Hmm posting isn't working?

peterisviksna said:

But what does it really give you? What is the point of changing them?

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I bought the screen with the grid and it is a blessing as it improves my "shoot level" capability a lot, meaning less rotating necessary in post and more effective mp to use.

I know the 5d3 has it as a red overlay, but the advantage of the grid on the screen is that it's always there, very unobtrusive and you just see it when you want to. In hindsight I should have bought this for my 60d years ago.

.
One day in April, 2013, I picked up my Sigma 35mmA at my post office (purchased at B&H). I drove straight to an event, put the lens on my 5D3, went outside and took a few shots of a brick wall and a passing train to confirm it functioned. Then I went into a bar, grabbed a lovely bartender, put her next to a window with gentle, soft light and checked focus at f/1.4. Everything was fine. I shot the event with the lens and have never had a problem of any kind with that lens -- it rarely gets disconnected from my 5D3 nowadays.

Now, using it on a T2i was a whole different story. I tried shooting one event using the T2i with the Sigma 35 as a second camera. The OOF rate was in the 50% range. I never used it on the T2i again. The T2i was not at fault, per se, as I used many other lenses on it and all were perfect to acceptable.

For my part, I do not accept any idea of widespread AF issues with the 50mmA -- at least not on FF camera bodies. There will always be lenses, no matter who makes them, that do not work perfectly. If I had to guess, I'll bet the actual faulty AF rate for the Sigma 50mmA is less than 1%. I'd bet the house that I could buy a 50, stick it on my 5D3 and do excellent work.

That's my story, and no one can make me say anything else!!

candyman said:

I like the first impressions of the Sony RX100 III
I am tempted to buy one.
I am also interested in a mirrorless system and may be willing to give up my DSLR's. I love my glass and the quality of it though it is big and heavy. To have this quality but smaller and lighter would be great.

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I recently got into the mirrorless world wit Sony a7 & a6000 and half a doze lenses ... its a lot of fun being able to fit in the entire gear i.e. 2 cameras + 6 lenses ranging from 12mm (Full frame FOV) to 300mm (crop frame FOV) in my mid sized office bag with room to spare for my MBP and its adapter ... I could have never fit that much DSLR gear in any of my bags ... my 5D MK III & 70D are hardly getting any workout these days ... planning on getting the Sony RX 100 III soon.

sdsr said:

That's a shame - I thought it looked rather appealing (at least in terms of the dials on top). And thanks for the extra crop.

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I still really like using it, it's a sweet little camera! Just some vexing buttons on the early models.
Rumor has it... they've been improved in later production and there may even be a retrofit...
I was just gonna glue some "extensions" onto them to improve things.

As for the much-touted superior high ISO performance of Fuji X cameras, have you encountered this issue?

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I've got a few Fujis and I've found that the biggest benefit is that the X-trans is remarkable free from blotchy chroma noise at high ISO.
The bayer-sensor X-A1 is about as chroma noise prone as any other modern sony-based sensor.
Fuji's in-camera processing is very good tho, and may account for some of that low noise appearance.
I haven't had enough time to mess with the raw files to draw my own conclusions. But that brings another; for someone like me who's used to shooting everything raw and tweaking in post, I find I can get a lot more shots the way I want them right out of the Fuji camera as a ready-to-go jpg for many uses.

I have not put my Fujis head-to-head with my Canon, Nikon, Pentax, or Olympus gear to see how they all expose the same scene. It's something I'm interested in doing tho, as I found some interesting metering ideosyncracies with my D800s and moreso with all my Pentax DSLRs.
My Canons seem more closely attuned to my Sekonic Light meters over a wider range of lighting and the Oly's I haven't wrung out yet.

DPreview found an exposure difference tho. And I would not be too surprised if there is.
.. actually, just doing a sunny-16 check on some XE1 shots from last weekend it seems it's about 1.5 stops off. I'd have to use my lightmeter and gray cards to really pin it down but looks like it's averaging ~ 1.5 stops more exposure is required at a given ISO.

I hope DxOmark figures out how to test them soon, for info' sake. i like the output regardless, I'll keep shooting with them. The lenses provide a nice looking rendering.

jrista said:

traingineer said:

jrista said:

PixInsight

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PixInsight

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Thanks to you and others who make these amazing things visible to us mere mortals. Two thumbs up!

R1-7D said:

The dynamic range on both is lacking...


Oh wait, wrong thread again. Both should be fine in rain.

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Ha ha

Nice Pics , TFS on CR !

Anil George

wickidwombat said:

agierke said:

i think this is one of the creepiest "genres" of photography. taking pictures of random women in bikinis without their knowledge? really? creepy...

sorry but i had to say it.

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I agree most of the shots posted are from behind, just plain bad composition, opportunistic shooting etc.
it would be much better to see proper shots lit proffessionally with a knowing model rather than pervy trenchcoat shots

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jdramirez said:

Dylan777 said:

jdramirez said:

As of today, I have 2 600ex rt's... so I'm debating on whether I'm going to get a another to do RT or the St-e3-rt... the YN-E3-RT isn't really on my radar screen... mostly because of this thread.

Though, it is a good problem to have. Which to get... which to get.

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Both

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I don't think I could go with three @ the same time. It's like women in bed... eventually one would feel left out...

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2 to 1 ratio works better in portrait. Balance is better with St-e3-rt on body over 600ex.

Hello! Been a while since I have posted, but I have been very busy with the yacht.
www.svunionp.blogspot.com
https://www.facebook.com/svunionp
So what we need is a good complement for our 7D.
I want good video, as good as the 7D, with a good autofocus.

Am I better off going with an older style canon video camera, that can take my lens I have now,
Or going with one of the newer consumer level units.
Usage of camera will be in a marine environment, for close up video blogging, and for action shots, waves crashing on deck, tack changes, ect.
Recommendations? price, sub 1000, the lower the better.

There are no links in your post Shawn.

Here is a great page by a fan of this camera: http://www.fototheque.com/xpan/

The depressing part about your sale for me was that the 90mm lens only works out to about the equivalent of a 50mm lens on a standard 35mm scale (film or full frame digital). The 30mm lens (17mm equivalent) talked about on there would be quite fun, though.

For $900, you could spend it better on current gear and get more immediate results.

Hi,

I use a 1DX with WFT-E6 for still photography and it works fine.

Today I made video with the Rode VideoMic Pro plugged straight into the camera and used the EOS Utility to change camera settings and did a bit of recording.
At editing time I noticed that there is a clicking noise on the audio, about two clicks/second.
I removed the WFT-E6 from 1DX, reshot and the clicking noise is gone

Has anybody experienced this as well?

Thanks guys,

@ eli72 - Wow, that is really good price.

privatebydesign said:

sagittariansrock said:

Oh, I didn't say they lied. Technically they are correct. They just made it sound a lot bigger and more meaningful than it is.
I originally thought it was for FF before I clicked on the link.

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I know you didn't, but after this thread the other day, http://www.canonrumors.com/forum/index.php?topic=21071.msg400779#msg400779 it struck me that many people just don't get the interaction of aperture and cropping.

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Frankly speaking, I didn't know it until I learned it early on these forums from a post by Neuro. But then, I was still to understand the concept that DoF is a perceptual parameter, and not a physical one.
And then someone posted a video by Tony Northrup, and everyone started criticizing how he says aperture changes according to the format. Except all he had said was the perceived effect of the aperture, i.e., DoF changes.

I would like one, especially if they make it in black.
I don't need the IS during photoshoot, but I really really miss it for video.
If it had IS, it would be my prefered lens at all time. Even now, I prefer it over my 85 1.2 and 135 f2 for photo but I have to put it back in the bag for video unless I am on a tripod. Monopod is a no go. For video, I use my macro 100 2.8L
I had the 70-200 but I sold it, and regret it big time because of IS.
Fixed focal length makes me think twice before taking a photo. Zoom makes me lazy and just shoot from whereever I am by zooming, then regret once get home looking at the photos.
I looked around and couldn't find any other IS-ed prime lens that can do the 200 2.8 does. If you have to have the IS I suggest buying the 70-200. At least you had the chance to work with the prime and you now know why you would shoot at 200 vs 135 or 70 for that matter.

Mt Spokane Photography said:

http://www.ehow.com/how_6469473_automatically-stamps-videos-sony-vegas.html

http://www.ehow.com/how_7837384_include-time-stamp-movie-maker.html

I expect that most decent video editing software does this.

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They are out of date and do not work in Vegas anymore and the other would take forever with months of videos.

I'd not be the one to experiment, but I'd be surprised if it did any more than confuse communicationwith the camera when both were on. There is data flowing thru the contacts and it may get all mixed up if you turned two items on, which is why they tell you only one flash on at a time, if you want it to communicate with the camera.

They come from China, the Chinese get subsidized shipping to the USA, but the cost of returning it is out of the question, and on the off chance that it does cause a failure, you will just eat any repairs.

NewCanonUser said:

I got the camera in Nov in a sales contest at work so I don't have the option to return it. Living in TX I'm not anywhere near the Canon repair locations (although that would have been nice.) When I contacted Canon they did not mention the option of a certified repair location. How would I go about finding out if there is one in the area?

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If you just got it in November, it's very likely that it's still under warranty. All you need is a proof of purchase and I'm sure someone in Accounting at work has the receipt. Get a copy of that, fill out the form on this page, then follow the instructions and mail it in for a free repair

Hasn't this lens been out for a couple of years? Anyway, I have the Canon version 1 for it, and I've used it with great success for capturing the Milky Way and for landscapes. I love this lens. When I bought a full frame, I was a little sad to lose it. I heard somewhere that the lens works on full frames if you leave it zoomed out at 16mm. I looked at how the back lens element worked and it seemed possible, so I tried it. Sure enough, the lens works on a full frame (at 16mm)! And so I've been able to continue using it. It does have more vignetting than normal for modern lenses, but it's not terrible.

I own the YN622c and I agree with Francois that it is fantastic. I had a Pixel King before it and that one was very unreliable and failed after few photo sessions. I might have had bad units.
The YNs on the other hand work nicely. What suprised me was that I put them on opposite sides of the room and they still get the ratio right even when the dancers moved onside to other on the floor.
HSS works fine as well. I am not sure if it is 200 or 250. I used it withYN 568 EX II as well as the Canon 480 EX II and works flawlesly at 160 (my standard). My manual flashes create banding starting at 250 and a total black above 640.
Creatively, when shooting perfomers from far away, I use an Einstein 640 as ambient light (fill light) -which doesn't do HSS in my case, and the 568 to be the main and rim light and I end up having the stand well lit, while the spectators underexposed due to the banding, but still seen (close to a silhouette - light from the speedlites); Shutter speed: 320.

unxpectederror said:

If your looking to shoot landscapes your looking at the completely wrong system.. I own Pro and Semi Pro DSLR from both Canon and Nikon.

my recommendations for a camera in your price range would be a refurbished D7100. the reason for this is simple, it has more pixels and it has a much larger dynamic range then any thing canon offers. It also lacks a AA filter which allows for more detail. the dynamic range is worlds better on Nikon cameras.

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Well yes (leaving aside the exaggerations), but if you're going to suggest looking "outside the box" it's worth noting that a Sony a6000 is cheaper, smaller, lighter, probably has better IQ, being mirrorless avoids the need for the tiresome AFMA routine and offers focus points over most of the sensor and, perhaps more important than any of that, you can easily (unless you need fast AF) use any Canon lenses on it -something the OP wants to do, after all, and which you can't do on a Nikon ....

scottkinfw said:

I won't comment on when to pull the trigger to buy.

I will comment on the lens itself. I have both the 2.8II and the f1.4L is. I prefer the latter for travel. It gives me great iq, is much easier to carry due to size/wt vs the 2.8 (and where weight is a limitation, this may mean you can pack another lens or body). I love this lens. If I had to sell one, it would be the 2.8.

sek

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Here's whom to listen to, someone who has both and has tested them for travel.