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Sep 28, 2012

tks

Do you know where to get them online and what price ?
Specially a site that sends worldwide, do you you know any China site that sells them too ?
I am from Brazil and mostly Us sellers don´t ship to other places, or the shipping costs more than the product it self

That af confirm ring I sold my client for R$ 40 (+- U$ 20)

tks

rumorzmonger · Sep 28, 2012

Aden Camera in Toronto has some great prices on Zeiss lenses right now - they are by far the cheapest I've seen anywhere.

http://www.adencamera.com/default.asp?Category=7&Manufacturer=186

You'll need to add the lenses to your shopping cart to see the price.

Secretariat · Sep 28, 2012

For those of you out there who has any experiences with the Tink Tank Sling-O-Matic 10 camera bag,would you know if a pro body camera like a 1DX with a 70-200 F2.8L MKII lens attached fit into it?

Thanks.

tron · Sep 28, 2012

RLPhoto said:
Underexpose and try to recover whats left. ;D

I hope you do not suggest anything from the dark side... ;D

distant.star said:
Simplest basic strategy -- short of bringing a pellet guns and shooting out the offending lights!

Interesting and cheap (for the photographer only) way to fix it ;D

Mt Spokane Photography · Sep 28, 2012

This topic has been moved to Third Party Manufacturers.

http://www.canonrumors.com/forum/index.php?topic=9809.0

JPlendPhoto · Sep 28, 2012

Pensador_Axadrezado said:
I'm in the same boat as you.
(I think it's best to wait for a full review on the 6D IQ and AF system before jumping to a new camera)

Interesting. Yes, I guess we will have to wait and see.

Chris_prophotographic · Sep 28, 2012

7D is a massive amount of features for the price and with the 70 - 200 its a real win ,truly.

If money is no object get a big body you will be very happy if you can afford a mk IV or a MK III

its all GOOD gear but you know what your shooting and how it will be accomplished best.

ecka · Sep 28, 2012

hjulenissen said:
ecka said:

I suggest you start reading more carefully. I never said that I care more about the cow than the milk. I care about both actually.

Click to expand...

My initial critique was that you seemed to care most about per-pixel performance. That may be ok if you are an engineer. If you are a photographer, one would expect you to care more about the final image than the individual pixels.

Often the two will be correlated, sometimes they are not.

The thing is - if "cows" are fine then the "milk" is fine automatically, but not 'vice versa'.

Click to expand...

If you care about milk, then it is the milk you should care about. The cows health may affect the quality of the milk, but other factors may as well. If the shop is leaving the milk for too long outside, it may be sour. No amount of checking of the cows well-being will reveal that the super-market has a lazy milk handler.

For your reference (removed irrelevant parts):

hjulenissen said:

ecka said:

...For me it's all about camera's per-pixel color reproduction performance.

Click to expand...

I care about images, not pixels. People that obsess with per-pixel image quality seems to be less interested in images that I am.

Click to expand...

Click to expand...

Like I said earlier, a 3 MP camera might have fantastic per-pixel performance - and poor image quality. A 36 MP camera might have mediocre per-pixel performance and fantastic image quality. If you purchase a camera in order to obsess with 1:1 displays on your screen, then by all means use per-pixel quality as a guide. If you are interested in photography for the images, I suggest using images as a guide.

-h

3mp camera with fantastic per-pixel performance won't produce poor quality images. It will produce fantastic 3mp images. Why it is so hard to understand? :-\
If 36mp camera has mediocre per-pixel performance and fantastic image quality, then perhaps it means that you don't need 36mp for what you do. 20mp camera may be just as good and even better in term of high ISO, fps, file size, etc. Why do you need those useless, false, made-up bits of information?

Patrick · Sep 28, 2012

Thanks to everyone who took the time to respond. Just waiting for a cheque (check) to arrive and it's time for shopping!

Menace · Sep 28, 2012

I think it's highly unlikely Canon will release a 35 1.8 IMHO

Cheers

mrsfotografie · Sep 28, 2012

dhofmann said:
Brymills said:

Nothing interests me less than another average zoom lens that doesn't have a constant aperture..... If you're spending that much on a body, why compromise on a crappy lens?

Click to expand...

Why would the lack of constant aperture make a lens crappy? Are the 100-400 and 70-300L lenses crappy?

I'll chime in here, I guess it's convenience when shooting with a constant (stopped down) aperture and need some light. I don't mind an aperture range from f/3.5-4.5. You can stop that down to f/5.6 for the entire range for instance and still have a reasonably wide aperture. I usually do the same with an f/4 lens. A short zoom that ends in f/5.6 is not fun when struggling for light as that would result in f/8 to or so to get optimum sharpness especially with a cheapie.

Of course this all assumes that you need to stop down some for best sharpness as is the case with most zoom lenses. and there are a very few exceptions.

I love my 100-400 but almost always use it with apertures stopped down to f/6.3 at least.

Sep 28, 2012

compupix said:
It's a lot of work:
1. selecting the worthwhile images
2. cleaning
3. scanning
4. touching up

Other than the scanning step, I don't see how that process is any different from digital photographs captured on a digital camera.

Oh, perhaps you forgot to include the biggest issue

which is the developing, and the ~$10-$15 per roll it costs to purchase the film and develop it after. Probably more now with the increased prices of film.

Sep 27, 2012

I suspect Canon will update the new 6D line more frequently the say the 5D line so you might want to wait. I doubt it will be major updates for mark II though. Canon will not let it cannibalize 5D3.

Sep 27, 2012

EDIT: Nevermind, I figured out what happened. Sounds like the lighting was the issue and not the camera...so weird because I've NEVER seen it before...(but that's a relief)

original post below
_______________________

Played with a 5D3 in the store today and noticed something very weird...just wondering if 5D3 owners have run across this one:

Shooting in fluorescent lighting (what the store had), seemed to occur at higher ISOs (3200+) there was a weird yellowish cast across over part of the photo. It was usually across the bottom ~1/4 but it's occasionally in other parts of the photo as well. Very odd...was wondering if it was the white balance or something...even in RAW can't seem to fix the color cast since it's only in 1/4 to 1/3 of the pic... maybe it's isolated to the store model or something, but I've NEVER seen this before on either the T2i or my 60D (or any other camera I've shot with)

tron · Sep 27, 2012

pwp said:
For APS-C, the gold standard wide zoom would have to be the Canon EF-S 10-22mm f/3.5-4.5.
-PW

I concur. I used the Canon 10-22 with my 40D (until they were stolen :-\ ). It was a very nice (and practically L-quality) wide angle zoom.

AJ · Sep 27, 2012

Used Canon 15/2.8
Canon 17-40/4L

iaind · Sep 27, 2012

Overpriced!!!!!!!!!!!!!!!!!!!!!!!

For £240 more could get a 5DIII from HK

Sep 27, 2012

Mt Spokane Photography said:
I would not call baseball stadiums and football stadiums as being horribly lit. They have reasonable lighting, unless the teams are playing in the dark.
The issue comes when literally using the camera in the dark with only extremely dim lights.

I have to agree. I think stadiums have reasonable lighting. The problem for me is when photographing weddings in the evening, sometimes by candle light or the equivalent. The AF point display is the only detail that I would like fixed on the 5D3, which is otherwise excellent for my work.

Sep 27, 2012

Act444 said:
Anyone know if this problem has been fixed (or how it performs on the newest bodies like the 5D3)? While contemplating my move to FF, I've been thinking about trading in 35 1.4 for the 50 to get equivalent FOV.

It's not really a problem to be fixed, except by a redesign of the lens with different priorities. The intentionally undercorrected spherical aberration that gives the lens its renowned, creamy bokeh is also responsible for the focus shift.

nightbreath · Sep 27, 2012

cayenne said:
Sorry noob question.
Can someone tell me what "HTP" and the "black frame subtraction" mean?

Thank you in advance,
cayenne

The answers are:

[quote author=jrista]
Highlight tone priority is a camera mode that internally fiddles with exposure to preserve as much detail as possible in the "highlight range" of tones...the brightest tones in a photograph. It does this, however, at the cost of tones in the shadow range, as the ultimate effect is a shift of the histogram down towards the shadows. The cost of shadow tones is a bit less than the gain in highlight tones, however it is something to be aware of.
[/quote]

[quote author=Wikipedia]
In digital photography, dark-frame subtraction is a way to minimize image noise for pictures taken with long exposure times. It takes advantage of the fact that a component of image noise, known as fixed-pattern noise, is the same from shot to shot: noise from the sensor, dead or hot pixels. It works by taking a picture with the shutter closed.
[/quote]

Sep 27, 2012

A used 60D would seem to be the answer to your question. I went the same route- a T2i (550D) to 60D. It's not a night & day difference, but there are little things that you might appreciate (beefier grip, quicker access to key settings via the top screen among other things)

compupix · Sep 27, 2012

Yes. The Eclipse swabs do dry out in their packaging. Use the pre-moistened ones soon after purchase.

Seanlucky · Sep 27, 2012

My favorite part is at 2:22 when Annie shoots a frame on a Hasselblad H Series, and the sound that's dubbed in is clearly an F3...

Annie Leibovitz shoots Marie Antoinette

Sep 27, 2012

That brings up another interesting point. You can do a quick check that's recommended by canon. Find a high contrast target far away (more than 20 meters but farther if possible) and use Live View to focus on it at 10X magnification. Then switch the camera to regular mode and focus on the same target. The focus scale on top should not move at all. Probably easier to do this on a tripod with a remote release.

Live view focuses using contrast comparison which is independent of what the AFMA value may be set in your camera. So if the focus scale moves between one and the other focus modes, then you need to do a focus calibration. If your camera doesn't support AFMA adjustments then you need to send the camera and lens back to Canon and have them match the lens to the camera...or upgrade to pro or semi pro camera where you can adjust the AFMA values.

Richard Lane said:
Zenfren said:

Is it possible for a lens to focus fine (high keeper rate) on close objects and have a difficult time focusing on distant objects?

Click to expand...

Other things to consider would be, the setting of the focus distance limiter switch on the lens, is focus search on or off in the camera, does it focus properly at long distances with manual focus?

Sep 27, 2012

TexinAfrica said:
I have a 5D MK III and a 430 EX II. I almost never use the flash with this gear, but with my smaller cameras (and built in pop up flash) I frequently use fill flash during the day and occasional slow sync for night pics.

I occasionally would like to use fill flash or slow sync flash with the MK III and 430 but it appears the only way is to truely go fully manual. Any tips or guidelines on how to do either without needing a light meter etc. or simply guessing??? I don't find the 430 user guide much help. Thanks..........

Daylight fill-in flash: simply set to aperture priority, leave the flash in E-TTL mode and just fire away. The camera will automatically adjust the flash output to a fill-in level, which you can tweak if required with flash exposure compensation.

Slow sync flash: set the camera to manual, leave the flash in E-TTL. This should provide correct automatic flash exposure. As the others said, also set to 2nd curtain sync if you want the flash at the end of the exposure.

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