kennephoto said:

You're not raining on my parade, though Mother Nature sure is doing a fine job here in MN. I bought the camera for collector purposes not for professional use. It's still a cool camera. I had a 1Ds II for a few days but it sold within an hour of putting it on eBay when I posted it. The 1Ds II was great too! Too bad the LCD screens are rubbish but its sure helping me to focus on shooting rather than look at the screen after every shot!

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I stopped looking at the screen after I started shooting in raw. Having said that, I started over saturating and over contrasting since I've been shooting in raw...

Before you go and spend thousands or even hundreds of dollars on advanced workshops or subscriptions, you might want to check out some of my Crash Courses for beginning & intermediate photographers. Have videos for the 5Diii, Speedlites and several advanced courses.

I guarantee it will be the best $38 investment you make in your photography education. If not, Ill refund your money!

http://www.michaelthemaven.com/products/

jonathan7007 said:

The Doc's comments are spot-on (couldn't resist, sorry) and well-described. Especially that last part about getting to know your sensor and its relationship with the in-camera meter. My 1DsMk3 sensor really likes 2/3 stop "overexposure" according to all meters. The 5DMk3 not so much. (Yes, I practice some ETTR, too.)

One last vote for the L558. Keep an eye on eBay and pick a number never bidding above that "just to get this one..." This worked for me. I picked $180-200 and missed - I think - three. They keep on coming!

The L558 has the display inside the viewfinder for use while spot metering. It lacks the USB connection. The 558 does have some cine settings or maybe more exactly: readouts to appeal to cine-people. Really, the 558 will do ya and maybe leave a lens in there somewhere. The Doc's right about the seeing part: tonal relationships.

Good luck and have fun. Your meter will solve some wonderment and always be sellable if it ends up staying in your bag every time you shoot.

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That's exactly it - my 1Ds3 also likes 2/3 stop OE. I get the richest details in both highlight and shadows and the RAW files are dead on with it.

Drizzt321 said:

Thanks docholliday, maybe I'll pick one of those 758's up when I get truly serious about my film photography and can tell myself I don't need any more lenses :

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Why just for film? I've had some of my meters since the film days (L328 & L558), but it's just as useful in digital - both studio and out-and-about. It's more useful to get a $200 (or $100) meter than it is to get more lenses!

Remember that photography is not about "taking pictures" - it's more about controlling light. The composition and all that comes later is a much smaller part of the process.

You really don't need the USB in the 758 for profiling sensors (it's nice, but not necessary). In the film days, many people (including Ansel Adams, John Sexton, Christopher Burkett, etc) would profile their film using film tests and a hand meter. Even today, the best shooters and printers still test their "medium" extensively to understand it's limitations - Burkett is known to burn hundreds of sheets of film and/or paper just to test the range and response of a batch, as that batch of 1000 sheets may be different from the next.

If you use the spot meter in your camera at all, you know that the spot's size is dependent on the lens used. A hand spot is a definitive x degrees - usually 1, 3 or 5. It will help you utilize the in camera spot more accurately to the point where you can "trust" your in camera meter. The 608 Zoom master even has a dial to choose how big the spot is in the meter.

It really is worth it to get that hand meter and forcing yourself to use it. You learn to see scenes as the camera does and it make you a *real* photographer, not just somebody who is spraying-and-praying their digital, chimping, making an adjustment to what (they think is correct), then repeating ad nauseum until things look ok. As said before, you can always sell your meter later once you don't need it (most of us thought that at first, but never lost need for it!).

Oh, and you'll also realize that what looks good on the camera's screen isn't correct by the time you get the details extracted out of the RAW in post! ESPECIALLY if you ETTR. I used to pull Fuji NPC (negative film) about 2/3 stop down to get the best. With Fuji Astia, it was usually +1/3.

My 1DsMkII liked -1/3 compensation and my 1DsMkIII likes +2/3. You should see what the images on screen look like - I don't even have my screen come on anymore. If I need feedback, I'll tether to my TabletPC running Lightroom, apply the necessary correction scripts automatically, and preview it on there!

Thanks joema. I may take a look at one next week, and will report back if I do - depends on the work schedule.

I must admit they do look interesting.

You have a great kit that most people would love to have. Your 2.8 zooms are as good as it gets, but heavier than their f/4 counterparts. If you're looking to lighten the load and add IS for travel, you could "downgrade" to either the 24-70 f/4 IS or 24-105 f/4 IS. Questionable decision. Same thing with the 70-200 2.8: you could add IS and drop some weight by going with either the 70-200 f/4 IS or the 70-300L IS. Still questionable.

If you need to change anything, I'd upgrade the 50 1.8 to either the 50 1.4 or 85 1.8 for portraits....

there was a deal at Rakuten a month or two back where you could get the mkiii and a lens, 24-105, for 3700 and then you get 600 back in points that you could use for nearly anything.

well i decided against it and I'm glad i did. taken has since been riddled with credit card fraud of their customers. so the moral of the story is make sure you trust where you buy from.

I got mine from Amazon and they were freaking great.

Oh, I thought I'd do a "if you don't know what all that stuff means then you don't need a 1Dx".........(grins).

It's just that the 1Dx offers more options as expected, and that's just one of them. The numbers are not the same on either camera, i.e. level 10 on 1Dx does not equate to level 10 on the 5D3. The # levels are simply "quality" levels, and are not necessarily standardized to anything.

CR Backup Admin said:

If a certain poster is posting things that you don't want to read, add him to your ignore list. That's a better option than flaming and drawing a warning or ban.

http://www.canonrumors.com/forum/index.php?topic=15495.0

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Did not know it could be done ... nice to know ... thanks

One more

Crumpler 6 or 7 million dollar home.

You guys are right,
we couldn't figure this out because it was photoshopped involving layers and stuff.

Thank you very much!!!

CarlTN said:

ecka said:

CarlTN said:

ecka said:

Yes. I agree.
The lack of third party RAW processing software support doesn't help as well.

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Are you saying you can't process the foveon's RAW images with third party software? Because myself and most others who used it, did so with no trouble. I have not heard of a lack of support for the new Merrill sensor, if that is what you're saying. So that's news to me. You're saying Lightroom 4 cannot open Merrill RAW files?

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Yes. I was talking about Merrill RAW files, Adobe has no support for them yet. However, previous generations of Foveon RAW are supported.

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I wonder if LR 5 will support the Merrill RAW files from any of their bodies?

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I hope so

My new twins...1 month old...
It took a month to have the energy to take the DSLR out and take some photos....
Previous were Fuji X10 snapshots...

Just saw this when I went to sign in my Nikon Image Space account

http://info.nikonimagespace.com/trouble_info/00027/?lang=en_US

Thank you for using “NIKON IMAGE SPACE”.

It has come to our attention that new accounts for 43 users created between 12:10 pm, Thursday, June 6, and 10:00 pm, Tuesday, June 11, 2013 (all dates/times in Japan Standard Time) can be accessed by another 43 users, and vice versa. This means that accounts for a total of 86 users can each be accessed by two users—the actual account holder and one other user. Random account access by various users is not possible. This is the result of a problem with the “NIKON IMAGE SPACE” system.

After examining the system, we found evidence that the images and membership information (name, nickname, e-mail address, telephone number) of 32 of those users had been accessed in some way without the user's knowledge.

Immediately after this problem was detected, we identified the cause, implemented measures to prevent recurrence, and confirmed that it had not occurred with more than the 32 users identified.

However, to prevent the situation from becoming any worse, all of the original 86 users, including the 32 indicated above, affected by these problems remain unable to log-in to their accounts.

In addition to this announcement, we have e-mailed affected users individually with a report of the problems and our sincerest apologies. We will continue to assist affected users in good faith.

*Worldwide distribution of 32 affected users
8 in Japan, 11 in the U.S., 3 in Italy, 2 each in Spain, Germany, and Australia,
1 each in the U.K., France, Belgium, and Malaysia

At Nikon, we have worked continuously to strengthen and ensure the security of personal information. Therefore, we take problems like this one very seriously. We will perform a complete inspection of the “NIKON IMAGE SPACE” system to prevent them from happening again and to restore reliability.

We sincerely apologize for any trouble, concern, or worry these system problems have caused users of “NIKON IMAGE SPACE”.

Details

1. Cause
────────────────────────────────────────────
There were problems with the “NIKON IMAGE SPACE” internal program updated on June 6, 2013 (Thursday). Usually, with new membership registration, a unique number, used for internal management of accounts, is assigned to each member. Over the span of several days, however, several of the same numbers were assigned to two new members.
2. Response
────────────────────────────────────────────
Immediately after this problem was detected, we identified the cause, implemented measures to prevent recurrence, and confirmed that it had not occurred with more than the 32 users identified. Finally, the internal program was corrected at 6:30 pm on June 14, 2013 (Friday) to ensure that these unique internal management numbers are not assigned to more than one user or account.
3. Measures to prevent recurrence
────────────────────────────────────────────
Nikon takes this problem very seriously indeed. Not only will a revision of system design and quality standards be implemented, but the monitoring system and items monitored to ensure consistency of data will be reinforced to prevent future inconsistencies and restore reliability.

We hope that you will continue to use “NIKON IMAGE SPACE”.

Don't forget to gel your flash to match the ambient light if you're mixing flash. I always keep a 1/4, 1/2 and full CTO precut gel in a little plastic bag inside the speedlite case at all times. For more serious stuff I use the Honl gels filter set and speed strap.

Everything said about equivalence, etc., is correct but it is also a well kept secret that the 7D has problems with blue skies, even for a crop body. The crop Nikon cameras are much better in that respect.

Drizzt321 said:

Yea, he's very good. My best friend, and mostly the reason I've gotten pulled into various small production stuff. His IMDB page if you want. If you're ever in LA, feel free to PM me and get in touch even if it's just to have a few drinks or a bite to eat.

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I checked his IMDB page, thank you for the link. I'd be very glad to meet you both, I'm planning to cross the ocean next year and chances are that I'll end up just in LA, so... who knows!

I use Av nearly all the time on my Canon 7D... however when I shoot birds (and occasionally planes) - it is then that I use Tv - and usually set the shutter speed at 1/2000 sec.

Auto ISO - often between 100 and 1600 - and usually if there is some daylight, I'm fine. In less light, that's when things get tricky (though panning shots can work - if you are experienced enough). I have a 70-300mm L that I use for most 'birds in flight' (or plane) photos.

Definitely do use spot metering, as often other modes can underexpose. And for AF settings - I use Servo mode and the central zone AF area or the version with 'focus assist points' enabled.

Best wishes.

Paul

So I guess we can all agree that a 28-55 f/1.8 with a design similar to Sigma's 18-35 f/1.8 would be big, heavy, and expensive.

However, I still believe a full frame faster-than-2.8 zoom is possible with some additional compromises in aperture and focal range. Maybe with an all new design (external zoom instead?), something like a 28-50 f/2 or 35-85 f/2 lens could be possible. Or even a variable aperture 24-70 f/1.8-2.8 lens.

bglanzbe said:

Another question for the group. If I go with the 6D upgrade from the T2i (rather than the 7D), what is the most portable and lightweight speedlight that you would recommend?

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I have a 430 ex and it is really good for indoor close work... but I wouldn't mind if it were more powerful. I might mull over the 600 in a year or two.

How can we reach the full movie? I like to watch that movie....

Just a quick pic of an anhinga fishing this morning in the marsh. Lighting was not too great with overcast skies.

So I've recently started shooting with an old Pre-WWII Mamiya Six II/III (10x10mm waist viewfinder), it's great, but I'm trying to figure out how to use a flash with it (probably get an older, small pocketable flash). There's no pc-sync port that I see. You can find some images at Camera-Wiki, and the specific model I have has this specific lens/shutter/mount. Note, this is not mine, but I can provide images of my specific camera if needed. So, anyone shot with this style back (way back) in the day? Or will I have to cobble together my own method for triggering a flash if I want to use one with this?

Niki said:

for me the 5d mIII

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I agree.

youtube.com/watch?v=OkwP80Tt_VU

I saw this review for It awhile back, as a budget dslr video shooter it seems intriguing, but only interesting practically at best