Looking for a manufacturer of a camera case for a rebel size body with a batery grip and moderate size lens. Does anyone know of any links to such a vendor????

thanks

Bosman said:

Let me tell you who is at fault, me. As much as i want to keep this to myself, i'll explain what happened. I named the two 32gig cards i bought so when i plug them into the computer i saw something like SanDisk 32g cf 1,SanDisk 32g cf 2. I thought since it is high end memory there wouldn't be issues. Wrong.
By the way it took a little more than a month and multiple times contacting them before i got the replacements, and interesting, they no longer have a gold stripe but a silver one on the CF. They are still extreme pro 32gig but silver. Either that indicates new ones are coming out and these older ones are silver or this is how they tell the new batch of cf cards with new memory...I don't know, just a guess.

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Naming them might do it, Canon looks for their own name. However, I've popped Nikon Cards into a Canon Camera and vice versa, and formatting merely renamed them to meet the Camera specs.
You can run a chkdisk on a card to see if it finds any bad sectors (Windows). it will check every block, so it takes several minutes. That does confirm the integrity of the card.

Mt Spokane Photography said:

You can cause a camera to do strange things with bad exposures. I've never seen the black band, but have no idea as to your processing. It could indeed be a issue if it occurs in a properly exposed image

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The samples I posted were 50% crops from out of camera RAW files, no processing. The images they are from were properly exposed.

This one was ISO 5000, f/2, 1/60 sec, no processing other than crop / resize:

Thanks for your reply.
Unfortunately this hasn't helped just yet.I tried controlling the print first by photoshop, but the print came out even darker still. When I tried to set to printer manages colors, it would only allow one canon profile (Canon IJ Color Printer Profile 2005). Then, guess what, I ran out of ink.

n0iZe said:

RLPhoto said:

The 50L is a superb lens but its overkill for video. Its meant for high speed stills but you wont notice the difference in video. Get the 50mm 1.4 canon

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+1
You really won't need the 50L, it's a great lens, sure. But that single step won't make difference. Also, if you would've ever tried to focus even with the 50mm f/1.4 USM at wide open aperture, you'd realize how insane f/1.2 would be. And for video even worse!
I would also consider the 50mm f/1.8, although it's made out of plastic, optically it's superb! Some do even say that the f/1.8 is superior to the f/1.4. I don't think so, but they're really close together in points of IQ and sharpness.

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Focussing with the 50/f1.4 wide open is fine... Just get a z-finder/lcdvf so that you can see what you're doing.

Focussing with the 50/f1.8 wide open is horrible. The miniscule tensionless focus ring with minimal travel is a nightmare for accurate focus pulling. It really isn't an appropriate lens for video unless you absolutely cannot afford the 50/1.4

The 50/1.2 is nice, but overkill for your needs. The 1/2 stop is actually quite a big difference in extreme low light, but that isn't what you're doing.

As everyone else has said though, based on what you've suggested your usage is, a dedicated camcorder would be a better choice.

People haven't mentioned extras, which are a must for DSLR cinematography - Z-finder, variable ND filters, external mic, external sound recorder, some kind of support rig etc - with something like a sony Z7/panasonic HVX200 the only one of those you'd need to consider would be a shotgun mic (and even then the sound that comes with those cameras is miles ahead of what you get out of a dslr).

Look at the Rebel T3 package - it's 12 meg image (more than enough up to 16X20"), the kit lens 18-55, a 55-250, and a 13X19 printer
(the ipf9000 for about $600. You can add either the 85mm f1.8 or 100mm f2.8 for less that $500 and still have a thousand and change
for a flash, studio lights, backdrop, tripod, bag, various filters (ND & polarizing for sure) and other unexpected expenses. Don't rush into
full frame - just increases the costs with no relative image quality benefits for the stuff you want to do. While the hardware is "sexy",
your best tool for image quality may well be photoshop and various add-in packages (onone, efx, others) Unfortunately, all digital images,
no matter what camera you use is only the starting point for great photographs. Good luck.

Prices usually go up a notch right after the rebates end. With the world in tough economic times, that might not happen.

expatinasia said:

Great link thanks.

You would think though that a company that deals with image-related products - both stills and video - would be able to embed videos that work in all browsers!

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You wouldn't think so if you actually lived in Japan.

Daniel Flather said:

The real question is this: Why has Canon left crop users in the cold by not releasing a "normal" prime in an ef-s mount? Buying an ef 24, 28, or 35mm lens to substitute a "normal" on a crop body is stupid. You'll have a close to normal focal length, but you'll have a wide angle perspective.

Fail.

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Your concept of perspective is flawed I'm afraid. A 30mm EF lens would have exactly the same perspective as a 30mm EF-S lens if they were both mounted on crop sensor cameras.

trentchau said:

RichATL said:

trentchau said:

Metering and White balance shouldn't matter in a studio Environment.

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And this is what is wrong with the world of photography today...
Congratulations on being the poster child for the "Lazy Digital Generation"

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We are probably miscommunicating here. They don't matter in a studio environment because

1) You meter yourself. You are using Manual mode.

2) White balance is either 3200k for tungsten or around there or 5500 for flash. If you are shooting off that, you are smart enough to know what it is. Why fix it in raw when you can get it done right in camera.

So using your cameras auto metering and white balance is not required in studio. It's a controlled environment that you as the photographer fully control.

What I said actually should be lauded by you rather than you saying it's lazy time . Make sense?

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I completely agree! I once met a photographer who spent 7 hours doing a fashion shoot with two amateur models and ended up taking over 8 gigs worth of raw images and spent a week editing the images to narrow them down to just 4 half decent images. And when she asked me for my opinion, I asked her why she didn't spend more time prepping her subjects, makeup, posing, lighting...etc..etc...this way she would've had nearly a finished image right out of the camera.

And her response to me was - it's digital, it's not like i'm wasting film.

My next question set her off - So...you would prefer not to learn your craft as a photographer? In that case my grandma who knows next to nothing about photography could take poor pictures and take them to a digital artist to make them decent again...right?

What's funny is that she started yelling at me and the other studio photographer about how she knows people that were never studio trained that take wonderful pictures.

And I told her...that's great for them, however, this studio has a reputation for amazing photographs that are not left up to a hit and miss style...so if you'd like to continue shooting here, you're going to need to learn a few basics. She stormed off.

Sorry for the long story...

The original image link seems to be down for me, any alternates? I love my 35 1.2, a mkII with weather sealing would be perfect.

I certainnly love my 24-105mmL for walk around situations. For low light indoor use, the 35mm L is a favorite. The 40mm is, however destined to a lot of use if Canon's mirrorless body is small enough to carry in a pocket or purse.

lastSKYsamurai said:

Thanks so much for that. I've had a 350D since its early days so I'm jumping into vast new territory with all this. Cheers for the great answer.

EDIT: Man, so I just checked out the ST-E3-RT Transmitter..... No autofocus assist beam!? What good is it then, I see myself doing Wedding Photography & the like in the near future, so this would be practically essential... I'm starting to think I'm better off just picking up another 600EX, Which is probably what Canon really wants... I call Shenanigans Canon!!!

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I picked up a second 600EX-RT simply for the fact that my master control can also flash. Why not? If you have the ST-E3-RT Transmitter, sure it'll do the job, but it can't flash. With wedding photography it's nice to have an on-camera flash and an off-camera flash somewhere else. This way you have it all, because if you don't want the on-camera to flash, just tell it not to.

That's a good answer. The 5D Mark III actually did open opportunities for me, really a lot for wedding photography and low-light photography. In these situations, I really need the auto ISO in manual mode and in some cases it's nice to have in-camera HDR and ME. I've been using those features quite a bit lately. I was a 5D Mark II user, so yes, the Mark III improved my photographic opportunities quite a bit.

The 1Ds III, while brilliant, doesn't do well at high ISO's compared to the 5D Mark III. However, it does much better at low ISO's than the 5D Mark III. Both cameras are high resolution, so that pair teams up really well for me.

The 1D Mark IV I love because of faux M mode, and the fps, along with build and active AF spot-metering. It's a great camera for action and sports. I also very much enjoy the 1.3x crop factor.

And last but not least, when I get the 1D X, again, it makes sense for me. Higher ISO capabilities vs. the 1D Mark IV at sports and indoor action, will be a giant upgrade. The two pair very well together, as with the 1D Mark IV I can reach farther and with the 1D X I can shoot at higher shutter speeds in lower light.

All bases and opportunities covered.

KKCFamilyman said:

Thanks everyone. I ended up with a fastpack350 the newer one. I will be able to carry all my gear and my notebook for the plane ride.

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Ya I won one of those in a photo competition and used it for almost a year as my daily pack (I take my camera to work and home everyday in it and had room for my lunch and laptop). Great little pack, I finally got sick of its look and decided to get a timbuktu to replace it, and have been happy with that, but can't wait for my kickstarter bag. I guess I just felt that the fastback (I actually won both the 250 and the 350) is just to dorky (I had the red one), but very functional indeed. I also found that having a sling style bag encourages pulling the camera out for shots as I'm walking to work, whereas the backpack style is a bit more work to pull the camera out and thus I found that I would often skip a shot I might have otherwise taken. Happy shooting.

Depending on your camera model, you can set the aspect ratio in camera and it will show guides in the viewfinder to you can frame it to fit the aspect ratio you want. You will still need to crop to the aspect ratio in photoshop unless you use jpeg.

I think the "pop" boils down to the low light capabilities. In environments you cannot light, the FF 5DM3 will make a difference.

KKCFamilyman said:

Thanks I am bringing the 5d mark iii with 24-105, 50mm 1.4 and 270 exii. Just considering the 28mm is or 40mm pancake. Otherwise going with just that. I find the reach would be nice but my Sony nex and 55-210 will cover that. Just considering the 28mm as a cheaper alternative to the 35l not sure I will need it here.

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For a vacation I'm not sure you need a prime if you have the 24-105mm L. Sure, take the 50 f/1.4 along with it, as it's nice to have, but I really think if you need below 35mm I'd just use my 24-105L zoom. It has good IQ at the shorter focal lengths, so I think with your current gear you're all set. Go have fun.

Marketing. Look at it this way. The 70-200L II IS lens was running about $2500 at one time and sometimes you can find it for around $2200 right now. Figure on the 100-400L to be $1399-$1599. These prices we're figuring over the last 2 years now.

Add in a 100-300 f/4L, and that isn't going to be as cheap as the 100-400 and probably a little cheaper than the 70-200L. So if I need a good zoom, I'm going to purchase the 100-400L for the cheapest and get more focal lengths covered. Throw in the 70-300L lens and now a 100-300L will never sell and that's exactly why there isn't one.

I just posted a series of six photos that were taken in quick succession using the Canon 1DX on High-speed Continuous Shooting mode.

http://www.flickr.com/photos/charlymann/

I have both a Kenko 1.4x DG Pro and a Tamron 2x SP 300 Pro.

I got the Tamron 2x because I won a pretty cheap ebay auction. Its image quality is actually pretty good (save for some CA).. Stopping down 1.5 stops is about the same sharpness as wide open without the TC. You do lose some contrast, but you can pull it back in post processing no problem.. The main problem I have with the 2x is autofocus, though.. It likes to hunt a lot, if there's not maaajor contrast with what I'm shooting at. I'll do a lot of manual focus with it, though, no problem. But good luck with fast-moving stuff...

The Kenko 1.4x I got years ago, and it's great. It's a little sharper than the Tamron 2x, and a bittt better with CA, but still has a fair amount of CA.. So you just need to be aware of where/what you're shooting. It's got better contrast, for sure, too. I was more impressed with the 2x that it was so near optically to the 1.4x, after reading all sorts of stuff about 2x complain-complain over the years. I'd say the autofocus is its main problem.

The Kenko 1.4 will do a similar hunting with non f/2.8 lenses, and even with my Sigma 120-300, autofocus speed slows way down. And as someone mentioned, the 1.4x plus the 70-300 IS non-L @ 300 is definitely NOT sharp. Even stopped down, it leaves something to be desired.. But the 70-300@300 isn't sharp in the first place, so you can't expect tooo much. (Really its fine for web-sized photos, though..) Also, it'll hunt like crazy @300, but still try to autofocus.. (essentially it's trying to autofocus at f/8...).

They are both pretty available on eBay, and I've seen them go for anywhere from 50-120-ish... Totally random! Even if you get a 100-400, I would recommend you pick up a 1.4x, if for no other reason than a little bit of fun, and a little bit of "just in case".. It's like an inch thick with end caps.. Definitely worth it having it in the bag, if you ask me! The 2x is significantly larger, and less able to squeeze into the bag unnoticed.. So I'm less inclined to encourage you to go get a 2x.

When I have nothing better to do, I like to stack them, and go crazy.. Interestingly, if the 1.4x is in front of the 2x, I lose 3 stops of light. But if the 2x is in front of the 1.4x, I only lose 2 stops of light.. But in the latter case, the image quality is poorer, and I need to stop down extra, anyway... : D

Thanks for the help all, I will probably get a macro lens eventually just to play with.

Classic, so it matches my new wayfarers; I can pretend to be chic.

So I often hear people talk about using old Nikon lenses on a Canon with an adapter. I never actually see what lenses they use it with though and what they are comparable to performance wise of a current Canon lens. Is this one of those urban myths or can you actually get a nicer picture for less money going this way? I realize the limitations and so of course that has to be factored in but if we're just talking strictly image quality is this a good option?

iaind said:

TrumpetPower! said:

DJL329 said:

I'm waiting for the EF 600mm f/4L IS Pancake lens.

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Personally, I'm holding out for the TS-E 12-1200 f/0.95 L IS pancake....

or the 8-1500 f1.2L H-IS macro with 1.4/2x built in extender

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You early adopters can pave the way for the rest of us. I'm holding out for the TS-E 12-1200 f/0.95 L IS pancake mk II. I heard it's going to blow the mk I out of the water.