Thanks for the feedback - I will go and experiment further! Will use my telephoto too - at Wimbledon I was too close!! but great if you love tennis!

Will post some more shortly - cheers

Have had this lens for less than 6 months, and although I love its build quality, contrast and sharpness, I have barely any use for a nifty fifty for frequent use. Tried to sell it over eBay and locally (Malta) but with no success. Any idea where I can sell this little beauty, preferably in the European Union.

I would probably want to get an EF 14-24 f/2.8L if its image quality is an improvement over the EF 16-35 f/2.8 II. The latter is a little weak in IQ in the corners and at the long end.

tomscott said:

picturesbyme said:

tomscott said:

But also the 5D MKII is a step backwards. AF system is so old and ruins the camera really, is it still worth £1600 I don't think so, if it were £1250 £1300 then I would say yes. But then the 5D MKIII is that worth another £1000 premium again no, but this is a frustrating time as a buyer for Canon so you did right pulling the trigger I just won't! It would be my luck to pull the trigger on one and it be dropped in price by a big margin or this consumer FF camera would be released. Also still shooting a 40D and spending £1600 on a camera with the same AF system would be counter productive IMO.

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Sold my old 5D2 and got one for $1899 brand new not that long ago, canon auth. dealer+freeS&H (that's about £1212 right?).

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Doesn't work like that here in the UK cheapest atm in around £1600 second hand the 5D MKII are about £1250. The 5D MKIII is £1000 more here than it is in america..

That offer from adorama on the home page for $4299 with a 24-105mm and the grip. Well it is $4299 body only in the UK or £2800, prices are ridiculous over here.

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Fry's ships worldwide... I got it from them a few weeks ago.

Axilrod said:

Policar said:

Do the compact primes address breathing? Or Canon's cinema primes? I'm not sure there's much in this price range that does. Granted the focus ring might not be in the ideal place and the aperture isn't geared, but this isn't entirely standardized across cinema lenses, anyway. For the price, how much can you ask for? How many dSLR shooters have the camera team necessary to ride the aperture and focus ring, but don't have the budget to rent better lenses?

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Yes the CP.2's address breathing, and at $7k/lens I'd hope the Canons do too.

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Are the compact primes optically different from Zeiss' line of ZE/ZF primes, then? Or is it just a matter of those lenses having relatively little breathing to begin with? I'm genuinely curious, although breathing really doesn't bother me for something as low end as dSLR video.

Not sure if this is a "what do you think?" or a "hey look at this," but I'm just throwing this out there either way:

I think you should scoot the clip of the first chicks lip-syncing back a frame or two, that sorry I'm OCD about syncing and she looked like she was pretty close to being spot on.

I don't know about the other clips of chicks lip-syncing the song, doing stuff like that once is cool but more than that it can get gimmicky and make it feel like a music video having an identity crisis. It seems like there is a lot of focus on the song itself, but it's supposed to be about cars/drifting/show/event right? People will understand the connection between the song, video title, and how the lyrics pertain to what's occurring on the video, you don't have to push it, be subtle. I think @ 1:05 a shot of a car drifting through the frame in slow mo would look awesome with the "hey I heard you were a wild one lyrics. I'm not saying remove all of times the song is lip-synced, but it just seems like filler footage when you do it as many times as it is now.

And I get that you were up to the beat dropping for the drifting, but I think in slow motion with no engine noise that it would't take anything away from the drifting starting at with the beat dropping. I love building up to beats, but 1:08 in is a tad long to wait before showing any kind of drift footage IMO. I thought maybe you could have been dividing it into multiple sections related to each aspect of the event, but towards the end it seemed to be a bit of everything.

Either way, nice work overall and the cinematography/camera moves were great. Don't mean to sound critical just throwing a few ideas out there.

Yes its really a great time to be a photographer all the women usually too shy all year round pose willingly for the camera with the hope of it being in the newspapers and online. However its too much and tiring for the two days. However, many critics believe that it has become too much about skimpy women posing in feathers and beads, so photo /video journalism has taken a backseat the this type of material.

Total luck. I am a graduate of the school in north central Ohio and the sports and media director was looking for a photographer for the media website and knew I was one. Ironically it turns out I knew the guy, Al, in the past. Funny how things work out. Money won't be that much. I could make more money doing weddings, easily. And yes, buying expensive zoom lenses isn't fun. I paid $9500 for a 300 f/2.8L IS I and 400 f/2.8L IS I awhile back and that was NOT fun. But how can you not have those lenses for those events, especially football and track? I would like to shoot weddings as a backup photographer instead now, when I can, because I have another full time job. But it's hard around here because, believe it not, I'm seeing a lot of wedding photographers with no backup so I am not needed in this capacity. The ideal situation would be sports fall, winter, spring, with intermittent backup wedding jobs, and in the summer doing some lead and backup wedding work. I like weddings for the pure enjoyment of the challenge, but being backup takes at least some pressure off of me. So I wouldn't mind one darn bit being backup on every wedding I went to. I just like it because I think it's fun and challenging, and I like to learn.

Oh crap!! I looked at RLPhoto's profile and thought you had a 5D3. You have a 5D.

kevl said:

Canon says not to store batteries in the camera or grip when the system is not in use in the manual shipped with the 5D3 because of battery drain. In fact is says to leave the batteries in for no more than 24 hours prior to a shoot.

Perhaps the drain that is been seen is excessive, but is it really an issue? If you're not going to use the camera for 5 days take the batteries out like Canon says you should.

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The drain with the Pixel Vertax grip is real, and they've since acknowledged the issue. I wrote a blog post on my site specifically about the problem and the resolution:

http://www.akphotodenver.com/pixel-vertax-bg-e11-battery-drain-issue-canon-5d3/

Pixel has fixed the problem in newer grips. If you have a grip with the battery drain problem, simply contact them for a replacement.

T-mount was commonly used for 3rd party lenses many years ago before we had electrical connections, autofocus, etc. It was a way to let lenses be easily adapted to various cameras. Its still used on all manual lenses like mirror lenses. The main use now is for microscopes and telescopes.

http://en.wikipedia.org/wiki/T-mount

Here's a couple shoots I've done with my 7D so far.

This is my very first DSLR so I apologize if my photos are not quite up to par with the one's here on the site. ;D

Feel free to critique my photos and Tips and Suggestions are also welcome. ;D

Lnguyen1203 said:

I have the 300 f2.8 I IS and regular shoot it with a 1.4x or 2X TC hand held. Its a bit heavy if you have to walk a couple of miles with this combo, but it is doable for me. The attachment is a portrait of a black bear in Yellowstone at 600mm, 1/200 sec, handheld. The iS is great. So the answer is it depends on your level of fitness, how far you need to walk, what tele photos you have used in the past, etc. In general, you will find many people amateur like me or pros who say this lens is very handholdable.

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I hope this is taken as constructive opinion, but the image of the bear, is not sharp at all.

They won't give the new camera the 1Dx sensor. Canon won't make that mistake twice. *cough 1Ds3 *Cough. :-X

kennephoto said:

I have the cash, I want full frame very badly. I don't need that much camera as I'm not professional but 2900 for 7k shutter sounds like a good deal. There's a big camera sale coming this weekend locally I wonder if they might have 5d2s cheaper? Obviously the 5d3 is a heck of a lot more camera than 5d2(5d2 im sure would be amazing) and heck the rumored 6d might be more than 5d2(5d2 still prolly way awesome?). I just don't want to miss a potential good deal, unless you guys think prices on 5d3 an 5d2 may drop a bit after a potential 6d comes out? I have a 40d and 50d with a few efs lenses but I don't mind selling them, I would sell the 17-55 and 40d most likely. I can be very impulsive so I'm looking for grounded people to give me better advice. And if I go with 5d2 I want to buy the kit new. Thanks everyone I know I'm not the first one to make a thread like this!!

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BUY IT NOW! 8) Got mine on evil bay for 3099.

Do you guys have the same problem with new Canon 24/2.8 and 5DMk2 ? I mean new that i had purchased this old model a week ago, and now have the same problem like 40/2.8.

CJRodgers said:

AdamJ said:

Did you shoot these in manual? In manual, the foreground subject will be properly exposed but the unlit background will be exposed according to your manual settings. Especially when outdoors, I'd suggest also playing around in Aperture Priority which will expose for the whole scene while providing fill-in flash for the subject.

Concerning off-camera flash triggering, I'm not a Yongnuo fanboy but I'm genuinely quite excited about their new YN-622C radio triggers. They allegedly provide fully featured E-TTL II wireless control (when used with 430II, 580II and 600, among others) and if I understand correctly - but don't hold me to it - the radio system is cross-compatible with Canon's. They've just gone on sale at $110 for a pair of transceivers. I'm waiting for some reviews to see if they work as advertised.

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Does this mean they will be able to do HSS? That would be awesome.

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Yes, up to 1/8,000s, at least that's what they say.

neuroanatomist said:

JEAraman said:

Did you do them manually or did you use Focal?

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Both at once. Since the 1D X isn't supported by FoCal yet, I took all the shots manually, then loaded the images into FoCal for analysis in Manual Mode.

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Bought the software a while back and never got the chance to try it out. Gotta learn auto before jumping on to manual on focal.

Can recommend them highly, if still available.

Great thing with sennheiser is that they sell component parts should any break.. you don't have to bin them if a bit breaks or wears.

gPhoto on Mac works well... just got my 5D3 today, haven't checked all the freatures, but the shutter count works correctly.

http://photolifetoys.blogspot.com/2012/08/control-your-camera-with-gphoto2-via.html

lopicma said:

Why does it HAVE to be smaller? Just remove the mirror mechanism. You don't have to reinvent the wheel, just sack the mirror.

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It's hard to describe the form factor I was looking for, so Samsung created it in the NX20 Mirrorless Wi-Fi Digital Camera. Granted, the Wi-Fi is "gimmicky" to me. It looks like a full frame DSLR, but doesn't have a mirror. So... it looks like Canon has taken the track of a small body for now. Maybe the next version will be based on the 5D frame and retain the EF/EF-S mount. :

leftofdead said:

The 500 Super most definitely *does* work in the hot shoe of the 7D. I am currently using that combination. I needed to send the flash to Sigma for a firmware update because it was producing extremely inconsistent exposures. I paid for shipping to Sigma, the service was free, as was the return shipping, and it all happened in about one week's time. I was just astounded at how helpful and quick they were about the whole process.

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That's helpful - thanks. I have three late-model 500 Supers and they all behave the same on the 7D: in E-TTL mode, direct flash is always hugely overexposed; bounce flash is better exposed but still erratic. Manual mode works fine. In master mode, it doesn't flash in any circumstances. With a prime lens attached, the flash's zoom head often hunts between settings, e.g. between 85mm and 105mm if a 100mm lens is attached. With a zoom lens (e.g. 24-105mm) attached, the flash's zoom head cycles several times from widest to longest settings before stopping at a random setting. In contrast, all three flashes work perfectly in my 5DII's hot shoe!

I'd like to see if Sigma UK can update the firmware on my units. It would be very helpful for me first to know how long ago you got your update, and also which version of the flash you have. The three 500 DG Super versions respectively had the following inscriptions above the LCD :

ELECTRONIC FLASH EF-500 DG SUPER EO
EF-500 DG SUPER EO - ETTL
EF-500 DG SUPER EO - ETTL II

Thanks for any help you can give.

if you don't need instantaneous capture of all them there pixels, you can totally do that right noow! With a gigapan thingy! Heck, someone made a 270 gigapixel (panoramic) image, haha..

http://gigapan.com/gigapans/66626/

Random Orbits said:

The TC does cost you a stop that the crop body doesn't.

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This is a bit misleading. A TC spreads the light over a larger sensor area, but does not decrease it (significantly). Thus you don't lose light with a TC, merely light density. Another way to put it: Yes, you get one stop less, but that is precisely compensated by the FF sensor being one stop more sensitive (ISO 100 of the 1.6x crop ~ equals ISO 256 on the FF, for similar generation sensors).

Here are some of mine. the first is an 10mm UWA shot, using a hand rail for support. 8/10ths of a sec, Canon 10-22mm at f/4.5 (no IS),

The second is handheld 1/6th second at 50mm with the 17-55 IS at f/2.8,

The third is handheld 1/15th second with the 17-55 at f/2.8 and 55mm (equivalent to 88mm in a FF). IS is your friend

all 40D at ISO 1600. no time to set up anything or influence any lighting -- just grabbed the shot while the guide was giving her speech