Very nice considering it was a 24-105 and handheld! Kudos!

It is amazing how shallow the DoF is even at f7.1

What about looking into which of Canons compacts can run CDHK?

Something like an IXUS 1100D or Powershot SX230is have the barebones of what you need, just not RAW.

I think you are going to have to accept that a big zoom and a larger sensor means a larger camera. If you want compact and superzoom then concessions have to be made. I think the Panny you mentioned makes a better fist of this than most.

In a way its a shame there aren't any equivalents to the Minolta Diamge A2 or Powershot Pro1 any more, decent handling, decent optics, pretty nasty sensor right enough, but the current crop of HS sensors could make up for the venerable bridge cameras short comings...

But then, cheap rebels killed this segment off! T3i and 40mm?

ML isn't about most people, and neither for that matter is the 7D. It's a little bit like Eye Control Focus, the folk who hated hit seemed to forget about the off switch.

I don't need the green square or spot metering, so I don't use em.

It would be nice to think Canon would open source their firmware to the likes of ML, but then it's Canon who have to deal with warranty repairs. Given that they denied problems with their stock firmware when it was corrupting my movie files for a year, I don't know if I'd trust them to come up with a stable reliable Canon homologated version of ML.

Mother of the sub-adults. The sub-adults were photographed in January 2011. Their mother in May 2012. I was on an elephant back for over an hour. This tigress was in a cave just above me. The first image at 7.33 am and the second image at 750 am.

No Cropping.

Canon 7D with 100-400. Few minutes later she came down to mate (posted earlier as Male Tiger Relaxing 2). He was in a cave below. Video-graphed with a 100-400 and iPad 2. The elephant was all the time swaying. When the tigers climaxed they roared and that shook all of us including the elephant that was just 10 feet away.

Sibling of the male posted earlier.

Had a wonderful time with this sub-adult in my very first outing to a tiger reserve. Few seconds in the presence of a tiger in the wild is awe inspiring. I had minutes to all myself. No other vehicle/photographer.

jasonsim said:

I wonder if it really is worth it? I'd need to sell a number of my current collection to pay for it:

24-105L, 24L TS-E II, or one of the following 35L, 50L or 85L.

I'd also consider giving up my 16-35mmL II, since I don't use the wide side that much. But as soon as I sell, I bet the need will arise.

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I was thinking the same thing and then spent the whole weekend getting great shots with it that couldnt be done with anything else. It can make some truly unique images!!

Thanks for the replies. I think I'll go the 1DS3 route. I was able to live with maximum ISO of 1600 of 500D. I don't think there'll be a reason I'll not be able to take better pictures with 1DS3 on 1600 and 3200 ISOs. I'm taking RAW so in-camera lens correction isn't a problem. I can apply them later. The only thing I'm worried (or excited) now is the learning curve. 500D is so easy to use that it will be a major shakeup when I'm able to get hold of the 1DS3. Thank you again. Btw, I love 5D3 more than this 1DS3 but it seems I needed the money to buy more glass.

[quote
here's one of my cheetah shots from hol in South Africa
[/quote]


Nice crouch.

Good composition.

KyleSTL said:

For architectural photography, I am of the opinion that you use the longest possible lens (most often ≤28mm) to show everything you want within the composition and give you a 'feel' of being inside the space.

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+1
In my view this is the most useful comment in this thread. A frequent mistake made is the temptation to "show everything" in one shot, which may be relevant to real-estate photography, but not necessarily in general architectural work. In most usage scenarios, there is the opportunity to describe the location across a number of shots, whether that be in a magazine spread, a brochure, web etc. A good story teller doesn't deliver the whole plot on the first page. As architectural photographers, often our job is to tell a story.

An advertising shoot may be a bit different, with just one "hero" shot getting all the attention.

-PW

Tammy said:

i shot a few textured walls on a tripod with manual focus through live view, same ISO etc, and my 24-70L II is sharper than my 24L II in the center and the edges at F2.8 and even F4! Just like to confirm your experience as well.

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I am aware of that, but if I kept the Iso locked, then the shutter speed will drop and it was a slight wind that caused unsharpness. The ISO would not affect the sharpness too much, right ?

bearbooth said:

Hi again. I am planning to go malaysian Motogp in Oct so I figure I would go out and practise first on my 24-105 before I dive in and buy a 70-200 f4.

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Since the 24-105 does not have the option to pick between Mode 1 and Mode 2 IS, make sure to turn the stabilizer off. It's always extremely difficult to pull off a pan blur at the angle the bike is approaching you in the shot you posted. That's because the bike is heading toward you, and the focal plane is constantly changing. Consequently, the angle at which the bike is traveling and the angle at which you're panning is only synchronized for a very brief moment in time. You would have much better luck by changing the camera angle so that you're shooting more of a side profile instead of front. The shot pwalderh posted is a great example.

A few more thoughts:

- The greater the focal length, the more motion blur you will achieve for a given shutter speed.
- xxD bodies, the 5DC, and 5D2 tend to lock focus on the center of the subject, so you have to manipulate your composition accordingly to make sure the front of the bike is sharp. IMHO, getting the headlights of a bike or car sharp is as important as getting the eyes of a model sharp in a portrait. Even if the rest of the bike is sharp, if the headlights are soft, it will look like junk.

lukemike said:

There's a lot of talking recently about DxOMark sensor tests.
I was utterly shocked when I saw the results. My question is are their resolution tests accurate?
Can somebody please tell me: are these DxOMark tests right or not. Thank.you.

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I have seen so many crazy results at DxO regarding lens tests that I never even bother to look there now, ever. They have weird results after weird result. 70-300 non-L being much sharper at 300mm f/5.6 than the 70-300L. It might have even been called sharper thanb the 300 f/4 prime. I think they had the 70-200 2.8 IS, at 200mm, sharper than the 70-200 2.8 non-IS, sharper than the f/4 IS, sharper than the f/2.8 IS II or something crazy like that.


That said, their sensor tests, something totally different, DO seem to be very good and definitely something to pay attention to. I go there first, when it comes to sensor data.

i just called -- she said they can do $6399.

not bad.

These are obvious catchlights. Any reflection off a light source will show them.

Cowboy Studio has really good prices, quality is pretty good considering the price. Bought some continuous lighting for video and am happy with it.

here is a soft box and umbrella strobe combo kit for $155
http://www.cowboystudio.com/product_p/2x160wstrobe-2x803-1sb1umb.htm

Lovely! Just fabulous.

Thas what m looking for itemized "YOUR" choices. for mid to low price

Say what items especially SPEED RINGS will fist what BOX and what BOOM + stand will carry its weight?

do you guys have such a setup?

Impressive shot considering the light conditions - well one

Does anyone has any useful information about Canon FPA-3000 iW stepper, regarding its usability and other reviews.

Nice shot - thanks for sharing

Hi,

saw this today in the morning frist. Heavy voodoo ... Very fine pictures of the aurora borealis, though the sun isn't at maximum activity we have no chance to see something in germany ...

Jörg

I went a different option and got a 600mm f4.5 canon FD lens off ebay $1500 in perfect condition and an edmika adapter, i'm still on the lookout for an FD TC for it but optically its awesome and almost 2 stops faster than the 300 f4L with 2x TC on it not to mention the 300f4L wit 2x will only AF on my 1D anyway the 5ds are all manual anyway

EOBeav said:

So let me get this straight. Cloud-filtered sunlight and shade are cooler than standard strobes, so you want to cool your strobe to match the ambient. Similarly, sunlight and evening light are both warmer, so you want to warm up your strobe light to match that of the ambient.

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Exactly. Or as I like to put it, "Make sure the light coming out of your flash is f-ed up in the same way as the ambient light." Then, when you make corrections in post, both the ambient lit parts of the image and the flash-lit parts correct equally, and the result should look fairly natural.

I work fairly frequently in rooms lit with tungsten light, about 3200K. The full-CTO is a frequent flyer under those conditions. Also remember that balanced colors are only half of the equation. The other half is to soften or diffuse the light and have it coming from a believable direction. Somewhere off camera is usually much better, depending on your situation and the look you want.