go


what i would like to say... cheap superzoom... WHY??? ;D

Going from speed lights to D!'s and I have read the flex tt5 can give HyperSync which is not as good as high speed sync but similar. Wondering if anyone has experience using it outside and what you think of the results.

Hi,

I'm looking into getting the 1D C for 4K Shooting in the next 6 months or so. Has anyone heard anything about its replacement? The C- 300 series is double the price, so out of my budget. Just trying to gauge wether it is a good time to pick up the 1D C or not. I heard rumor that they might not update that camera at all, that or just combine the two 1D lines again.

Thanks!

As a newbie I had my expensive lesson in the power of wind when a gentle zephyr shifted my Elincrom EL500 with a 40 inch umbrella from vertical to horizontal, smashed onto greasy concrete in a major oil refinery. Ouch!

My strategies to avoid a repeat vary. The first thing I did was research for lightstands with the widest footprint. This is always listed in the specs. I avoid raising the stand too high. Sandbags are useful. I often ask an assistant or junior client subordinate to just stand with a hand on the lightstand. They're usually eager to participate in the process in a useful way. Sometimes where practical I lash the lightstand to a pole, small tree, post etc with a bungy strap or releasable cable tie. It's the same with reflectors, though a fall won't be expensive, just irritating. I know photographers with white vans who occasionally use the van as a reflector if the location allows.

To achieve a given result, especially shooting outdoors, sometimes you just have to be a bit clever and invent something on the spot. It's part of the fun of being a photographer.

I overheard a friend at a social event who is a motivated, busy and successful photographer explaining to someone why he chose to be a photographer..."well it sure beats the hell out of having to work for a living..." ;D ;D ;D

-pw

johnf3f said:

A couple of months ago I sold my 24-105 to help fund a 24-70 F2.8 V2.
Is it worth it? Yes. However the 24-70 V2 is much more expensive, has no IS (Yipee!) and needs new filters (as you have noted).
The 24-70 V2 is an upgrade but, at smaller apertures, not necessarily a huge one. I am pleased with my purchase and feel it was well worth the price. Others may pixel peep and state that there is not much difference at F8 or so - they may be right. However my landscape images are looking better and that's all I care about. Very non technical but images now look sharper and have more life and colour rendition is superb.

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+1

Have the 24-70 V2, sold the 24-105. Glad I did for serious work. For walking around I miss the 24-105. Lighter and greater.

I have no idea what this is going to cost, BUT I WANT IT!

Fosters said:

Butterfly in Jertes Valley

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Beautiful. Nicely done Fosters.

RichATL said:

I hate Scott Bourne and everything he stands for with the exception of one thing...
Filters...

"why pay thousands of dollars for high quality optics only to put a $25 coaster in front of it?"

Not a direct quote but close enough...

I use filters on my most expensive glass, for protection.. and the sub $1000 stuff I just go commando.

I only use B+W's XS MRCs with the nano coating... they are the easiest to clean, the most scratch resistant, and optically superior to most other filters.

Lenses were designed to perform at their best with exactly the number of elements they are built with...
If you MUST add another element, don't skimp on the quality.

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Ok, I know I'm a "little" late on this thread, but what's with your hatred for Scott Bourne and everything he "stands for"??
I know very little about the guy and I"m hoping to gain some perspective. Thank you. Ed

Just got mine and it handles better than mk1. Never really liked push pull design.
Am probably going to sell my 300 f4L as hardly use it now.

Thanks!!!

lion rock said:

Foster,
Nice.
More?
-r

Fosters said:

Street from Jaraiz de la Vera, Extremadura, Spain.

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Hi all,

I've been using my 7DMkII with a Sigma 300-800 lens, sometimes with a matching Sigma 1.4x converter. Regardless of whether the converter is in use, when shooting bursts, I'm encountering frustrating levels of exposure inconsistency. The following images are untouched and unmanipulated, straight out of the camera, opened in Lightroom, and exported as jpegs. They were all part of a series or burst of images and feature the exact same exif data. The camera says the exposure is the same, Lightroom says the exposure is the same, yet it is obviously NOT. This is happening to about every 3rd image in a burst. Any thoughts? Is there a setting I'm missing that needs to be tweaked?

Some of these images are poor quality, but they represent the exposure issue quite well.

A few other details: Shot in AV mode, servo autofocus

I'm all ears for any thoughts on what might be done to remedy this issue.

dilbert said:

lo lite said:

I want a modern successor of the famous Flektogon 2.8/20, although this lens was made by the east german branch of Zeiss (Carl Zeiss Jena). I especially like the short closest focusing distance of just 19mm of this lens and wonder if an even shorter one would be possible. Also, I dream of a faster aperture of 1.4 for this focal length although I don't know if physics allows for this (F/1.8 is possible: http://www.sigmaphoto.com/product/20mm-f18-ex-dg-asp-rf and I would buy this lens if Sigma would bring a version with HSM).

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If Sigma did a 20/1.8 Art, you could count me in on that!

Rick said:

On the other hand, Zeiss released an 85 and 25 for their Batis lineup so maybe the new normal is the 25mm FL.

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If Zeiss used the 25 Batis as the groundwork for an Otus then why would they have separate names for the two lines of lenses? I think you'll find that the target price point of Batis and Otis lenses is slightly different.

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The Zeiss Batis lenses are designed for the Sony E mount full-frame cameras with a flange depth of 18mm (same as Canon EF-M). The Canon EF/EF-S flange depth is 44mm, and Nikon F-Mount 46.5mm which is where the Zeiss Otus lenses sit.

One thing that has bothered me ever since I've seen the 100-400MkII, is that if you do choose to remove the tripod foot you leave the mounting threads open to be filled with dirt.
A person could just find something that threads in there to fill the hole, but even then you're going to have to brush out the other spaces, and (most importantly, of course) it's aesthetically horrible.

You would think this should be a prime target for accessory manufacturers, but thus far I haven't seen anything that fits the description.
Does anyone make a cap for the tripod collar on the 100-400MkII when you want to use it without the foot?

And more importantly, are there any that add WWII crosshairs?