Dylan777 said:

My rental 300mm f2.8 IS II arrived yesterday.

I went to local high shool this morning to test out the lens - photograph "little soccer league". I took over 500 photos. The coach asked to see the photos and I showed him my pictures. He offered to pay for all 500 photos for $350(about 1hr of fun for me). I took the offer and gave him all JPEGs. I promised to edit some raws and will give him some later.

Should I change my carreer :

I JUST CAN'T BELIEVE I GOT !!!PAID!!! FOR THAT. I guess, I'm a "PRO" now ;D ;D ;D

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COOL! ... Congratulations!
About thrice a year, I get offers from a local independent cultural center, to photograph their events for $410 for the full evening (about 5+ hours), but I always politely refuse it for 2 reasons:
1. My employment contract does not permit me (I suppose I could still do it on the sly but that would be a big risk if the company found out and I'd lose a well paid job that allows me the luxury of buying camera gear
2. Whole evening of photographing a very boring event plus editing thereafter and working during my time off (for $410) just puts me off ... but if the offer was more maybe I'd do it ;D

I love my 40mm lens now that I have a full-frame body, but I basically never used it on my crop body. It was just too tight, so I kept finding myself having to walk back to ridiculous distances to get decent framing. I would suggest something wider on a crop body like the 60D—say 20mm or 24mm. Just my 2¢.

Of course, if you don't have a camera yet, I'd probably suggest saving up for a 6D. The prime lens lineup seems to be the right lengths for full-frame (and their cinema primes doubly so). That said, if you go with a crop body, I'd seriously consider a 10-22 zoom.

First real-world experience was without issue. Still developing the muscle memory to quickly adjust mode and power remotely, but overall the system is simple and solid.

I got the honeycomb material from a friend who purchased it from an aircraft recycle co. somewhere... I received large sheets for softbox and some very thick pieces (2") for small grids...
My first version of this snoot I cut out the front of the stofen diffuser leaving only a thin strip in the middle to support it so it dosnt crush... and the grid was placed right up the the opening of the snoot (yogurt container). the output was a higher but the pattern was harder and it didnt control the edge to my liking... adding a sheet of opal diffusion internally helped.
the new 600 version I left the stofen intact and positioned the grid ontop of it... the little 2" distance of the exit of the snoot gives just enough control to keep the pattern tight.
Here is an example of it in use just above the drink...8"

sunnyVan said:

Got it yesterday. First surprise. It may or may not be a good one. The box is black and grey, not white with a red strip I was expecting. The box still has canon logo, UPC code, serial number, etc. Does it mean anything? There is a canon USA warranty card with the correct serial number. I got it through Buydig.com. I just want to make sure I could get the $300 rebate. Forgive me if my question sounds ignorant. I don't usually buy new.

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I think Canon is gradually switching to a black/grey box from the white/red ones we have become accustomed to. So far I have seen the 85mm (non-L) and the 50mm 1.8 II at a local store with the black/grey box. So this is actually a recent change, but the box does look like retro

How does the compression work on Canons . Can you choose a bitrate in the menu? Is it decided by the SD slot speed? Decided by the card speed as well? Is it always a consistent speed in All-I? And if so does anyone know the max bitrate for the 6D? (I think it's. 90 for Mark IIi) Just curious cuz I don't wanna but an SD card with a super high write speed if it isn't even capable.

Do they have this program for students in the United States, as well?

RGomezPhotos said:

I've seen pics taken with the 50mm f1. It's 'interesting' but a total niche lens. A nice toy but I don't see any real practical applications for it. Shoot in the dark? Um, why? I can see a landscape photographer that would want a 15mm f1 or a researcher needing a 400mm f1 for researching the nocturnal patterns of some endangered species... But for everyone else?

In real world usage, the Canon 50mm f1 and Zeis Otus 55mm f1.4 are completely different beasts.

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yes they are, the otus is all about sharpness, the canon is all about speed and it has autofocus. both are excellent examples of what can be achieved and i like to see that

I'm thinking it might be a nice lens for a woodworker taking shots of furniture. At least that's what i'm debating about whether to buy it for myself. I wouldn't be taking show shots, but rather working shots to aid in reproducing some piece of furniture, or some part of a piece.

The lens is supposed to have decent resolution, relatively low distortion, good stabilization, and macro capability if needed. A faster F2.8 aperture wouldn't be needed, since depth-of-field is usually more important here.
The reported focus shift (worst at 70mm close-in non-macro) might be an issue, but seems like that should be fixable by a simple firmware update, i'd think. Hopefully Canon's already done that.

Hopefully the price will come down a bit...

Thanks everybody for all those responses.

Rienzphotoz : A cheap one i found on the local Craigslist. It cost me about 15$. It's perfect for me as i've never had any issue. It must be an asian one, you might find plenty of them on ebay.
That's what you wanna buy if you juste want to try some Nikkors on your Canon.

mwh1964 said:

Buy a regular Canon lens instead. The 17-40 will get you so much more for a decent investment and even better if you get it used or refurbished. If you need the 14mm all the time I would consider going for the Canon 14 L.

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17mm is so different from 14mm. Have you ever tried both of them for giving that kind of advice ?
17mm is that wide. But 14 is ultra-wide.
A 14mm will give you shots that you'd never had been able to get from any other lens. The 17-40 is a trite and quite poor lens. It will just "make the job" when a real 14mm will give you astonishing shots. That lens is more than original.

On the other hand, the AF canon 14mm II is extremely expensive reported to the very occasional use you'll have of that focal lens. Second-hand Canon 14mm I are rare and stays expensive.

If you have 300$ and wanna have fun and a good IQ, the Samyang is perfect.

1/250 s isn't enough to freeze the motion of my 5 year old when she dances - I doubt your shutter is freezing the dancer. The duration of the flash is much shorter, particularly if you set the Einsteins to action mode instead of constant color temp. In color mode (default for the Einstein) a full power pop is 1/540 s, as you drop power it gets faster (1/1700 s at 1/2-power, ~1/8000 s at min power). Action mode is a little faster.

You just need to make sure the shutter is fully open when the flash fires. At speeds faster than Xsync (1/200 s for the 5DIII), the second curtain starts closing before the first cutrain completes its traverse. Going 1/3-stop slower than Xsync ensures the curtain is fully open with a cushion for trigger timing not being perfect (it rarely is with 3rd party triggers).

My bad, thought the a frame was a winch for trawling. I should have known better, the Sir James Cook passes right by my back window around 6 times a year.

.

The projector has a USB input for video? If it does have a USB input, chances are it's just for slide shows of jpg and ppt files, and also the odd firmware update.

Judging by the frame rate you get with live view over wifi into a mobile device, I can't imagine that side of the planned connection producing good results for video.

I'd have thought your best bet would be to find a projector with a HDMI input, and plug the 6D directly in. Some HDMI cables are longer than a couple of metres, and if you really want range, HDMI extenders over CAT5 allow for a range of up to 250m, and then there are optical and wireless extenders too if that's not flexible enough.

xvnm said:

Why doesn't Canon use Gorilla Glass for their lenses, so we don't have to worry about the lenses being scratched or damaged?

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Because they choose the lens materials for their optical properties, not their mechanical properties...

Dylan777 said:

neuroanatomist said:

Don't sell them, view them as an opportunity to use them on a lens purchased in the future.

After getting the 85L II, I sold my 85/1.8. I gave away my 58->77mm step up ring, and given that I'd started buying L lenses at that point, I didn't see a need for a 58mm filter. Then there was this MP-E 65mm available...

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+1 with Neuro

I love B&W 007 clear. Shoot me an email if you have 72mm B&W clear for sale

People tend to buy expensive L, but settle with $20 filter :-\

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Yeah it is the best!

Mine has it too, it is just the way it was designed. Since it is cosmetic only, I would not worry about it.

Once in a year (or two) I get a chance to shoot Tennis, Moto GP, Drag Races & Speed boats (when they happen in this country) ... unless one is a professional who gets to sit/stand in a good spot, I think zooms are more convenient ... I once tried shooting a tennis match (Maria Sharapova vs Vera Zvonareva) with EF 300 F/4 lens but kept hunting for the players because I couldn't locate them with just one large focal length .. also tried with 100 f/2 but found it too short ... the 70-200 is a great lens for hobbyists like me who don't always get to sit in perfect spots ... although IS does not really matter when you are shooting at faster shutter speeds, it is reassuring when what you see in the view finder is stable (with the IS on) and your focus point is exactly where you intend it to be.
Obviously a prime would give better results (only if you know where/how far you will be seated from the action) but a zoom ensures you don't miss a shot, due to its versatility.

Hi Adam.
Thank you for the link, I have spent a couple of hours browsing your images. Some incredible pictures, we got caught in one of the rain "showers" at Lake Pleasant. Wow the visibility went from the horizon to where'd the lake go in minutes!
I particularly like the war birds, during my stay in Phoenix I visited the Commemorative Air Force museum Mesa AZ, they had a lot of info about the Tuskegee Airmen, also apparently the airfield was used to train British Airmen.

Cheers Graham.

Adam Schallau said:

Here's another photo of lightning at the Grand Canyon created exactly 1 year earlier: http://adamschallau.photoshelter.com/#!/portfolio/G0000k0QQuS2DJXc/6

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i haven't done any AFMA. The focus seems properly after some testings on a ruler.

i wanna thank you all for your advices. Finally a friend of mine sold me the EF 85mm 1.8 for a good price. I'm quite happy with it.

the 2014 might be a lens upgrade year for canon, but the economy isn't strong as it used to be. Canon lives in her own world on that matter, so probably a new 50mm and 85mm lenses will come out but the prices will be very high
like the new ones 24mm 2.8 IS, 28mm 2.8 IS and 35mm f/2 IS

Don Haines said:

It turned out quite well. In Camera HDR is one of the "novelty features" that I am sure I will enjoy when I eventually replace my 60D... I have it on my p/s camera and like it.

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You can do it in DPP but it takes (much) longer.

Zen said:

Hi guys,

Perhaps Neuro or someone else who is technically aware can answer this question.

Other than the very slight warming effect some see in the B+W UV MRC Nano vs. the opposite effect of the Heliopan, what is the real difference between the two? With the Heliopan significantly more expensive than B+W, but both using Schott glass and brass mounts, is either better than the other? Why is the Heliopan so much higher in price than B+W? Is it worth the difference? Heliopan says their MRC version has 16 different coatings, whereas B+W says only 8. Is that the only difference? Do the extra coatings make that much of a difference?

Secondly, regarding the circ polarizers by each manufacturer, does the B+W have a similar warming effect in the polarizer as it does in the UV? To my eyes, the difference is almost undetectable in most situations. Can anyone comment on this?

Thanks for any light anyone can shed on this issue.

Zen

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The UV filtering itself will cause the color tint. If you use the B+W clear filter instead like this one you won't get that effect:
http://www.bhphotovideo.com/c/product/475496-REG/B_W_66_1005754_82mm_007_Protection_Clear.html

re: polarizer I also have a B+W circ polarizer but I haven't tested it vs other brands so could not tell you.

Volleyball is not very tough and doesn't really need super AF. AF is challenged when a subject is moving at high speed toward you, but even then, you can usually get by fine with any reasonable camera. you develop a sense of timing.

However, video is a different situation. If you want to zoom in and do video of rapidly moving subjects, autofocus will be a big benefit, and the only Canon DSLR with fast AF during video is the 70D. For stills only, I'd get a 6D.

I'm holding off on buying a new DSLR until Canon puts one out with AF during video, FF, Fast AF like my 5D MK III, Wi-Fi, and a fold out LCD. The latter may not happen, but its nice for video.