moocowe said:

Look similar to Op/Tech Reporter/Backpack System Connectors.
One side has a male quick connect, and the other a female. Not sure how short you can adjust the webbing though.

http://www.amazon.co.uk/TECH-Reporter-Backpack-System-Connectors/dp/B0010HA68I/ref=sr_1_1?ie=UTF8&qid=1403765039&sr=8-1&keywords=op-tech+reporter

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Thanks!
This is exactly what I need- I wonder if I will get it shipped before this trip, though.
Going to check local camera stores now that I know what to look for...

Edit: Might be able to get it via Amazon Prime. Thanks again, a lot!

sanj said:

How come the new 16-35 is already for sale in Australia but not in rest of the world? Cant figure this one out…

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I'm not sure this is a complicated question. Last time I looked at the map, it looked like Oz is a whole lot closer to where the lenses are made than Europe or the US ;D

List Attached Below for your Reference.

Happy Shopping !

Anil George

bdunbar79 said:

That's why I don't shoot moving objects or sports with IS. I shut it off on my 300 and 400 f/2.8's because my miss rate increased with IS turned on.

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+1
That's exactly what I was getting at, only you said it with FAR fewer words!
Additionally I really find little use for IS on stationary subjects unless the light is stupidly low!

In P mode (on the camera), the camera will expose the foreground correctly but the background will remain dark. In Av and Tv, the camera will do a normal exposure even if the flash fires, so the flash fills the foreground but all is correctly exposed. If you were shooting P, it might be that bounced light gave a lightter background, providing a more uniform exposure. There may also be different flash compensation settings for master and single flash in the camera and flash menus.

During the ceremony, definitely use the GoPro as a superwide safety shot. This will give you something to cut to during the edit when you're adjusting focus, changing angles or the record limit stops on your DSLR's. Depending on the venue, placing it in a balcony would be ideal, but it can also be placed on a mini tripod on the floor facing the altar/stage. Hero 3's have terrible battery life, so don't hit record on it too early (10 minutes early will suffice).

I would put the 6D + 17-40 on a tripod (or monopod if it's a version with balance feet and you're confident in being stable) in the front, facing down the aisle during the processional to capture the wedding party and bride entrance. Obviously don't block the aisle, and be mindful of the guests. As for focus, if you're not experienced I would NOT try to manually follow your subjects as they walk towards you. Instead, place the focus towards the middle of the aisle (or closer) and allow your subjects to walk into the shot. Once they're out of focus in the edit, cut to the GoPro or 70D, then cut back to the 6D for your next subject.

The 70D should be placed in the BACK of the venue on a tripod, equipped with your 24-105 (the crop sensor will turn that 105mm to 168mm). During the processional, this will be your groom shoot. Keep in mind it might all be ruined when the crowd stands up and blocks your shot, so you'll have to prepare for this. After the bride has been handed off, readjust the tripod to the center of the aisle (but not too close) for a nice, tight middle shot on the couple. As a professional, I never trust auto focus, but you may want to use it here if you're not confident with the LCD screen. Just make sure to keep an eye on it, and if it's constantly shifting, manually focus on the couple and leave it alone.

At this point your 6D will be shooting the crowd (aka: nothing important), so go up and readjust it to face the couple from the side. Pop on that 100mm (you could have it lying below the tripod) and get a tight shot of the bride or groom, whichever you are facing. If you had a third DSLR, it would mirror this one on the other side. Alternatively, you can just set this camera aside and only worry about your middle 70D shot, as you're probably not getting paid for this anyway, and the middle is the most important. However, if you're not going to mic the groom, then the 6D can be your slightly-less-crappy audio source. Even if you put an external mic on the camera, the audio is still going to be trash due to the terrible preamps, but I digress . . .

Or, you know, tell her to hire a freaking professional

Thank you all for your swift responses - and particularly Jrista - thank you for the very thorough reply. I am in the planning phase so all options are open at the moment.

--Thomas

jeffa4444 said:

The 6D is definately a great camera for its money and the pictures I took on vacation in Cape Cod, Marthas Vineyard & Boston over a 10 day period look amazing (especially of the Red Sox). However its not constructed like the 5D MKIII and is not infalable. Whilst at Chatham we had dense sea fog and the shots of the fishing boats exhibit posterization in the white / gray sky area although this has not shown up in all blue skies.

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Weird. Are you shooting JPEG? I've never seen that with RAW unless I'm looking at an image on a cheap LCD panel that has really poor color reproduction.

jeffa4444 said:

The GPS needs to be turned-off in the menu otherwise when you turn the camera off it still depletes the battery which is a real pain.

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This is what a grip is for.

What? You mean there's a reason to use a grip besides working around overzealous GPS sampling while the camera is off?

Purely from a financial perspective it would make sense for Nikon to consolidate the line, as there is almost no functional difference between the two, and they have not sold anywhere close to the numbers anticipated to meet financial projections.

In that regard however, the proposed 'upgrades' would not be of of the significance many consumers would expect for a 'consolidated' model (ala 1Dx and D4). The upgrades are basically software and a badge, sans the processor - which in the end is technically still a software upgrade.. The new processor will provide the muscle needed for a different AF algorithm, noise reduction algorithm (the alleged ISO improvement), moire suppression algorithm, and sRAW (which if based on the D4 implementation will be a waste of processor cycles anyway..) oh, and let us not forget the crucial addition of GPS! (sic).
No.. What I see in this consolidation is simply an attempt to restore faith in the Nikon brand. Showing their base that when they see something wrong, or lacking in tangible benefit, they react - and decisively - to trim the fat and produce the lean mean product they should have released initially. (queue the I AM xxxxxxx theme music)

As for the 'new' model.. In my opinion they could gain back their D700 base (the ~790k they thought would upgrade) if they would take current tech in a lower mp sensor (akin to the D4) yielding better overall ISO, DR across the ISO range, color and tone across the ISO range (all without the unnecessary processing) faster fps, robust AF, 1080p video, and stuff it all into a body that is more comfortable to hold (they still have the D700 castings, heh) with truly needed ergonomic changes like moving ISO and AF mode selection to the right side so you do not have to transfer perch of the camera back and forth between your right and left hands. There is already a large hole in the body due to the flash for wireless communication, but not important either way there.
If they want to run a body like that along with a high-mp body that fewer people need/want, that would make multiple bodies more feasible all around.

Re: Past weekend

Lovely pictures. Nicely done.

Hillsilly

If you read the little piece of paper that comes with the Big Stopper you can correct the color cast in-camera by adjusting the color tempreture. Once you get the correct value just note it and apply it each time you use the filter.

in camera ND is all over you cannot do graduated and grads applied in photoshop dont look the same. I like the control of applying filters myself and always carry ND grads & a polarizer. I plan shots for the Big Stopper & the Little Stopper so only carry them when required.

neuroanatomist said:

ScubaX said:

tpatana said:

ScubaX said:

tpatana said:

Strange, just contacted a State Farm agent here (WA), and she said I'm not eligible for their insurance unless 80% of my photo work is at a (my) studio.

She gave me info for another insurance company which might be able to help.

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Maybe try a new agent? I use to have a personal articles policy with State Farm for my underwater housing and video camera. Only eligible if 80% of my use was underwater ;D

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Found out what the problem was, if you make any money with your gear, it's whole new level.

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Greedy B****rds! I wonder what would happen if I was insured with them and then sold that underwater video? I did sell them to my fellow divers but not at a profit, just cost. What if you took an amazing photo, that someone wanted and you sold it to them and at the same time lost your gear? I do get to sell them, so that makes me wonder if they would actually pay on a loss?

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You may find the answers to those questions and others in the policy from State Farm. It's always a good idea to read over your policy, if for no other reason than to make sure you understood everything your agent said, and if they said everything you need to know. The time to do that is NOW...before you find your claim being denied because of some clause in a policy which you didn't read.

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A good idea for every insurance policy I have commercial photography insurance through NANPA / Rand (I think I posted that earlier in this thread) and the only somewhat unusual exclusion in the policy is that they don't cover gear that's attached to a motorized device (i.e. drones, remote control vehicles). No big deal for me, but I would never have expected that to be in there had I not read it.

I'm in Idaho and it is dry and clear, however there can be shimmer on bright days. Today I took an acceptable shot of two antelope, at about 100 yards. Last night I worked on micro adjustment, and set it to +5.

I am attaching two shots from my lens test with my lens and my friends lens. Both shots are taken with my camera on a tripod, auto focus, jpgs.

Neuros actually my alternick. he's the Bruce Wayne to my batman.

Gino said:

Hannes said:

Gino said:

* 3.5" OLED screen with better visibility in sunlight

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OLED screens are actually worse in sunlight as they can't have as much backlight as a traditional LCD screen.

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Are you sure about that??? The Galaxy s5 has an OLED display and it looks better than my iPhone.

Regardless of what technology Canon uses for the next generation screen, I would like it to be easier to view the photos on sunny days.

Thanks

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Yup, my Samsung Note 3 uses an OLED as well. If you are in a reasonably lit place the OLED screen will have an advantage due to the infinite contrast as a black pixel will be truly black on account of the light for that pixel being completely turned off. Since each pixel is emitting light instead of having a light placed behind the screen the current OLED tech can't create as strong a backlight as a traditionally constructed TFT can and because of that has more difficulty when it is really bright. Sadly.

Colonel H said:

Dylan & Mac,

Thanks for posting these types of posts....they help hobbyists like me.

Two weeks ago I got my 5D MarkIII and yesterday got my 24-70mm f/2.8L II. I already had the 70-200mm f/2.8L II on a 7D. Still getting use to slight vignette at 24mm but I love it so far. Now I just need to talk my accountant (wife) into the 16-35mm f/2.8 II.

Thanks again.

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Colonel H, you're welcome and we try to help. Congrats on the new gear (especially for getting it "approved by your wife!) - it's a great set up and I'm sure you'll love it! Also, I'm more of a part-time pro, but I like to pass my knowledge along. Privatebydesign and a few others on here are full-time pros and know way more than most of us

Photo Geek said:

I ordered mine form The Imaging World in NY yesterday, and got my lens today. (Canceled my amazon pre-order)

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Funny. Amazon must be low on the totem pole, as I had to cancel my pre-order with them as well. I got an "error" from UPS that delayed my shipment until next week but that was not B&Hs fault.

I've just received my 16-35 f4 today and took it out for a bit of testing. I'm impressed!

I have noticed most shots seem under exposed by a stop or two but I need to investigate further to see if it was my fault...

I did try some infra red with a Hoya R72 filter - very clean images with NO hot spot, wide open & f11...

Just thought I would share this info as a lot of you are keen IR shooters...

edit - Another thread has this info...- http://www.canonrumors.com/forum/index.php?topic=21039.0

I hit an overheat warning once when shooting 50-100 frames near 1/2 and full power. It was on a key light with shoot through umbrella. I ended up putting two lights instead and solved the heating problem. I tend to work a lot slower with speedlites because of there limited power and limited battery life. Hence I shoot much less frames than I would be with strobes and only overheated my 600s once.

However shooting 500+ frames out of a speedlite for hours straight, I could see them getting hot.

Mt Spokane Photography said:

Leigh said:

Since most of the rumors coincide with “new” sensor technology, and significantly lower noise; My guess is that Canon has further evolved the Dual /( Multi) CMOS technology to acquire more light, while maintaining resolution???

Perhaps distributing pixels over multiple sensors, with a method of acquiring “even” light to each sensor element. ( The only “current” manner of lowering APS-C noise is to reduce resolution/pixel-count.

Canon has a history of “field testing” new technology in lower priced cameras, hence the 70D.

Leigh
www.leighwax.com

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I do expect that the 7D MK II will be a big improvement over the mk I.
I do not expect more than one sensor in the camera, why would they use multiple sensors?

You cannot acquire more light by splitting a pixel in pieces, they gather photons according to the area, so you receive approximately the same number of photons overall. The 70D does not acquire more light, but uses the dual pixel for phase detect autofocus. Otherwise, its the same as other Canon sensors.

The split pixel technology potentially allows some other tricks like improving DR, and probably some that I'm not aware of.

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Maybe dual sensors could be used, but not for what you think. I could see a use to have multiple sensors, 1 for imaging, one for AF, one for the hybrid viewfinder (or maybe a dual pixel sensor that can perform AF and feed the hybrid viewfinder.

I would be willing to bet that the new models will just do away with the phase detect sensors that we know and have loved for all of these years. A better full time contrast detect with higher speed AF with focus points anywhere across the sensor field. Higher end models would be fully programmable on AF patterns. Lower end would be fixed patterns.

We have already heard rumors of the 7D replacement having a larger "bump" on top. How about a specialized prism that can split the image into multiple paths to multiple sensors.

It just seems to be the next logical progression from the dual pixel technology.

Don Haines said:

jrista said:

The moral of the story? If your a discourteous, tromping wannabe who has to keep on the move because your too impatient to set up, sit, and wait for natures beauty to come to you in comfort...then a tiny light weight mirrorless with a tiny light weight lens is probably for you. You won't get the same action-grabbing performance, you won't have the same ergonomics (those mirrorless cams and lenses are TI-NY...like, toy tiny, like, barely fits in your hands tiny...like, WTF am I doing with a TOY with that BEAUIFUL BIG BIRD in front of me?!?!? OMG!), your IQ won't be as good (or maybe it will if you drop some dough on the FF A7r, but then you'll really be suffering on the AF and ergonomics front).

Anyway...mirrorless has it's place. They have their uses and their benefits. But, every time I encounter a die-hard mirrorless user, my experiences tend to be similar to the above. Mirrorless users are ALWAYS on the move. Moving moving moving moving. No patience, no time to wait and let things just happen around you. MOVING. I totally understand why they are fanatics about mirrorless...but wow...slow down and enjoy something, enjoy life happening around you every once in a while!

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makes me smile.....

my birding setup includes a camping chair and a good book and while I was reading today Harry came past to check me out...

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Nice shot.

My birding setup included my ass and the ground. And the camera+lens on a tripod, of course. And maybe my phone...on which I have good books, good music, good games, lots of good stuff.

Hi All, here is a link to an online petition asking Canon to improve the C100 by adding the auto ISO feature. This feature is very useful for adjusting exposure on the fly. It is particularly useful when GlideCaming and also for unmanned secondary cameras on partly cloudy days where the lighting conditions keeps changing.

http://www.change.org/petitions/canon-add-auto-iso-to-the-canon-c100

Please sign this petition to help inform them that we consider this a useful feature.

SwampYankee said:

Mt Spokane Photography said:

My comment had nothing to do with the camera performance, just with the fact that mirrorless cameras are not selling in the USA or Europe.

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I know they are not selling in big numbers but I think they are starting to catch on with the pro and advanced amateur crowd. I go on a lot of photowalks in NYC that are pretty much that demographic. A couple of years ago it was 50% Nikon and 50% Canon. Now at least 10% is mirrorless, perhaps more. The Sony A7R is the most common and I am seeing more and more Fuji's. I suspect Sony may have sold as many A&'s as Canon has sold 5DIII's in the past 6 months or at least close to as many. I still think Nikon and Canon can not ignore this space

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Nikon and Canon do not ignore it, the sales figures are available to anyone at the CIPA website. They break out mirrorless by region but not by maker or model. Virtually all the major Japanese camera makers report figures to CIPA, so its very factual. Its easy to get the wrong impression, we see what we want to see.

Look under statistics, the Mirrorless models are called Non Reflex. Note how steep the sales drop is for USA and Canada and Europe, but holding up for Asia.

http://www.cipa.jp/index_e.html

I've often wondered what the real advantage of a 24mm apsc sensor is. But this lens hits it right on the head. Previously, I'd look at, say 16-50/f2.8 cropped lenses and wondered why they were almost the same price as a 24-70/2.8 full-frame lens, still took 77mm filters, etc. And so, what's their size advantage really? But this little ultra-wide tells the story of the apsc advantage. For 300 bucks, you can have the same focal range as the new 16-35. And you get it for one-quarter (one quarter!) of the price, almost one-third the weight, and pretty much all of the image quality. Yeah it's not as well crafted, and it has tighter apertures, but for an ultra-wide, where it counts – image quality at middle apertures – it's apparently close enough.

I still love the look of my full-frame images (they are different) and you can't match the viewfinder, which impacts every photo taken. But for travel, hiking, easy of use it seems that an SL1 and one of these babies is the cat's meow. If Canon only kept pace with Nikon with, say, a 35mm 1.8 for cropped sensor, they'd be getting somewhere.

i guess i'm in disagreement with most people here on what lenses to buy. if you know that you're going to FF later on, then get FF compatible lenses - that's what i did and i couldn't be happier.

with EF-S lenses, you're probably not going to get much when you resell them, and they also might be hard to sell. it depends on where you live and whether or not you want to deal with ebay, but it won't be as easy as most people think it is.

if you're not getting a FF for like 4 years, then definitely get EF-S lenses, or you'll be unhappy for a long time. if you're planning on upgrading soon, then get the big boy L's and save yourself the cash in the long-run.

finally, get them used if you can. most L lenses are built extremely well, and buying them used can save you a ton of cash (i got the 85L ii for about $1,000 US). if it's a complicated lens (zoom and IS) then you might want to go new, but basic primes are usually in "perfect real-world" conditions when you get them used.