Sony is pushing limits with it's new MF 50mpx CMOS sensor - vey high IQ at ISO6400:

http://www.luminous-landscape.com/reviews/cameras/iq250_back_announced.shtml
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The IQ250's new Sony-built sensor offers options for medium-format shooters, including high-sensitivity performance up to ISO 6,400; exposures as short at 1/10,000 of a second and as long as one hour; and a dynamic range spanning 14 f-stops for a better ability to capture details in both shadows and highlights. It doesn't take advantage of CMOS sensors' superior ability to shoot video, but that's no surprise or even shortcoming given that Phase One sells machines designed solely to capturing the best still photos possible.
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http://reviews.cnet.com/digital-cameras/phase-one-iq250/4505-6501_7-35834930.html
http://www.imaging-resource.com/news/2014/01/24/phase-one-iq250-medium-format-camera-back-faster-better-in-low-light

Don and Adam
Thanks for the info so far.
Alan

bkpr100 said:

Hey all!
I'm a newcomer to the forums and a radio documentarian that's been expanding my storytelling to video over the last 5 years.

I've been seeing a few Nikkor/Nikon 80-200mm f/2.8's (specifically the AF edition) going used within the $500-$600 range and was wondering whether it might make sense to pick one of these up as the closest comparable lens in the Canon lineup price-wise is the non-IS 70-200 f/4 (??).

Acknowledging the tradeoff of losing A/F and 10mm of focal range (70 vs 80) while gaining an extra stop (f/2.8 vs f/4), do the Nikkor/Nikons become a good option in that price range?

This would be for video exclusively.

Appreciate any critical assessments that can be offered!

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Dear new friend Mr. bkpr100
Welcome to the Club, CR Members club, Sorry , I can not help you in your questions, But In this CR. WE HAVE SO MANY GREAT MEMBERS, GREAT TEACHERS, who can help you.
Good luck, and keep in touch.
Surapon

I'm happy to say I picked up the 6D on Thursday evening & got the 24-105mm F4 L IS USM. Have to say it's a sick camera. ISO & its highest is still good.

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Congratulations!!!

A vote for the Sigma 150 here.

SNOPPY1 said:

THE OTHER LENS IS A CANON 28-80MM $500 IS WITH THE GRIP OR WITH OUT?? HERE IS A LIST OF EVERYTHING I AM OFFERING.

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Like I said... 900 is about right. The 28-135 and the 28-80 are older lenses... and they aren't very impressive... at least not compared to the 18-135, 24-105, etc. The grip adds value to the package, but on its own isn't worth very much. Just the way things are... so maybe someone will give you $900... but if you tried to sell everything separately... you would probably receive WAY less.

I can't speak to the manfrotto gear... I'm ignorant.

70-200 is so narrow, you won't get any advantage over the 24-70.

Viggo said:

Stu said:

I have 4 600EX RTs and the ST-E3. The Canon ETTL-II TTL system seems to throw these off. When I have my camera in manual mode and the flash units on ratio the exposure values vary greatly as I move around on the set. I have not been able to figure this out. Over exposure up close and under exposure at a distance. That is what I had with my ST-E2 and my 580EX IIs. In order to overcome this I just change lenses to get the "sweet spot" for the flash. It is irritating enough to me to consider dumping them and moving to Profoto's new B1 strobes. Ideas?

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Use them in Manual, ettl I still find completely useless..

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ETTL is far from useless, but you have to understand what it is doing, what its strengths are, and how easy it is to completely confuse it.

The entire point of ETTL is to automatically deal with changing light to subject distances, not camera to subject distances. If you are using multiple static lights then ETTL will never give consistent results if you move around a subject, the light on the subject changes and the flashes are trying to give a "correct" illumination of the subject.

Take this as an example. One light on a stand next to the photographer pointing at the subject, the subject gets even illumination and is an easy ETTL task, move the light back three feet and shoot again, ETTL deals with that effortlessly, put the light in a softbox, again ETTL deals with that effortlessly. Now, leave the light where it is but walk around the subject so the light is falling at 90º to them, sidelight. The ETTL exposure calculation is now basing the flash exposure on only half the light it was before, you will tend to get a one stop over exposure of the subject. Now walk around the subject a bit further, to say 140º, rimlight. Now the ETTL calculation is basing the flash exposure on only 10% or so subject illumination, it is going to blow out the edges by giving the flash full power to try to light the entire subject. This is not what ETTL is designed for.

If a light in ETTL is only illuminating a small section of the subject ETTL will "fail".

Now picture this, on camera flash for fill and two lights on stands either side of a dance floor where the subjects and photographer are moving. The subject distance to the remote flashes doesn't change much so they can go in manual, if the floor is small and the lights closer the distances change more so ETTL will work better. The on camera flash distance does change, put that in ETTL and you will get consistent flash exposures. Or put a light on the end of a pole with an assistant that kinda tracks the subject, ETTL will adjust for that too. As it will for bounce flash etc etc.

Thank you Clay. Have fun shooting!

If you want to save money, get the YongNuo version of the st-e3-rt, the yn-e3-rt.

There has been great reviews of this unit on threads here on the forum...I'm gonna get one soon myself.


http://yn.eachshot.com/product/yongnuo-speedlite-wireless-transmitter-yn-e3-rt-for-canon-cameras-as-st-e3-rt/

Drizzt321 said:

Mt Spokane Photography said:

I'd probably just lock my self out, but hackers would have no issue. There are always loopholes in security schemes.

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Yup, steal the private key! Unless you use crappy settings and short length key to create the key, or keep the private key somewhere easy to access, unencrypted/no password/crappy password.

Or at least, that's what law enforcement will do. Oh, wait, they'll just make a bogus claim and force you to turn over the private key </sarcasm & tinfoil hat>

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You might give them the key, but you don't have to give them the password. Just make sure and have properly difficult passwords.



OH, and if law enforcement is involved, the smartest thing is to immediately LAWYER UP, and you shut up, don't tell them a thing.

https://www.youtube.com/user/FlexYourRights

I recently bought Canon 90EX Flash (which is usually bundled with Canon EOS M) as a master trigger on my 5DM3 to control 430EX. I wasn;t ready to spend $300 on a Canon Trigger or a more expensive 600RT yet.

I called Canon Tech Support to verify if it is compatible with 5DM3 before I bought it.

http://www.amazon.com/Canon-Speedlite-90EX-Flash-Camera/dp/B00GFWBOFC/ref=sr_1_1?ie=UTF8&qid=1390579113&sr=8-1&keywords=canon+90ex

I use this solely for family portraits. It works well for the money. As long as the slave Flashes (upto groups of 4) are in line of sight it works. Very light weight. The 90EX flash itself is just for fancy and does not illuminate the object like 430Ex though.

Hope this helps

Balaji

I'm shooting in SE Asia right now, where I've been for over 3 months. The 24-105 cannot be beat for focal range versatility and not having to change lenses out on the street. That said, I also brought a 35mm f/2 (smaller, lighter, cheaper than L) and it has quickly become my favorite street lens--when and if you can get up close and personal. At home I have a 100L and love it to death, but travel requires doing more with less.

This is simply jaw dropping impressive!!!!!

Email sent to [email protected]. Also posted on their official Facebook page. Apparently they replied to another post stating that they can service/repair flash units, but I'm still waiting for a response to my email.

gshocked said:

Hi,

I recently purchased the Lumiquest Event kit and have been using the Quick Bounce a lot.
Its great if you are shooting out doors and on a sunny day and want a bit of fill light to light up the subjects face. Also works well when you don't have a roof low enough to bounce off. Hence, why I went with this and not a Gary Fong Lightsphere..

The quick bounce also allows you to open up these little barn doors, which claims to let 80% of light out and then you get 20% of light reflected at you subject. I also have tried closing just one of the doors, which is suppose to bounce 40% of light.

I found this nice review on it, which I'll post up when I find it again.

This is one of the few English videos on youtube about this product. Its biased as he owns the company, I think, but at least it gives you an idea on how it works:

http://youtu.be/gjG96-MVoi0

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This looks like a nice option! I often use an 8" soft box on my speedlite at events, but there are times I want to bounce flash off a wall or the ceiling. Taking the soft box on and off with the Velcro attachments can be inconvenient at times. I think I'll get one of these.

jrista said:

Only thing I can think is that the registration distance of mirrorless cameras is so small that maybe flare is exacerbated by slight reflection off the sensor. The registration distance of DSLR's is much larger, so any kind of reflection off the sensor will fall of to almost nothing by the time it reaches the lens again. With EOS-M, or pretty much any other mirrorless camera, the registration distance is only a couple/few millimeters.

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That was my first thought, except he's using a 40mm pancake lens so the registration distance will be exactly the same as if it were on an EF mount DSLR.

AcutancePhotography said:

Rienzphotoz said:

AcutancePhotography said:

gshocked said:

I like most of their videos but I do wish they put a bit more thought into substance vs humor.

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I am a big fan of DigRevTv. But I have to say that this particular video lacks either.

No where factual to be useful
Not really all that funny to be entertaining.

I think Kai kinda phoned this one in.

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In comparison to many of his more entertaining videos, yes I agree.

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Besides without Alamby, it just ain't that good.

I hope she is still with them. She has not been in the past few videos. She really added a lot to the videos.

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Yeah I wondered about her sudden disappearance ... she was a cute little thing that added that extra zing to the videos.

Canon Direct usually has refurbs available for around $1500.

Wide open, the 135 + 1.4x is fairly soft and not a match for the 200 2.8, but stopped down a bit, it's not bad. This combo was actually one of my earlier "wildlife" lenses, which worked decently on a crop body.

Here's a peek at the performance:
http://www.the-digital-picture.com/Reviews/ISO-12233-Sample-Crops.aspx?Lens=108&Camera=453&Sample=0&FLI=3&API=1&LensComp=245&CameraComp=0&FLIComp=0&APIComp=0

And a sample of what the combo can do at f/4:

Hjalmarg1 said:

kdw75 said:

I stumbled upon this and thought I would share.

<scam link removed by mod>

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When it is to good to be true, then it's a scam

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Well, it wasn't that good. I bought mine for $1450 last week from Amazon.

alek35 said:

Nice picture!
One question though - the CR2 looks 2 stops underexposed to me and at f/22 you are losing some sharpness due to diffraction. Wouldn't it have become even better had it been shot at say f/11 ?

Regards,
Thomas

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At least 3 stops of underexposure on this one!

Without F22 on this particular subject (lower foreground just within minimum focus distance) the focus overall is much softer. lenses perform best somewhere in the middle of the range, however with wide-angle low F numbers like that don't work without the need for focus stacking.

I'd rather maximize F22 - which is of very high quality on good lenses if used within the MFD - than bring a photograph into Photoshop.

Mt Spokane Photography said:

Quasimodo said:

I might have given up to easily... Which brand do you use?

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I use Sensor Swabs (Brand) and moisten them with eclipse fluid. I've had a lot of junk get on my sensors from the pec pads I bought, and from the pre-moistened Sensor Swabs.
Good sensor swabs are not cheap, and when it takes 5 of them plus the expensive eclipse fluid, I cringe. $32 for a dozen ff sized dry ones plus you need the eclipse fluid.

Most of the time, a rocket blower does the job, but I've had some gunk that was difficult to remove on my 5D MK II and my 1D MK III.

Amazon has them.

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I am wondering if those are the ones I have. I have to check when I get home from the office

Mr_Canuck said:

That's a great set of shots. Nice work. Was the rock wall anywhere near that red? The only thing that jumps out at me. Your treatment of the images is strongly saturated but I think still tasteful and not overdone.

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Interesting timing that you ask, as I was just posting about my trip to Yosemite this past weekend with original .CR2s + TIFFs of the images. Check it out here: http://www.canonrumors.com/forum/index.php?topic=19217.msg359907#msg359907

With a long exposure on a low ISO the reds come out-of-camera with too much saturation. I'm careful never to increase saturation in that situation, with sometimes actually decreasing saturation a bit, while at the same time increasing exposure slightly.