Don Haines said:

You could also look at gear-heads... VERY good for precise positioning, but much less convenient than a ball-head.

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+ 1

405 or 410 Jr gearheads top my tripods and I reserve ballheads for lightweight gear or monopod.

Great idea. I think it looks great. I generally keep a stofen with my 600ex

Thanks a lot for the replies which has made things quite clear in my mind.

I have ordered the strobes and will give it a go with the manual mode for now even though it feels a bit above my head it's another steep learning curve I guess.

The FRX 400 is basically the 400w strobes made by Elinchrom in India. Getting these locally in india is costing me less than $500 which I feel is a good price

The dealer who is selling the Elinchroms told me that he would be getting a cheap 3rd party trigger/transceiver in the next 15 days which will be able to trigger the strobes as well as the flash ... Youngnuo perhaps! I'll let you know

I have been using one of these on my 70-200 F2.8 IS Mk1 for 4+ years. It has never moved, never needed re-tightening etc. I simply put it on the lens foot when it was new and forgot about it. I also use a longer (115mm) version on my 300 F2.8 L IS again no twisting, loosening or quality issues. I also have longer plates from Kirk and Wimberley - they are no better.

http://www.ebay.co.uk/itm/Lens-Plate-for-DSLR-Canon-Sony-Nikon-Pentax-Sigma-Minolta-Tokina-Leica-Tamron-/310788470687?pt=AU_Cameras_Photographic_Accessories&var=&hash=item485c6fb79f

Sorry, haven't read the whole thread, but from my perspective, Darwin Wiggett's ebook on TS was particularly helpful for me:

http://www.oopoomoo.com/ebook/the-tilt-shift-lens/

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I'm not intending to be confrontational at all, but I found the Darwin ebook ("The Tilt-Shift Lens Advantage for Outdoor & Nature Photography") to be a complete waste of $20... It's overly simplistic and too full of "pretty pictures"... But my biggest problem with this book is with regards to his approach to finding the correct "balance" between lens-tilt & focus to achieve the "infinite depth-of-field effect" that most beginning tilt-shift-photographers struggle with... His technique of "bend (tilt) for background, [and then] focus for foreground" is the exact opposite way everyone else does it; and his insistence that "if you mix these up, you’ll likely never find optimal tilt" is just flat-out wrong...

A quick Google-search will show that everyone else tells you to "focus for the background & tilt for the foreground." It really isn't difficult at all to find the correct "balance" between lens-tilt & focus to get the "infinite depth-of-field effect." It's just really hard to try to explain to someone who hasn't spent an afternoon playing around (experimenting/practicing) with a TS lens. Those animated gif's referred to by privatebydesign (over at northlight-images http://www.northlight-images.co.uk/article_pages/using_tilt.html) are a great way to get your head around the whole tilt vs focus thing... And once you're comfortable with the idea of balancing tilt & focus, a great short-cut (that I use all the time) is described here: http://www.northlight-images.co.uk/article_pages/focus-with-tilt.html.

Richard

For me( and Some minority of CR. Members ? ) always buy the new equipment after the company improve their new products/ equipment, just 10 cents of It's better Quality, and WE HAVE A HEART TO SPEND $ 1000 US DOLLARS MORE , for the equipment that ALMOST THE SAME QUALITY OF OUR OLD EQUIPMENT AND HOPE TO GET BETTER AND SHARPER PHOTOS---YES, We have 90% Pure Heart but only 10% BRAIN, to create our happiness but less money in our pocket.
Just want to have FUN to talk with you.
Have a great weekend.
Surapon
[/quote]

Mr Surapon,
Yes indeed. But we buy because the purchase inspires us to take new images and try the new (or old) gear and see what we can do with it. Maybe we can take a special image that only that bit of gear allows? Maybe. Tilt and shift? Macro? White lens at max aperture? It is the trying that makes the difference. If a new bit of hardware inspires you to go out there and try something new, then get it. Old or new does not matter either. My T90 can take a brilliant image but only if I go our there and us it!

A 60's phrase was 'any is sufficient, enough is too much'. For photography this translates as 'kit is sufficient, but more is better'

Which reminds me, I better get the T90 out and take some shots...

I agree, left side is awful, worse at f4 than at f8.
Right side is none too sharp either, though not as bad as the left, Again, better at f8.

vscd said:

@bdunbar79

I looked at the graphs, and why in the heck would you post graphs of the 1D3 instead of the 1Ds3?

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If you read carefully you would've seen that I already mentioned this, but you can compare by yourself on DXO. The results don't differ that much.

I'm no pixelpeeper, but there are some legends out there which people tend to build up further and further. In fact I think the 1dx is superiorexcept of resolution, but I don't think someone has to buy it if he already has an 1ds3. The differences between the 1-series and the 5-series are even well documented:

http://www.robo47.net/media/data/martin-wieser-kamera-setup.pdf

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In a thread about 1DX and 5D MkIII raw files we diverted a bit to the 1DsMkIII raw files, but I fail to see what relevance a setup PDF, in German, for a 1D MkII/n 1DsMkII has to do with anything?

Take a look at my post here for some pointers on technique - the shot in the post was shot using that same lens/extender combo on a 60D:
http://www.canonrumors.com/forum/index.php?topic=18528.0

A star field test is not a good test for lens, unless your main subject will be star fields.

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atmospheric conditions will make way more difference to your apparent sharpness than anything else

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+1 I do believe that privatebydesign has nailed it...

Just got a notification from Apple today for EOS-M2 RAW Compatibility Update 5.03 on Aperture 3 and iPhoto 11 ... but other than Amazon Japan, I can't seem to find it being sold anywhere else.

Reach isn't the greatest on full frame, but this is one great lens. It is very easy to hand hold and is balanced well. You can hike all day with it and not notice. I use mine on APS-C except for one trial of 6D on owls at dusk (really a trial of 6D AF, which is certainly sensitive in the dark). As mentioned, a monopod can be helpful when staking out a nest or pond, and you can still (awkwardly) move for BIF shots. I shoot at 1/500 or above, faster is better. Good technique, smooth panning are the key to good flight shots, and the perch shots require good to excellent technique for high keeper rate. I shoot bursts (on the 60D at least). The lens is at its best wide open at f/5.6, and I rarely shoot at smaller apertures, aside from the effective aperture decrease that occurs with a 1.4x TC. The 400 f/5.6 image quality is reasonable with the 1.4x TCII but autofocus is lost, so I use the TC mostly for pre-focused stakeouts. 6D as a birding camera is best applied in very low light situations.

Awesome! We are looking at shooting with our new Canon 5 Mark III and I wondered what audio set up you used with this camera. Any advice would be greatly appreciated. I am shooting a web sitcom with a Theater Class filled with comedy loving students.

Thank you for your replies. Interesting to see some of you use mainly primes

Hi Neuro....

Thanks - that was reassuring indeed. As of now I'm finding the Swiss Arca clamp setup perfectly comfortable and fine...
Cheers and thanks once again

Your post made me visualize my use for this solid arm, and I think this is what you do: shift the axis of your beauty dish a foot or so to the side of the lightstand, making it a LOT easier to shoot around the stand with the light positioned to be right on the lens axis and slightly above lens height. Yes, a boom of any kind is overkill here.
Excellent! Still might need that weight on the bottom of the stand...

Grumbaki said:

Here (China) the 70-200s are nicknamed "Xiao bai" litterally "Little white". Cute.

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Yeah I heard about that. Thanks for sharing!

David_in_Seattle said:

The 50mm f1.2 is weather sealed, but requires a filter to complete the seal. Though, don't interpret that as water proof or built like a tank. I've owned a few and broken 2 of them due to harsh environments. If you're shooting in rain, high humidity, or dusty environments then I recommend using a clear/uv filter to protect the front element and a lens cover to protect the rest of the lens from the elements.

My first one broke while on a photo shoot in the Cascade Mountains during the winter. Unfortunately moisture somehow made its way into the lens (even with a filter on) and the frigid cold caused the mechanism to freeze up. When I turned the focus ring while the camera was on the lens wouldn't respond. I was unable to focus with it until I sent it in for repairs.

A second copy broke while doing a photo shoot on the beach, then transitioning to a speed boat. The harsh movements of the boat hitting the ways caused the magnetic focusing system to break and become unresponsive. From the what the Canon CPS tech told me over the phone, apparently the internal lens elements were dislodged and one of them cracked inside the barrel. It was too costly to repair so I bought another one.

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Thanks for the tips. Truth be told I don't plan on going anywhere extreme like you but it would be nice to know if it starts raining I shouldn't be to worried

Dylan777 said:

If you bought it from an authorized dealer, then you should be fine. Just go out take pictures and have fun with it

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+1

sb in ak said:

6D would give you the best all around DSLR for those needs. Though for street, you might be better served with a smaller rangefinder-like camera.

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+1

I'd go with a 6d and an x100s

Do you have any sort of insurance for camera equipment?

Either way, I'd strongly consider just having them replace the parts. Peace of mind for later on, and it's already there. And use a bag next time.

No solution?..., but it sound like my 135L and all other 135's I have tried

some sort of fitting should be possible? I am thinking along the lines of what a friend of mine came up with for the sagging inner barrel of the 24-105L (when carrying it in a strap). He bought the kind of plastic/rubber bracelets you see young people use. I tried it myself on my own copy and the inner barrel never slides down any more. You feel that it is there when twisting the zoom, but better than the alternative. If you could find a type of rubbery material that glues to the inner side of the hood by the locking mechanism, but that has no stickiness to it after it has dried, it would both stop the shaking and possible looseness after it has been twisted into position?

I would keep the 16-35 and just save up for a new lens. If you're after something to complete your zoom range the 24-70 would be better. but if your after architecture, pro-landscape or tilt shift FUN(!) then go for the TSE.

I personally don't believe in swapping 1 lens for something different unless I don't use the original lens.

Its a matter of tolerance buildup. If a lens at one end of the range meets a camera at the other, then it will be tight or very loose. Exchanging it for another usually resolves the issue.

It is not a normal occurrence, I've had dozens of bodies and at least a hundred lenses, many of them recent new ones without the issue.

Considering that you are dissatisfied with your Sony, and already have a 550EX flash, it seems logical to switch to Canon. In fact, for photos in low light 6D seems a good option, but she asks good lenses like 24-105 or more expensive lenses. I see two paths for you. Or you saves more money for 6D + 24-105mm, or purchase now 60D + 17-55mm. However, if the budget allows, the 70D + 17-55mm set is even cheaper than the set 6D.