Daniel Flather said:

Many on this forum like to chew on Canon about prices, check this ad out!

http://winnipeg.kijiji.ca/c-buy-and-sell-cameras-camcorders-Brand-New-Canon-5D-Full-Camera-Package-for-Independent-Filmmaker-W0QQAdIdZ452226547

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Yeah the whole kit is worth $5500 tops $11000 is crazy but it does say please make an offer.

jimy444 said:

Hi Guys
i am facing a problem when using my 5d mark 2 during night shots
I am shooting at 5 - 10 - 30 seconds and bulb and it is taking as much time for the picture to display on the screen/finish processing as the exposure time

example if i set the exposure to 30 seconds it takes another 30 seconds for photo to appear
and the buffer is going full and making me wait after couple of shots.
Imagine doing it on long exposures, 100 secs each.. i can only shoot couple of shots and it will make me wait to finish precess before i can even shoot another one.

is this normal ?
are you facing such problems, i tried with a friends 5dmark 2 and it is going much faster. even with a 200 seconds exposure the photo is appearing the second the shutter closes, and it is a big problem as i shoot night skies and scenery to wait that long for each photo...

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The increased time is the built-in camera Long Exposure Noise Reduction (LENR). It exposes what is called a Dark Frame after the light frame, and that frame is used to subtract noise (assuming it works...in-camera LENR does not always work.)

If you are doing night sky astrophotography and want low noise results, it is better to handle noise reduction on your own. You can take your own dark frames, as well as bias frames, in addition to light frames, and combine them all with a tool like DeepSkyStacker. DSS will use multiple light frames to maximize SNR, and use a properly combined dark frame and bias frame to subtract the noise.

Light Frames are the full color exposures of the night sky. It is best to have as many of these as you can. A single light frame will be very noise, poor in contrast, low in SNR, and otherwise barely sufficient for a night sky photograph. Stacking two light frames produces better results with higher contrast, but you will still have a low SNR. It is best to shoot at least 20 light frames or more of the same stellar object to maximize SNR.

Dark Frames are exposed the same as light frames, only with the lens cap on. By "the same as light frames", I mean...EVERYTHING has to be the same. Shutter, Aperture, ISO, AND temperature. The temperature matters her because it affects noise. If you are shooting the sky on a very cold night, dark current will be lower than on a normal night, and noise will be lower than on a normal night. You can expose all dark frames after the entire sequence of light frames is done. It is best to have 16-20 dark frames to produce a master dark frame for that particular shoot. If you end up shooting 40, 60, 80 light frames, you still only need to have 16-20 dark frames.

Bias Frames are created at the fastest possible shutter speed, and the same ISO as the light frames. It does not matter what the temperature is. Again, it is best to have 16-20 bias frames to produce a master bias frame for that particular shoot.

Once you have a set of light frames, dark frames, and bias frames, you can stack them with a tool like DSS. Just give it all the files, and it will take care of the rest. It'll produce master dark and bias frames for you from their individual frames. It will then process the light frames...align them, apply the dark and bias frames, then stack them to produce a single, low-noise, high SNR night sky photo. Once you have the initial night sky photo...you are pretty much on your own to tweak the final outcome (which is actually quite a pain with DSS, you might end up better off by exporting the default output for tweaking in another program.)

The results of the above method should be far superior to single-shot exposures of the night sky, with or without in-camera LENR.

I know some fd lenses are highly regarded, but the proof is really in the pudding. Not all lenses are made at the same standard deviation, so there are some 24-70's mkii that are AMAZING... and some that are merely great. So it depends on where in the spectrum that lens falls. If you can try it out for a week and compare and contrast... do it.

Vivid Color said:

I mostly plan to shoot skills, but maybe some limited video. Also, while most of my shots will probably be single shot, some pix may be shot using continuous. Any additional advice on the speed of the cards would be appreciated. Should I just get the 95MB/s cards to be safe?

And, finally advice on the size of cards would be helpful. Is there any image quality differences among the different sizes?

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If you shoot a lot of RAW images, then a larger capacity card like a 64GB is the way to go ... since you are going to do a Safari in Tanzania I assume you would want to capture a lot of wildlife and if the wildlife that you plan on shooting happens to be birds or fast moving animals, and you want to shoot RAW, than yes 95/MBs is the way to go. But if you only shoot in jpeg and/or particularly not so fast animals, even a 45 MB/s card will be more than sufficient ... these days the 64GB capacity 45MB/s cards are not very expensive, in fact B&H is having a sale on SanDisk 64GB 45MB/s card till 31 March 2013 - it only costs $65.56 now

I said I'm not a pro....but I am in my field. I'm a pro freelance videographer. Through the years I've shot not only video but 35 and 16 motion picture film and 4x5 and 8x10 view camera projects but by far the lions share of my work has been with video.

I know the 7D is great for airshows. I've carried both to shoot with. I'd love to buy a 5DIII but since I don't make a living shooting stills it's hard to justify buying one. I bought both current cameras used but with very low shutter counts. It will be a while before the 5DIII comes down to where I bought these two cameras for. I guess I'll wait before selling to see if a really nice 300 2.8 shows up for a good price that I can afford.

I have a 500mm F4 IS (original, not II) and could not get the foot loose (I got the first screw loose but the 2nd would not turn so I gave up). Any suggestions besides stronger torque? I tried using a small allen key - perhaps that was my problem.

accidentally found this, so I thought I'll share, though you might have seen it already...

relax with a 24-105 of a 50mm under your head

http://www.homezooka.com/2011/07/photography-enthusiasts-plushtography-lens-pillows-home-trend-house-trends/

dilbert said:

Is there some reason why Google won't answer this question for you?

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Google does have the answer to most questions, doesn't it.

However, I had never even considered buying my CF cards from the US before, and only discovered they were almost half the price of the UK by mistake. That's why I wondered whether other CR members in Asia and elsewhere outside the US, buy their cards there. Google probably couldn't answer that question, though it might be able to once it finds this thread. I also wondered whether the US was the cheapest, or whether I had missed somewhere else.

In fact this little discovery (for me at least) means I might be buying a bit more than just CF cards from the US in future.

Hello,

Long time reader / first time poster. I recently purchased the 24-105mm lens as an upgrade of my 28-135 lens. From the reviews I have read, it appears the 24-105's performance at 105mm is not as strong as other focal lengths. When I shoot at relatively close distances at 105mm with my 24-105mm lens using the center focus point, the center performance of the lens appears fine but the corners appear out of focus rather than merely soft. I've looked at images from distances between 10-30 feet and noticed the same results. The corner performance at 105mm with subjects at or near infinity focus is fine (about the same as my 28-135mm but not as good as my 70-300L, which is about what I expected). Perhaps the increased depth of field at infinity focus explains this. Stopping down to F/8 also helps, but does not completely alleviate the issue. Applying an AF microadjustment of +10 on my 5D III improves corner performance; however, the center performance then deteriorates - the same also happens when I focus on the corner of the frame either through live view or the viewfinder. As all the corners are out of focus to approximately the same degree, this does not seem to be a centering issue. Has anyone else experienced this with your 24-105mm lens? Is this typical behavior for the 24-105mm lens? Thank you in advance for your comments.

Your kit is fine. I guess you could sell the 5Dc and 100 f/2. You don't really need them do you? If you need a second body then keep the 5Dc.

I would also sell the 24-105 as you have a 50 and 70-200 that covers most of that range. Do u often shoot wider than 50? If so maybe sell that 24-105 and get a 35L or sigma 35.

If you went on a shoot you could then have a 35 on one body and a 135 on the other. Sorted. Two bodies two lenses. Plus the fifty in your pocket just incase.

Keep the the 70-200 for days that require some versatility.

I do agree that having one lens that covers wide to telephoto is very useful. I sometimes wish I had the 24-105L. However, if you are serious about portraits primes are the way to go. An 85 and a 135 and you're all set.

I also think one of the cheap 50's might be worth investing in. They really come in handy and on a FF you can can work in some real tight spaces.

So many ways you can spend your money that it really depends on your own shooting style. We could advise you all day long about this lens and that. But at the end of the day only you know what you actually need.

I have seen that sentence sooo many times "Overpowering the sun" Well, how often do you shoot with the sun directly behind your subjec AND with the attention of still keeping the sky dark blue?

What I have found to work great, at least since I mainly use one light, is that I shoot with the sun more to the side and use it as a rim-light, and then the added bonus is that I can use a polartizer since I'm 90 degrees to the sun. If I shoot with the sun directly behind my subject I often go for the flare-type shot and even then I can get some good detail in the background at 400Ws, the issue with power is if you want the sun towards the camera with 2 stop underexposed background and you have both diffusers (of the Deep octa) and the deflector, doesn't happen very often in MY case at least.

I have the Quadra-head mounted to the Octa at all times, it's like just having the Octa, it's soo small and light, about the size of a 50 L, but one third of the weight...

This example is just one of my facebook-uploads so it isn't the highest quality, but hey. (god I miss my mac, it's being serviced) And I wasn't near the limit of 400Ws on this shot. Shot with only outer diffuser. Very hard sun.

Thank you all for your input! As I said, I frankly don't see its performance that far behind the Canon 100-400, based on the tests I've seen online, and on the images. Really the main thing that hobbles the sharpness is the OS. (And the OS really is 4 stops...where Canon's 100-400's is only 2). Kind of seems like some of you skipped to only the criticisms of the lens, and forgot the positive aspects.

As I said, the 50-500 didn't look any sharper in the tests and photos I have seen online. It also costs $1500, weighs 6 pounds, is not f/5.6 at 400mm...I could go on.

As for the 120-400 not actually being f/5.6...I don't see why that would be? It has the same proportions and front element size as the 100-400...so unless you think that one is also not f/5.6 (along with the Canon 400 f/5.6 prime)...I don't really see why it wouldn't be f/5.6?? In fact, that kind of comment seems like some kind of silly snobbish slam on Sigma, based on rumor rather than fact.

In any case, at this time, no, my budget won't allow for spending $1600 on a lens, and then another $2200 on a full frame body (preferably that's with a 24-105...especially it won't if I decide to get a 5D3 with 24-105, rather than a 6D). So...no...it's not better to just wait and save up for some huge expensive lens. Not at all. If I need one of those, I rent one. And no, I am not making money from my wildlife photography, do any of you?

The Canon 100-400 just is not worth the money to me. If I had loads of disposable income, I would just collect the latest supertele lenses like some of you, but I can't.

As for the 50D's AF being not all that great...maybe it's not, but it works pretty well considering its age. I doubt the 60D's works any better. Even the mighty 5D3's system is lacking, compared to the 1DX.

Get a Nikon D7100 imo. Suggestions from owner of both 5D3 and D7000.
10 Thoughts on Being a Photographer - John Greengo

its a dof issue... unless ur a landscape photographer u not really bothered the other end and all lenses tend to go to f22

TexPhoto said:

The G15 does not have a built-in intervelomitor, so you will need a shutter release with one built into that: http://www.ebay.com/sch/i.html?_sacat=0&_from=R40&_nkw=aputure%20timer%20rebel&_sop=15

Here is an article worth reading: http://cheesycam.com/canon-powershot-g15-compact-vacation-time-lapse-camera/

For shorter time-lapses, (less than 30 minutes) I often just shoot video, then speed that up.

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Thank you sir for the valuable comments. You helped me a lot

TexasBadger said:

I think fing lights for portraits are creepy! Unless you are going for a vampire effect. Wait a minute, can you photograph a vampire...

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Only in live view. Since vampires don't reflect in mirrors, the viewfinder will be blank on an SLR.

neuroanatomist said:

With birds, you usually need all the focal length you can get.

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Ain't that the truth

Well, then the 300 f4 IS USM might work. It gives me a constant aperture and with a 1.4x TC on a crop body I get the equivalent of 672mm at f5.6. It would be lighter than the 100-400; I retain AF and at the native 300 FL should be sharper but at 400mm and beyond, its performance may not be satisfactory

The 500, or 600 f4L IS II USM would be perfect: that is if I had $10-12K to spend on a lens

neuroanatomist said:

Don Haines said:

and never try to hand-hold a lens that won't fit in your boot

and Neuro is right.... an apartment is a flat

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Wait, wait...boot...is that the things on my feet today, to make it easier to walk through the 11" (or is that 28 cm?) of snow that's fallen so far here in Boston...or is that the large compartment in my car where I carry groceries, etc.? Because a 70-200/2.8 won't easily fit in the former, but an 800/5.6 will easily fit in the latter.

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How about either? BTW, I have a pair of size 13 boots that I use in the far North that you could slip you 600 f4 into.

Mt Spokane Photography said:

mrsfotografie said:

agierke said:

sounds like there may have been impact damage upon shipping. there should never be an abrasive feel when zooming/focusing an L lens.

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Ha, the focus ring of my 24-105 has gotten a little abrasive due to desert sand getting in there (fortunately not in the lens itself) but only if you push it beyond the stops. It's still a killer lens though

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There are no stops on a 24-70mmL, or on a 24-105mmL, or any of the USM lenses with full time manual focus. They have a slip clutch and that is what allows full time manual focus. Try it, you can keep turning the focus ring as long as you want and will not reach a stop. Of course, the lens elements have a stop, but the focus ring is designed to keep turning without any damage.

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Yep. It has a slip-clutch and that's what I meant with 'pushing it beyond the stops'

QwRad - I have same camera, lenses and Kenko TC as you discuss. They seem to work fine. What do you mean by "both had AFMA adjustments by lenses..........etc"

Learning moment here.......

Agree that G-12 is a good bridge camera. I can attest that it's very durable as I drug mine all over Africa before I bought my MK III. Plus - it allows him some room to grow if he so elects. it has several easy to access adjustments that are easy to learn. For video, it's much easier to hold and control than a PS. I do have the filter kit and it gives nice flexibility.

OP, the behavior you see is due to Auto ISO. Take it off of Auto ISO!

Did a few -about 8- of them with blurb in the old times. The provided free software is prob. the best one out there (not counting AI or CS of course). Also you can sell the book from blurb's store.

However the print quality was prob. the worst. The images - that print perfectly at any size from 4x6 to 16x24 or even at 20x30 at a variety of local print stores and mpix - looked like they were printed on a matrix printer.

If you are going for Blurb make sure you read around on their forum: http://forums.blurb.com/forums/5/topics/13515
Plenty of posts like this and interestingly they get closed very quickly Wish the issues would be fixed that fast but I guess policing a forum is just easier.

My next ones will be from a place where I can get quality and layflat books.
I'm also looking into the Chinese connection.. If you're not worried about sending your high res photos to China to a relatively unknown (by us/here) company their rates and quality is pretty good:
http://www.alibaba.com/trade/search?IndexArea=product_en&SearchText=photo_book_printing&moqf=MOQF&moqt=MOQT500

Bottom line I'd check a few reviews: http://thedailydigi.com/12-different-photobook-printer-reviews/
There are some more if you google them with detailed info which prob. will help you more than what we say here

If I were you- and I think thats the point- I would take my best equipment.
This is my 5D3, the Tokina 16-28, the 24-70, the 70-200 and the 1,4TK.

And the Sony RX100 if I am at a place, where I cant bring the big stuff.

Depends on you, how much you can and want to bear.

Best wishes for the trip.