Brilliant marketing campaign. Quite funny too! I appreciate the point they are making, although I'd like to think most of the time I'm not in one of those categories.

a shot like that, i.e. no depth you can shoot at f8 and that will help...

Thank you!

That answers my question exactly.

Wow, did that sell out fast. I managed to get one.

The Imaging World is selling the EF24-70 f/2.8L II for $2099. They claim they are an authorised seller, though I don't see them listed on Canon's list. Still too rich for me...

Yep, they loved the 5D Mark III more than the Nikon D800 ;D

DR is like USD-the less you have-the more you need

Be careful of using polarizers for video. Polarization works on the angles and if the camera is moving then it can cause issues with different amounts of polarization occuring. Also it causes change in the colors of things and if you are doing a shoot with multiple clips, then color matching and look matching between clips becomes a huge issue. I will suggest that you first try out with polarizer.

As for how it works what others have given is the best answer unless you are not using circular polarizer.

Now that I understand this is for video, not stills....hahaha......

I think I'd still shoot the video in color....flat 'cine style' type settings.....and use PP techniques to turn it into B&W.

I'm certainly NO expert....but my gut feeling is that that's the direction I'd go with video out of my 5D3, if I wanted a B&W final product....

HTH,

cayenne

The 70-200/2.8 IS II is the unbeatable CANON BENCHMARK LENS.
If all wedding photographers go 70-200 it's for plenty of reasons

Mt Spokane Photography said:

The problem is that there is no list of which lenses work with the Kenko TC, or which new lenses may be incompatible. As far as I know, this only happens with the 5D MK III, but may also happen on the 1D X.
I had hoped to use the TC with my 100L, I prefer a little more magnification at times.

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You tested the Kenko 1.4x *DGX* with a/the red dot, correct? ... and which fw version did you on the 5d3? when the tc didn't work?

The problem is that other people have gotten it to work, and Kenko themselves have stated it is (or was?) compatible:

drjlo said:

We have checked all lenses you mentioned with Canon 5D Mark 3 and Teleplus PRO300 DGX 1.4x Canon.
And we haven't any problems in these combinations.
Canon 135 f/2L
Canon 85 f/1.2L II
Canon 100 f/2.8 L
Canon 35 f/1.4 L

Click to expand...

... but again all the different reports make me think that Kenko does silent updates on their tc firmware to make it compatible with newer camera bodies but w/o notifying customers so that they don't have to dump their "old" tcs - it should have an usb port like the new Sigma lenses :-o

Re: 6d Kid Lens

If the same thing happens with the 6D that did to the 5D3 it'll be $1200 in 6 months.

What you read on page 81 is true for any slave flash(600EX-RT)..when you have only one flash to trigger. Thing is that you do not have access to D and E when you only have 1 flash.

So in summary, on the slave (for a setup with one flash) you can choose to put it in either A, B or C

hope this clarifies.

Jesse said:

Policar, it's marketing? It's FREE.

Click to expand...

Most marketing is free.

The cameras aren't.

I've used both neutral and log extensively. I recently shot some B roll for a made-for-tv feature (A camera was Alexa, B camera Epic) and because it was a log show I shot most of the footage in cinestyle. (Cinestyle was introduced for intercutting with log footage and NOT as a "flat" high DR alternative, as it offers no additional DR over neutral with contrast set at low.) I accidentally shot some footage in neutral with contrast low, too.

Ultimately, even in a log show, there was no material advantage to shooting cinestyle. Sure the corrections were closer to the corrections for the Alexa footage, but not significantly. And there was no more DR and tonality was slightly poorer. A total wash when the footage was exposed well, but cinestyle footage exposed wrong looks dreadful.

As for manual white balance, I disagree very strongly with suggestions to white balance manually. I shoot 3200K for tungsten lit scenes and night exteriors with uncorrected HMIs (personal preference) and 5600K for daylight. Fluorescent preset for fluorescent to ward off the green cast. Then adjust in post. I can understand using cloudy white balance for cloudy scenes or to add a warm pop to a daylight image, but if you white balance every shot or set up manually you will have catastrophes in post. Not all light sources are meant to be neutral and when they are 3200K, fluorescent, and 5600K have you covered for 99% of set ups. I've heard stories of very inexperienced first timers doing this--white balancing every shot--and the cast and crew laughing behind their backs and the footage coming out just horrible. DO NOT do this. It's such a bad idea it's almost comic. At best it's innocuous; at worst it will ruin your footage and cost tons of time in post. DO NOT white balance each shot manually unless you have a very good reason to.

24p is NTSC. PAL is 25fps.

Basti187's recommendation is excellent. You can try cinestyle but you will come to the same conclusion the rest of us have--it's useful in theory for intercutting footage with a log show. In practice, all it does is hurt tonality. Look up prolost flat. That's what his recommendation is similar to.

Its fairly common, Call Canon and ask for a replacement. They just stretch on over the end of the lens. They are plastic, and sometimes it ages and fails.

I have seen shutter count as high as 2000 and the lowest was 16. Never had any issue with refurbished and I bought many of them. It's better than any used camera imo.

leolol said:

Lee Filters can work with adapters but the 14mm doesnt have a filter thread. But there are adapters available!

I know it a really different price point but the samyang 14mm is also a very nice lens and af on super-wide angles isnt that important.

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That Samyang looks like quite a bargain considering what you get.

Does anyone have any experience with the Nikon 14-24 with 16-9 Novoflex adapter? I've read great things about this combination and even Lee offers a filter system specifically for this lens (unfortunately the Big Stopper doesn't fit, though).

For those who own the G1X, did you purchase the lens filter adapter and do you use a lens filter on the camera at all times to protect the lens?

thanks

pwp said:

Hmmm sounds decidedly odd. Do your other lenses work OK on your 7D?

The Sigma 120-400 is never going to be a match for good L glass such as the most obvious equivalent, the Canon 100-400L. But the Sigma is half the price. Even so, what you describe absolutely shouldn't be happening. If you bought it new I'd be looking at a refund or a fresh copy if you're still inside the 14 day DOA period.

-PW

Click to expand...

way outside return period,grey import[AUS],all other lenses,bar Sigma 150 F2.8 macro: 100 f2.8L IS,70-300 L IS,70-200 f4 L and Tokina 11-16 are sharp and crisp,the Siggy 150 is fine in manual and sometimes AF,doesn't display same degree of Doris,shall post so as to give you fine folks an idea of prob

I like my primes to be small, light and fast. Just the opposite of my zooms. I would like to own a 35L but I think what I would benifit more from is the 35 f/2 IS. Perfect for a small event or party where IS is helpful for low light as well as a relatively wide aperture for moving subjects. I really like my 50 f/1.8 but on a 7D (I prefer my 7D for it's AF and speed) it's just a bit too long and focuses quite slow. The 35 f/2 IS sounds perfect. Can't wait!

Kathode-Ray said:

I vote for the Metz Mecablitz 58 AF-2 digital. Works very well, even the custom functions can be set in camera.

Basically it's a 580 clone, with a bit extra. It has a USB port for future firmware upgrades, and a small secondary flash at the front for fills, I like that very much. Oh, and you don't have to study the manual to get it working, the menu is very straight-forward

Ray

Click to expand...

If you only have one flash, this also has the useful feature of a smaller secondary on the flash which can be used for front fill when you're bouncing the main unit. I have the AF-1 (bought it 3 weeks before the AF-2 came out and 1 week before the related AF-1 prie drop, teach me not to hit the internet before a purchase).

Like it quite a bit, has all the functions of a 580EX, plus the above and some strobing capabilities.

bgran8 said:

Thank you, everyone for the tips. I wish there were more clouds in the forecast, but maybe we'll luck out and get a few. Any tips on where exactly to go to get a good picture of the Furnace Creek dunes? It will be dark when I get there in the morning, so any suggestions on where to park and how far I need to walk would help out. Thanks again.

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Stovepipe Wells, about 30 min from Furnace Creek. Parking is signed - probably a 15 min walk from the lot to the dunes.

Yes, it's normal. The flash head cannot zoom to any setting, only to specific positions. It will always round down to the wider value so the whole frame is lit.

well if the best is 1dmk 4 then you can count out what the numbers will be with a 24x36 sensor regarding FWC and read out noise.

Today canon is behind the best players in the market regarding FWC and read out noise=DR

I'm an unashamed frontline fan of APS-H. But I think my 1D4 may well be my last APS-H body. From a business viewpoint it makes complete sense for Canon to rationalize to FF and APS-C. What Dr Neuro says about the profitable environment Canon has created to push people into new, longer lenses will chime with a lot of photographers. For my particular needs the 300 f/2.8is on APS-H is practical and ideal. But on FF 1DX the need to dig deep for a 400 f/2.8isII will be essential. So I'll be squeezing maximum life out of the 1D4, delaying the 1DX/400 f/2.8isII purchase.

Another reason for holding off on the 1DX/400 f/2.8isII purchase is the potential for a 7DII presenting as a high quality APS-C alternative to the 1D4. Not that superb 1-Series build/ergonomics we know and love, but a substantially viable, inexpensive sports/wildlife/BIF 1D4 replacement. With even more reach.

-PW

I had the Sigma 85/1.4 first. The IQ and AF speed were great, but the focus was inconsistent. I sent it in to Sigma along with my 5D3 for them to calibrate it, but it still wasn't right, so I returned it and bought the 85L. That is a nearly perfect lens. I have no complaints, including AF speed, which I find to be perfectly adequate for shots of my 16-month old daughter who never stops moving.

However, I'm now considering trying another copy of the Sigma. Why? Because, as others have pointed out, if it's 95% as good as the 85L then I can use the $1,000 or so I'll net on the transaction to buy another lens, or perhaps an OM-D for travel, which I've been considering. The other thing I preferred about the Sigma was the lower weight and smaller size relative to the 85L.

Although... I could easily imagine selling the 85L and regretting it afterward. It really is a magical lens.