MichaelHodges said:

Okay, mystery bear revealed. I've taken a lot of grizz images, but this one is probably my favorite:

http://michaelhodgesfiction.com/

Click to expand...

That's really cool Michael! Looks like they are sniffing you out!

This guy has been busy trying to find release dates and just spotted a post today on which-canon-camera.com "Canon 6D released for worldwide shipment..." and having just looked into prices it's 16% cheaper

Okay, how did I miss the FoCal software? Wow. That looks really interesting. Wish I could have run that software on the 5D3 I had that wasn't focusing properly in low light. Wonder if it would have caught something?

Anyway, I'm probably going to get it. Has anyone else purchased it and then shared the 5 licenses with a friend? Just wondering if there is some kind of gotcha there that would make that problematic. I have several laptops/PCs I would eventually install it on but if the licenses are tied to the camera serial numbers, I can't see how it would matter where the software is running as long as the serial numbers match the camera being calibrated. Hence, the ease and common sense of sharing with a friend. I only have one camera that would benefit (5D3).

RLPhoto said:

Behind the Camera. 8)

Click to expand...

+1
It would be easy to brush off this comment but I tend to agree. I learn a lot by shooting and then researching the questions I come up with based on that shooting. I am a needs based learner. I tackle problems and learn/evolve as a result, I don't learn stuff well 'just in case'. I'm not discounting the value of instructor led training, that has a place but ultimately, it is YOU that will be doing the learning, the instructor can only motivate you and expose you to info, answer questions, etc. Set limits and 'assignments' for yourself and learn to achieve results within those limits. (Like use a 50mm prime all day, etc.) You'll get a lot more out of a class if you prepare yourself ahead of time by shooting, practicing, studying and building a list of questions you are struggling with before the class.

You should check out Digital Photography School too. Lots of info and projects to give you stuff to do with a purpose. http://digital-photography-school.com/25-great-photography-tutorials-and-links-from-around-the-web

I also enjoy watching Mark Wallace on Adorama TV. Same with Bryan Peterson. They are good at introducing basic concepts quickly.

And I learn quite a bit from studying lots and lots of photos that others take. I observe the framing/composition, the lighting directions, the backgrounds, etc. Check out the Flickr stream for the whitehouse photographer, Pete Souza. Mostly prime lenses, Canon 5D2, and you can look at all the EXIF data to see which settings, lenses, etc were used. http://www.flickr.com/photos/whitehouse (Same goes for most of the pictures on Flickr, not just those.)

Good luck, enjoy. I think every photographer agrees that they NEVER stop learning, this is such a rewarding and evolving activity, it always challenges us.

Shot with a 60d and a 17-55 2.8 IS. I think one shot was done with a 7d and a 50 1.8. I used my setup though for practice. Used 24 fps at 1/50 shutter speed.

This was obviously done in low light and I cranked the ISO as high as it goes for the dark scenes.

I've just read that ISO's 160, 320, 640, 1280, 1500, 3000, etc are the best performers when it comes to ISO. Then I read something about dynamic range and I got a bit confused.

All help and advice is appreciated. Thanksssss.

vimeo.com/54339921

littlepilotdude: This is sort of like asking about the meaning of life. It is a huge topic. I'm sure you already realize that a simple Google search will reward you with a mind numbing list of information. If you are trying to turn a hobby into a business, I would suggest you TAKE IT SLOW. Don't spend a lot of money or take out a SBA loan just yet. Try to volunteer your talents to your church, school, scout troop, etc and treat THAT like a business without charging. Do several "jobs" where you have real expectations, a shot list, people depending on you, etc. Find out about equipment limits and failures, dealing with people, trying to get all the shots that are worth selling in the time given, etc. Being able to work with an established professional as an assistant would be ideal but hard to find. How much time can you devote to this?

Doing shoots for others is fun but also hard work and it can be stressful. If it isn't, you either don't care how your work is received or it's not that important in the first place. Believe me, shooting a wedding for money is stressful when you consider the stakes. Thank God there are a million other ways to be a professional besides wedding photography! (For me at least.)

I don't pretend to be an expert by any means but I can tell you based on the many photographers I've known over the years, I know the business and every pro out there will tell you that you'll never get rich and it's a hard business.

There is a lot of yourself in this business. It's a people business first and foremost. You're not selling pictures, you're selling yourself while you make pictures. People will use you because they LIKE YOU, not just for your pictures. The pictures do have to be decent but you could be the best photographer in the world and if you make people feel uncomfortable, they won't come back. OTOH, if your pictures are passable but people really like you, they usually won't care because they enjoy working with you to get their pictures done. Take a look at most of the successful photographers and you see a common theme - they are laid back and easy to be around. They get invited back and sometimes famous people like to hang around them.

There are many true professional veteran photographers around that are leveraging their vast experience to sell training, educational workshops and seminars and books. Joe McNally, David Hobby, Scott Kelby, Darren Rowse, Bryan Peterson, Joel Sartore, Nevada Wier, etc. The list is endless and these names are only the most popular "rock stars" among many successful and talented artists.

Try watching these...
http://movies.netflix.com/WiMovie/At_Close_Range/70063298?locale=en-US
http://dvd.netflix.com/Movie/National_Geographic_The_Photographers/22305499?locale=en-US&trkid=439131&fcld=true

Try this website for some good simple advice...
http://digital-photography-school.com/25-great-photography-tutorials-and-links-from-around-the-web

Good Luck! Let us know what you find or what is working for you!!

Rusty

Botts said:

@vlim what's the body only cost? Just for comparison sake.

Click to expand...

It is €2099.90 as shown here:
http://www.fnac.com/Canon-EOS-6D-Boitier-Nu/a5018616/w-4

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

Thanks,
I edit with Premiere CS6 and the titles are done in Photoshop then animated in After Effects.

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.

Click to expand...

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

Yes and yes to the last two posts.

18mm is standard as the widest lens in a cinematic kit (though the popular zooms now are 15.5mm or 16mm at the wide end). 7D is close enough to equivalent to Super35 lens-wise, but that translates to 24mm-28mm on the 5D. So a 14mm on the 5D would be closer to an 8mm, which is as wide as cinema lenses (for Super35) get and they are almost never used, except maybe for an extreme effect or music video.

Gilliam loves going wide and he does it well. Didn't know 14mm was his preferred lens, but I am not surprised to learn that.

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.

Yup!
Thanks.... Sea Bites (english subtitles) on Vimeo

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.