over-compressed jpg or, sometimes, AdobeRGB jpg as the output colorspace may show more posterization than sRGB cuz it has to cover a wider range with only 8 bits/color.
Yup, adding noise in post is sometimes a useful work-around. (but I don't want it from my camera)

I had borrowed this lens about 4 years ago with a 450D as a backup that didn't get used.

It felt good in hands, but there was not time for experiments.

Still wondering if its something of value today.
The 70-200 4Lis + 1.4 gives me the range but at 5.6 max ap.

Can anyone share thoughts or experiences ??
TIA.

Thanks again for the feedback guys I've been searching high and low for answers.

Canon EF 300mm f/2.8 L IS II USM Lens Service Notice
Canon Inc. has issued a service notice regarding a very small number of Canon EF 300mm f/2.8 L IS II USM Lenses (thirty seven of them).

If you own a 300 L IS II with one of the serial numbers listed below, you might notice significant back focusing when one of the Canon EF 1.4x Extenders (version I, II or III) are also mounted. If this is the case with your lens, contact Canon for corrections to be made.

8210000204, 8210000331, 8210000335, 8210000338, 8410000266, 8410000296, 8410000276, 8410000339, 8410000344, 8410000347, 8410000348, 8410000357, 8410000361, 8410000368, 8410000369, 8510000008, 8510000014, 8520000122, 8520000146, 8520000191, 8520000213, 8520000275, 8520000324, 8520000338, 8520000354, 8520000357, 8520000358, 8520000361, 8520000365, 8520000366, 8520000378, 8520000335, 8520000414, 8520000441, 8620000114, 8620000130, 8620000032

No reason was given for the source of the problem.

I've the 28 1.8 and 100 2.0 pair.
Love em both.
The 28 is on at least 22% of the time for stills (via ApertureInspector), but less so for video.

Bad light and being able to be on my feet moving around it remains the fav - and I move it it between the 7d & 5d2 depending on proximity and angle.

Easy to follow focus without gears hand held on a body-lens-only config.
Focusing ring rotates about 90 degrees from min to inf. A nice comfortable range, vs. 180 deg on the 50 1.4.

However, as soon as you have good lights, less chance to move around, etc, you want to reach for the zooms. Tammy 28-75 2.8 sits in the bag just for this.

I love IQ in the 28. It's a different character than the 35L. Shooting usually at 2~2.8, I still find that I touch the contrast and sharpening a bit.

Price is a deal. Build is better than the 50 1.4 (had mine rebuilt twice). Less play in the focusing ring. No extending front element during focusing (keeps more dirt out, safer in quick lens swapping).

Sure.

Plus example of allowing recording format to be linked to C:
Say you have your "Hail Mary"/preferred setting in your C3 position(shutter, aperture, picture profile, focus set-up, RAW recording) and you're out and you're just playing around and you're just shooting S-JPEG's and you see something that you want a "real" shot of and you only have one chance so you spin the dial and all your preferred setting's are there and now you're shooting RAW. You didn't have to go into the menu to change from JPEG to RAW and you got your shot.

Minus example of linking recording format to C:
You didn't realize that when you set-up your C position that recording was set to S-JPEG. You're out shooting some landscapes in RAW and all of a sudden you see an eagle in flight and one of your C settings is set up to deal with that type of shooting, so you spin the dial to it and fire of a great sequence only to realize later that it was a sequence of S-JPEGs instead of RAW like you had been shooting just a moment before.

You can think of any number of examples and combinations(I have a good one involving sports and writing separately to two cards), I just made those up to illustrate that it could be a good thing to tie it to the C positions or it could bite you, too. They could have given you the option to link it or not, but they probably made the best decision to not link it because I can picture a lot more people being burned by it than being saved by it.

Yes I've tried it with multiple lenses and multiple focusing modes, including expansion. The results are very erratic. Sometimes it will be great. Sometime it will totally front focus, and sometimes it will back focus. All without even moving my tripod in front of the brick wall...which like mentioned above, is not hard at all to focus on to. : / I seriously DON'T want to send it back, but I will if I have to. I wish B&H wasn't closed for another week.

DHL1313 said:

When I was shooting a Rebel XTi my friend asked me...."Why are you putting $2k worth of camera stuff on a $15 tripod?"

I went out and spent some good money on a great tripod.

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Exactly. And many people put much more $$$ than that on flimsy tripods.

This posting by Ansela was one the best and most timely I have read here. It captured the moment very well and, now that the frenzy had calmed down, it still reads well. Cheers!

The Fs100 and the other super 35mm are cinematic. The full frame 5d has something that is different than that. No other camera can do it. Watch the season 6 finale of House, at the end when he is in the bathroom, to me, nothing else can look like that. Of course, there are tons of downsides. Even GH2 spanks the 5D in sharpness and resolution.

5D Mark 3 Reactions to Announcement

Check this video out. very informative.

If you like automation features, certainly get Canon lenses with a Canon body. The luxury line is abbreviated "L."

If you have money and work manually, maybe get Zeiss primes. You will find ready buyers for those second hand if you wish to part with them.

If you don't have money and work manually, try Samyang/Rokinon. Or if you are afraid of taking valuables on location but still want an excellent manual capture (e.g. guerrilla video).

If you have a moderate amount of money and want some of the automation features, try Sigma/Tamron/Tokina which might give you a little and take a little vs. the Canon equivalents.

I have examples of all of these...some are better deals than others, but none that I chose were ripoffs.

Have fun and take pictures.

40% 28 1.8
40% 50 1.4
10% 10-22
10% 70-200

But the 100/f2 as been bumping out the 50 and 70-200 lately.

just a couple of additional thoughts. The designations "24-105" or "10-22" are labels -- just names for the lens. Yes these names often come very close sometimes to the actual focal length (at infinity) but just remember they not a published specification they are a published label. A zoom may come close to its labeled focal length when focused at infinity, but when focused close we may perceive it to be a ways off -- this is because we communicate in terms of focal length when in reality what we are thinking of is angle of view or even magnification. Case in point: at focus distances of approximately 1 meter, the 28-135mm zoom does not behave like a 135mm lens at all.

yes, in simple, practical and "good enough" terms, the gap between 10-22 and the 24-105 is that the area between 22 and 24mm which is not accounted for. Of course, when practical and affordable its a bonus to have zooms with overlapping focal lengths, instead of "no gap between them" , because sometimes the shot is gone before you can switch lenses. On my 1.6x 40D, for example, I find it most useful to have both the 10-22 and the 17-55 in my bag, the later of which gets the vast majority of playing time. I find that the focal length overlap (17-22) is quite satisfactory.

Keith,

I like where your head is at. And your work is excellent. Certainly worthy of producing an income for you. My recommendation for you, and others in your situation would be to use the camera and equipment that you have to start making money before dumping money into camera equipment. Prove to yourself that you are able to work with clients, and generate cashflow before spending more money. I've worked with a lot of photographers in your situation, and watched a lot of them get in over their heads financially before ever even knowing what running a photography business was all about, or what it was like to work with clients day in and day out. Keep in mind. Only 10% of a photography business is taking great pictures. Its the other 90% that determines if you will make any money. Ive seen the most incredible photographers not be able to generate a penny, and some very mediocre ones make tons of money because they are good at the other 90%. My recommendation: Get in front of some clients, make some money. How about make a goal to make enough money to pay for your new 5D3 before purchasing it. A good goal, and motivation to perform.

If you have questions, or need some inspiration, feel free to shoot me an email or call me at the number on my website.

If you really want to dive into this thing head first, take a look here:
http://www.brovadoweddings.com/blog/photography-apprentice/

neuroanatomist said:

Why is the father of the bride carrying his cell phone in his hand? Checking his email during his daughter's wedding?!?

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Updating his Facebook status?

briansquibb said:

He has that latest Nokia 41mp phone that Ken Rockwell says is better than the D800

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Since "He who must not be named" said the D800 replaces MF cameras, it only makes sense for MF guys to switch to Nokia now. True story.

Its not a scam if a reputable dealer openly lists the item as being sold that way. They dont have the body only in stock but have plenty of kits, solution to meet the demand of body sales, break up the kits. Usually you get the kit box if you buy a body and a white box for the lens.

It still carries a complete warranty as if sold as body only, there is really no difference and canon has no issue with this.

These guys are authorized canon dealers in my area:

http://www.cameta.com/index.cfm?fa=display.search&page=1&keywords=5d%20mark%20iii

http://www.eoshd.com/content/7767/canon-c300-versus-arri-alexa-on-game-of-thrones

Interesting read.

ScottyP said:

This is bad. I'm afraid nothing can be done. It is ruined. Please send the worthless lens (with useless tripod mount and the now moot zipper case) to my house for disposal. I will cover your shipping.

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i like your thinking lol

Mt Spokane Photography said:

I have a 70-200mm f/2.8 and a 100-400mmL, but this lens just seems heavy! That could just be me.
I'll play with it for the next few weeks or months before I decide if I'll keep it or not, I like the idea of a super zoom, but I need to get consistently sharp images from it.

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Heavy in comparison to the 70-200/2.8? Ugh. And of course "sharp" is relative - looking at your bird shot it seems ok, but certainly not as sharp as the 70-300L at the same aperture - but then again, you wouldn't expect it to be.

What would bother to me is the disturbed bokeh in the bird shot which certainly is a large difference to the 70-300L. I'm having a similar, but much milder effect on grass and the like in the background, but if you don't postprocess it away it somehow looks very unsettling and worsens the shot.

They claim to be working on it, and for the 600EX-RT as well. They have a reputation as not being the fastest folks out there to incorporate new support or release new products, so I wouldn't hold your breath...

JR said:

LetTheRightLensIn said:

KeithR said:

http://www.camerastuffreview.com/en/component/content/article/344-canon-5d-mk3-test

The usable dynamic range of a Canon 5D MK3 RAW file at ISO 100 is up to 2 stops larger than of a 5D MK2 file. That is a big difference. In practice we found that the correct exposure in bright sunlight with the 5D MK3 was much easier than with the Canon 5D MK2. On both sides of the histogram, we always had 'space' left, which is the way it should be!

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Two stops better at 100 ISO than the 5D Mk II - that's frickin' good.

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That would be absolutely awesome, however, nobody else has seen that. Nobody else has measured that. And nobody else has measured the 13 stops for the 5D2/5D3 they got either, that's even higher than the engineer DR measurements and you can't get any higher than engineering DR. Conclusion is that they have no idea what they doing.

And if they always had space left on either side of the histogram then they were not shooting scenes with very high dynamic range for their real world shot tests, which also points the fact that they don't know what they are doing when it comes to talking about DR.

Praise it away for having apparently awesome AF, a solid fps now, no aliasing/moire, nicer looking high iso noise, outlined histogram, faster trigger, shorter mirror blackout, etc. but no need to push links posting nonsense about things so it can 'be' the best at everything, especially one of the aspects where it actually is most behind.

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+1 no sure their claim is that credible.....

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+1, it is not credible at all.

I am looking to buy a T2i body in the month or so

anyone have any ideas whether or not the T2i would see any price reductions.

Seeing as the 60D is just around the corner, i figured the two models are fairly similar, a price change may help to differ each from one another.

I don't think i can afford the 7D, unless that too may see a big price drop.

Also, I live in the Toronto Area, if anyone knows where i can get the best price around here that would be great!

Thanks

www.gostyleshop.com


www.af1outlet.com

This thread is a very good example of how forums can over analyse things. If you are doing shots where it is completely dark such as night sky and you are trusting any camera'a meter, then in my opinion you need to learn to shoot at an advanced level. I do some star trails photography sometimes in the countryside of Northern England, and I shoot only in bulb setting. You can use the back screen to show what aperture etc things are set at then press the display button again to turn it off before you press the shutter using timer or cable release.

The nitpicking annoys me. You can find a way that any electrical item can produce a fault. Shoot something other than lens caps, and learn to make your own exposure decisions in manual mode. Shoot compare the histogram if shooting in daylight and reshoot if necessary. Simples.

Thank you!!! ;D