Glenn Bartley said:

What a poser!

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Awesome. Well done Glenn.

it is April 2015 I was with Canon CPS at LFW last Friday and had both the 5Ds and 5Dr in my hands, when I asked date of release they said April 2015

ScottyP said:

How about a flash sync speed above 1/180th? ... it would be a nice selling point on all Canon cameras.

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Good point, I wasn't thinking about that one. Fast flash sync seems to be more like a "pro feature" to prevent professionals buying the 6D instead of the well-rounded 5D-series. Still, I think the 6D series will continue to be a good & not-so-expensive backup camera. For me, the 6D mk I is the best go-to workhorse from canon for astrophotography (I do that a lot). I'm excited and looking forward to the arrival of the mk II, hopefully in 2015.

I had a cousin who got arrested for pulsating exposures within 500 feet of a middle school.. :

Thanks guys. I finally figured out the AF point select. I'll do some checking with a different TC so see if that solves the AF issue at f8. I knew someone here could help me out!

Trying to keep up with Angenieux who are the leaders in Motion Picture zooms currently.

Re: Canon Receives Prestigious Accolade From FORTUNE Magazine As One Of The World's Most Admired Com

1kind said:

fragilesi said:

Just lighting the blue touch paper . . . "Canon received its highest ranks in innovation, social responsibility and long-term investment value."

I'm not one to put a massive amount of store into such awards but it is a timely reminder of the paucity of some of the claims about Canon not being innovative.

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Canon does make other products other than cameras and lenses. Mixed reality, 4k reference display, medical, semiconductors and many other items.

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Really? Who ever would have thought it?

untenchicken said:

I just assumed (never smart, I know :-[ ) that my 6d would do what my 1d m3 would....

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In that case, it is indeed smart to cut back on assumptions 1d->6d or you might be in for a few other disappointments

Thanks for the quick reply!

I googled it a bit to understand the problem better and it seems like I've somehow managed to switch my format into something that makes the flickering problem appear. Not knowing the name of this problem caused me to panic and post a thread in CR!

I was so ready to send my camera in for some repeairs. Technology is sometimes just too complicated! =)

-Dan

Tinky said:

Nope. Same principles. Even with a dslr the mirror is out the way during still or video exposure. In live view or video its essentially in mlu position.

Even if you were doing rapid exposures in stills mode the mirror would be out the optical path (the r in dslr is for reflex) so there would be no difference.

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I think what he is asking is because mirror less cameras use the sensor for everything (evf) will you see this more often and the answer is probably yes but mostly in the evf and not any more in stills than a dslr. Unless the evf uses a super slow refresh rate you are probably somewhere in the range of the cycle. Also if the refresh is extremely fast you might see it more since you will catch more cycles. Yet another reason mirror less is dumb. Lol just kidding there is a time and place for mirrorless. That place is probably not in my bag though. I say probably only so I don't look like an idiot if and when I add one.

[quote author=Tinky]
Even something as old as the 600D or 7D
[/quote]

I couldn't agree more. After the first 5 or so videos I made on my YouTube channel I upgraded from an iPhone to a 600D (T3i) and it has fantastic video when set correctly and edited properly. I was very happy with it. I did eventually upgrade again to the 7D2 but that was more for the stills side. It does have its benefits for video though. The DPAF and AFMA on top of the focus racking that stm lenses offer are all really nice features that in the rebel line. And the 60fps frame rate is nice to have even if it doesn't get used much, saves me having to try using something twixtor that blends frames and can (but not always) look artificial and low quality

Gentleman, you made my day

YuengLinger said:

What is more unusual, pairing a weasel with a woodpecker or a 70D with an ef 300mm 2.8? Hmmm... :

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Don Haines said:

But what camera do you use to shoot a woodpecker on a weasel?

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BLFPhoto said:

I shoot outdoors all the time with speed lights. My recommendation, if you can afford it, is to go with the 600ex-rt kit at BHPhotovideo that comes with two speedlights and a remote transmitter. The radio control works flawlessly in all conditions. And use a different modifier than umbrellas. Umbrellas always catch the wind, and with ultralight stands, probably give you fits.

With the kit above, you have many options for lighting. Two off-camera light positions in one or two groups. Both speedlights paired for more power, particularly where you're using hss. Or one light on camera and the other off camera, with the on-camera as master, firing bounce or not firing. The paired speedlights stacked does reasonable when cross lighting with the sun over the subject's shoulder. I use that a lot for sports portraits and hss action shots.

The only drawback with my rec is that you cannot pair your current 430s with the setup unless you go back to the optical trigger for all of the lights, and that is a nightmare outside in bright light.

I have amassed 6 600ex-rts and two remotes. There is very little I will not try to tackle with that setup. And for those jobs...I'm buying two of the profoto b1s for when I need raw power.

Seriously...if you can stretch it at all, the 600ex-rt system is the way to go. No more pocket wizards or other outboard triggers, and absolutely reliable firing and control of the lights.

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Agree, 100%.

privatebydesign said:

geekpower said:

Regarding the section on your guide about infinity focus, isn't the purpose of the "past infinity" part of the focus ring to allow for the effect of different temperatures on the lens?

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Yes it is.

And the TS-E lenses focus even further past infinity to give you more control over the plain of focus.

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That's only true on the TS-E 17. The 24, 45, and 90 do not have that much extra room past the marking.

It probably has to do with the field curvature of the 17mm when fully shifted.

I would recommend renting the 100-400 L II and a 1.4x III converter. I own both the and the new 100-400 works really well with the 1-4x converter.

It is still a collection of parts, and some will fail.

What would prevent the possibility of a different part or assembly failing on a replacement camera?

If it had been in the shop several times for similar issues, yes, I would want a new one. I couldn't see Canon giving you a new camera for one failure any more than a car dealer giving you a new car if the transmission fails in 4000 miles.

Thank you Click.

Cheers, Graham.

Click said:

Roo said:

rpt said:

Nice shots!

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Graham or the artillery men? ;D

Excellent pics Graham!

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;D LOL



Nicely done Graham.

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privatebydesign said:

It is true, the 16-35 f4 IS is a considerable image improvement over the 17-40 f4, and you get IS. Having got the 16-35 f4IS I wouldn't hesitate to recommend it to pretty much anybody.

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I agree.

The 16-35/4L IS is a very big improvement over both the EF 16-35/2,8L II and EF 17-40/4L. I have over the last 10 years owned many copies of both lenses, got frustrated with the IQ, sold them and after a while bought them back because Canon had no alternatives. In the end I switched to Nikon and the AF-S 14-24/2,8 which I had for three years. The IQ was very good, but it isn't possible to use filters on the Nikon, which is very important for me, and it is very large and heavy. It was therefore a great satisfaction for me to try the new 16-35/4L IS which is very sharp, actually in the same class as Nikons 14-24mm.
16-35mm is the ideal zoom range in the wideangle area. 14mm is in my opinion too wide. Then it is better to use a 8-15mm Fisheye which I also own. If you know what you are doing, a Fisheye gives in many situations more natural pictures than a 14mm wideangle. Also with people in the frame.

Which lens I would choose? Not the Canon 11-24/2,8 or Nikon 14-24/2,8. You can't use filter on either of them. And both of them stop on 24mm. I then had to buy also a 24-70mm zoom because I need the 18-28mm area. Silly to switch between two lenses (Which I did for many years with the Nikon) when a single 16-35mm can do it all.

The winner? None of them! The EF 16-35/4L IS is the best. It is cheaper, lighter, more compact and it takes 77mm filters. Of course it lack f2,8 but instead it has IS which is more important! Especially with the new 5Ds 50Mpix camera. Nobody really needs f2,8 for landscapes or street photos/architecture. The DOF is then too narrow. F2,8 is of course great for photographing the Northern light, but then you can buy the 14/2,8L II instead?

privatebydesign said:

...
I will be very interested to see how many D810 and 14-24 users swap over to the 5DSR and 11-24, they might not get as much DR, but they get tons more everything else! ...

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Let me guess..
Maybe.. Zero..?

However, I do agree with the last: they will get definitely tons of noisy and blurry gigabytes to deal with.. :-X

Zeidora said:

Zooms can not match the quality of primes; maybe at one focal length they are close, but going away from the sweet spot shows its signs. Too many optical/mechanical trade-offs. I consider any zoom, L or non-L, as "lower end". I'm not in the "good enough" crowd. If that tele-zoom suits your needs/wants, all is well. As you can see below, I don't have a single zoom for good reasons, and it works for me.

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Fair enough: what works for you. I have a mixture of zooms and primes, I agree that when circumstances allow a prime is often better (I can get a better result from an f1.4 prime stopped down to f2.8 than an f2.8 zoom used wide open) and of course as I'm almost always shooting at 1/50th (video) the flexibility of a much wider aperture is useful.

However f2.8 zooms are fantastic when 'good enough' might also mean 'quick enough', 'in time enough', 'on budget
enough', 'portable enough', 'discrete enough' etc. I would love the opportunity to use a prime in every shot, but it wouldn't benefit my clients in any real way, though I do try to use a couple of cameras with a fast prime on each for set interviews.

Thanks for your answer though, It didn't really refer in any practical way to my question, but you've put it out there about your nice big lenses, and that you don't rate zooms, so thanks for that.

KitsVancouver said:

I will bite. It's a great photo, but from a pure sharpness perspective, it's just OK.

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I agree. It is the price to be paid for a higher MP sensor. Maybe someday I will have the AA filter removed from my 7D2 and filter potential moire issues in post.

Hi,

Thank you very, very much for your detailed and competent answers, Mt Spokane Photography, Marsu42 and Tinky

It really helped me and now I can understand it better. Will also try Magic Lantern, it sounds interesting.

Thanks for your hints, Tinky. I just tried QuickTime and my videos looks there better than on VLC.
Thank you also for your editing software tipp and the moiré-tricks. It helped me a lot.

Julia

http://greypartridgefilms.com/sigma-150-600mm-f5-6-3-dg-os-hsm-sports-review/

Morning walk. by ARSiega, on Flickr

The biggest problem you are running into is the actual spectral output of the bulbs. Don't be fooled by 'daylight' or high CRI figures, they are easy to get around. What you need are genuine full spectrum bulbs and the only brand that I use are the leading manufacturer of them, Solux.

Look through here http://www.solux.net/cgi-bin/tlistore/infopages/index.html and get the best for your situation, the halogens do produce a lot of heat but there are other options. Once you get them set it up, do the ColorChecker once and you are good for any subject, same exposure, same WB and same camera profile, make that an import preset and you are done.