I am going to Denver for storm chaser convention this week. I set aside a couple of days for shooting with my new 6D and 16-35 f2.8L and need advice for good shooting locations. I'd love to shoot the skyline with the mountains in the background and any other cool mountain scenes. Any advice? Thanks...

studio1972 said:

compupix said:

The question is, why is the 5D III so superior to the 6D in this area? Is it processing power or something else?

Thanks,
Drew

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The 5D3 sensor is precisely 3 x the horizontal resolution of 1080p video, so all they have to do is combine each nine pixels into 1.

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Right, but are they actually doing that? Everyone keeps pointing out how easy and practical it is to do but I've never heard or seen anything else supporting the fact they are doing that. I want to believe it, I really really hope they are but I still don't have proof.

I can only go by my experience, but I love the Sig 8-16. It's hard enough to go wide on APS-C, and I found myself using it primarily at the 8mm end. My use has been primarily outdoors and sometimes on a tripod. It doesn't play well with filters so that would be my main reason I would recommend against it (that and it's fish-eye-y which you may or may not want to deal with).

I moved from the Tamron 17-50 to the Canon 17-40L. The Tamron (nonVC) is a really nice lens but is kind of noisy and lacks full time MF. I debated between the 17-55 EF-s and the 17-40L, and decided the weather sealing was important enough for me- I spend a couple months a year in a very dusty environment and I saw some complaints about dust getting in the 17-55. I bought a Sigma 30mm/1.4 if I need to work in low light.

Shots look nice, as far as you can tell from such small pictures with such huge watermark.

Make them bigger, and make the copyright way less intrusive. Then I can tell if they look really nice.

Or you have paying client who owns the pictures and they don't allow you to post better pics without the copyright?

Don Haines said:

Quasimodo said:

Did you guys happen to see that Sports Illustrated Giga Pan picture from the Superbowl?

Scary...


http://sportsillustrated.cnn.com/nfl/news/20130204/super-bowl-xlvii-gigapan/#

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I think that there ar about 50,000 release forms that need to be filled out, like the lady with the purple hair who was picking her nose....

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LOL, and as I pointed out in the earlier entry here, in Norway this type of picture was actually stopped by the government. I think it raises important privacy issues. I would have liked to have a Giga Pro Pan, but for landscape.

I've looked at all the options and It looks like Einstein will be my strobe of choice for the next decade.

Broncolor/Profoto- Fantastic mods, & fast duration's w/pack systems but steep... Very steep.

Elinchrom - Great Mods, (Neat inflated softboxes), but duration's are too slow and decent price for mono-lights, packs are pricey. Gives the Unique HSS, very interesting.

PCB - Ok Mods, Fast durations or Consistent color, not both at the same time... VML's are cheap, Mono's are cheap, Mods are cheap and Service is top-notch USA. HSS is not confirmed with odins...

Don Haines said:

GoPro, with battery backpack accessory for more battery life. Time lapse photography..... shoot a picture a second and make a movie out of it.... it should be "staggering".....

I just got one and am having a blast playing with it.... want to see my commute at 4000Kph?
https://vimeo.com/59271538?action_object_map=%7B%22566483720028899%22%3A414122825349009%7D&action_ref_map=[]

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WOW!!

I think this one may win the IDEA of the thread!?!?!

Ok..I"m gonna look into this solution!! This would be GREAT for St. Pats, and even when riding in Mardi Gras parades!!

Thank you!!

cayenne

media student said:

Thank you for your replies. Last year threre were made some announcements that have nothing to do with computers. So I think it´s possible to see something new from Canon.

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Don't hold your breath. Its not going to happen.

Axilrod said:

I think it has more to do with product differentiation and keeping it below the 5D3.

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I'm always happy to bash Canon marketing, but in this case I really wonder if there isn't more to it - maybe the increased dynamic range of the 6d?

The "less than 5d3" sounds like Canon but at the same time a little strange since people paying €3000 for a camera probably know that more mp isn't necessarily better, or we'd all be shooting with iPhones.

If you want to "warm" an image up. Tungsten light like others have mentioned. I prefer gels, bit more accurate with 1/4, 1/2 and full cuts so you can pick and choose (CTO that is for warming). If you don't mind abusing your gels a little bit you can jam them under a standard Sto Fen diffuser and BOOM you have a gelled diffuser~

nice!, i wonder how it will hold at 560mm against the 500 f4 IS,

Like everyone i am very curious to see the exact price once's available

your strobes look like they were diffused and didnt cause any radical shine on subjects face
certain brands do have more red than others... going into the red saturation in raw process can reduce the effects of that... even changing the red hue to reduce odd red saturation on certain asian skin pigmintation.
some softening could help in raw process or softening skin with filtration in PS..

Best always is good make up that does not react with strobes and shift hues.
Good Make up artists make our work look great.

wow NO price concern...
I own profoto 7b units and would love the new 7B3 AIR units.
still 1200 w/s but with Air transmitter you can not syc up to 1/1500 sec.
for outside groups id stay away from boxes and go with softlights...
they wont collapse under gusts of wind and will put out lots of power
if you need more power switch to Magnum reflectors...
the great thing about Profoto besides them making a grate pack and head is their wide line of modifiers and the third party makers of modifiers...
if price and now WIND is not an issue and you still desire a large diffused source id highly recommend Elenchroms Octabank or Profoto Pro BIG 7' either with a bi-tube head.

if you are shooting more serious portraits...
then you should be setting lights to manual for consistent output.
for cheap triggering use flash zebras optical triggers...
as long as other flashes are not going off around you... the optical slaves do not discriminate between one flash or another going off.

OK well in the past WEIN made a programable IR trigger but wasnt practical sun use or distance.

compatible yes ... if using in manual mode and connected via syncro cable and flash peanuts to trigger multiple units not a problem....
light is light.
but if you want TTL compatability... no no no not worth the thought or hassle.

the Profoto 600b puts out max 600ws @ 1/1000 sec.
at min power its like 1/6800 sec.
yes plenty fast to freeze action.
to shoot DSLR at 1/1000... I think normal max shutter is 1/160-1/250th depending on DSLR.
with a properly programed pair of TT5s you potentially can get 1/1000th shutter timed sycro with flash but its iffy... ive tried it with my 1DsIII TT5s and profoto 7B...
If using Profoto Air transmitter this will sync up to 1/1600 shutter...
fast.. so fast you might clip your max output of the 600w/s output time of 1/1000 BUT you will have the speed you need! killer light and flexability!

AH YES the "dead zone"

ive had this happen in interior situations and outside in totally open area...
I know its not a distance thing but some kind of interference be it phone wifi whateva....
ive done a few things that helped...
1. go to the closest 600 and turn off and turn on same with transmitter.. it relinked and held while walking away back to area where it started.
2. placed transmitter on off camera cable and held it on mini magic arm on tripod.
3. just moved the effected lights just a bit ... dont know why it worked but some standing radio wave voodoo... like sound radio can get jumbled in areas / close proximity to #@?* things...

I wish Canon made like a booster add on antenna or something like that to reduce this kind of problem and maybe give the system added working distance.

wow congratulations on your 600 purchase!
if you didnt notice the diff in flash accuracy try shooting white or black predominant scenes.
in conjunction with your 5DIII I believe the new sensors are now reading RGB metering so it will get exposures with closer/better accuracy. not under exposing whites or over exposing blacks...
there are ways of using the 600EX with older systems IR but go forward and Maximize the RTs fully functional controls.

first learn and do all you can with the flash on camera.
research learn and experiment... learn the good and the limitations of the flash in all variations of positions and modifiers.

then get that thing off your camera via off camera cable or RT controller...
try that and all the positions modifiers distances.... ect and ect...

then buy a second light and now it will get really fun...

then ect. ect.

have FUN!

if you want a perfect circle catch light in your subjects eye first determine the working distance you need and then look for the corresponding modifier.
1. acrylic globe for home lighting (good for small dot or working close)... surprisingly cheap
2. china lantern come in many diff sizes (good for small dot or working close).... surprisingly more cheap.
3. use umbrella as close to lens as possible... some cases directly behind camera.
4. any round box or octa bank or rotalux style bank.

only need a tenth of amount of light to produce specular in eyes... adjust to your liking but so it does not effect your main lighting ratio.

If using speedlight or speedlights on HS up to 1/8000 sync is still not enough power...
fastest DSLR Ive used is 250th. with larger output like Profoto 7b. need more power add another one.. now thats at 2400ws need more then go X4 or generator A/C with 2X 2400 units...
the problem usually is how big an area of light you are creating at what distance.

if you want to kill the sun overhead fly a 8x8 or 12X12 overhead and light from the side.

the answer would be ...
any time you want the light to be diffused... making a wider dispersion of light.
physics to be mentioned size of diffuser to distance of subject... what the diffused light is bouncing on its reflective value to the distance of the subject.
the white kleenex does the same... and yes it has the similar color diff like the stofen.
a small white balloon .... plastic bag... foam coffee cup... on and on...
seriously ...my favorite is the lumiquest bounce. I use a stofen with the top cut out and the lumiquest bounce tapped on it. dosnt fold but its rigid and removable to apply CTS when walking into changing lighting situations.... 3200K = +CTS full... 4000K FL = +CTS half w 20 green and so on...

since you have halogens in place in the kitchen and invested in the clamp on holders... have you tried using screw in halogens? they are available 125 250 and up to 500 w at home depot.
the trick is homogeneous lighting... keeping added lights same as the practical source (kitchen) lights... color temperature and hue... thats 2700k at 2700k and +- 0 green or magenta. Use cinema grade diffusion from Gamcolor, Lee or Rosco... get their swatch books and then you can see the vast world of lighting filtration...
happy shooting

Just make sure the discharge lights have electronic ballasts that support a square wave/flicker free mode. Older magnetic ballasts cause flicker problems. The lack of genlock on the VDSLRs makes even filming problematic.
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DUDE! yes good point!!!... most good productions operate on FF mode but if purchasing HMI do make sure you are set to Flicker Free....just like shooting under practical lighting situations... older FL overheads do flicker too...very prominent when only a few or one FL bank is used. If so shoot shutter slower than 1/60 ,,, 1/30 1/25 to be safe...

But now the link works ....