"Alien-Bees" with specialized speedring?! 8)
-r

Sporgon said:

Enjoyed the pictures. Quite a scoop to get one of the original characters from the Civil War in 0312 and 0589

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Thank you, Sir, Dear Sporgon.,
Yes, Sir, That Beautiful Young Lady( Photo 0312) = Her SAD EYES( Photo 060) are catch my Heart and Brain, She is a great Actor, I have the chance to talk to her ---This try to be the Re-creation of History --She Told me that, Her DAD ( the Southern Field General , in this battle field ) and Her Wounded Uncle from this Battle too, Still lay on the hospital Bed in the House( White and Green Color House) , in this Album.
Yes, The General on Photo 0589 = very charmed Gentleman, And Have the Big Authority of Live and Death on his shoulders too. He might think , How can his troup win this battle with minimum lost their lifes.
Nice to talk to you, Sir.
Surapon

PS. BTW, I love your Beautiful Web Site----The Great Photos from the Great Master of Photographers. Yes, Sir , I already save in my Bookmarks for my future study of your great style and great point of views.

Plainsman said:

New Nikon 300/4 VR II on the way

The current 300/4 non VR lens is by all accounts very sharp - even wide open.

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If the current lens doesn't have VR, how can they release a 300/4 VR II?? Freudian slip to give credit to Nikon for something they haven't done?

Better late than never for a 300/4 VR, I guess. But as pointed out, they're really late to the party. Oh, and where's their 400/5.6 prime?

the dock lets you make adjustments depending on subject distance and focal range. mine was frontfocusing really bad on the 18mm side at close distances but fine at infinity, on the 35mm side it was ok close but backfocusing at infinity. the dock has 4 distance settings and 4 zoom ranges 18,24,28,and 35 that you can make adjustments. its a lot of trial and error and a lot of lens on and off but it works. the infinity setting was the hardest to get right. try using live view and look at your focus scale, then switch to regular af and refocus, that will give you a starting point to see where it is off

Don Haines said:

serendipidy said:

Jackson_Bill said:

Don Haines said:

Famateur said:

Don Haines said:

I would never fake or stage a "wildlife" picture

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You may have fooled others, but not me. A common loon in a tree? Nice try! ;D

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How about a groundhog in a tree?

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OK, let's hijack this thread - its gone on long enough, anyway

How about a great blue heron in a tree?

BTW - that loon etc in the tree was great!

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Jackson_Bill, love that great blue heron shot!

+1...how about a juvenile AND an adult BCN Heron in the same Octopus tree? ;D

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I would have been more impressed with an Octopus in an Octopus tree

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OK, you asked for it ;D

Congrats on the new lens! Don't buy anything that's just for the T3i. Make it something that can be used on your upgraded camera body. Save until you can buy a 5D lll or the next generation 5D. This way you will be shooting professional pics for your paid gigs. You will own quite a few bodies and lenses in your lifetime. I hope you make tons of
money and it becomes a career for you or a very lucrative hobby.

Dylan777 said:

DON'T GIVE ME f2 with IS crap

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+1. Ha ha

I'm the original poster here .. in ase anyone looks at this, I found a solution: Markin makes a relatively inexpensive base plate, #50, well-machined aluminum, with a 1/4" hole that accommodates a BR attachment point ... I am using this happily on my 1Dx.

Remember when Kodak Advantix was going to be the next great thing in photography? Why, I could remove the film partially exposed then put it back in the camera and pick up at the same place later! BTW, that happens to be the last Nikon body I owned.

Now we sometimes get impatient waiting for a shot to render on the computer monitor. The advances are truly remarkable.

Viggo said:

"Only a red-ring fanboy will buy this"

I have tested the Siggy and the 35 L has been the holy grail absolute killer go to lens for a VERY long time and where it counts the most for me will always be AF and the L destroys the Siggy. Not
Even close.

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Ditto.

I won't be able to do a proper job with a below par AF of the S35 - investing in the Canon version makes sense for what I need it for.

It's cost vs value for money debate - it may be relatively expensive to buy but does it provide good value for one's needs? For me the answer is Yes!

I'm not suggesting that bent pins in the OP's 5D MkIII are the cause of his troubles, but in case anyone doubts the existence of bent pin problems, here's a quote from Roger at LensRentals:

"However, some common problems we saw a year ago like the 5D Mk III having bent CF pins and the D800 battery doors snapping off seem to have been fixed and have ceased to be an issue at all."

So it seems it was perhaps a problem in earlier Mk III bodies but not in LensRentals' newer Mk III inventory. The full article is linked below.

http://www.lensrentals.com/blog/2013/08/lensrentals-repair-data-2012-2013

takesome1 said:

For a great picture get it right at the camera first, the less you have to correct in PP the less it will look fake.

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This works great if you know your destination, sometimes you don't though. If I'm shooting images for a fun photo book, I don't know if my photo will be cropped to 4:3, 4:5, 16:9 or some other aspect ratio.

Framing for a perfect 4:3 composition would really limit which photos I could use where.

Similarly, if I'm shooting an event, I'll usually make a slideshow 16:9 if it's full images, or any aspect ratio if it's more like a collage. Also, I'll probably wind up printing some of the images as large 4:3s. I like having some space to work with.

I've had the 28-300L for a while, and I used it frequently as a travel lens - it was more convenient than the 24-105L + 70-200/2.8L IS II (since the 28-300L is equivalent to the latter in size/weight), and delivered IQ equivalent to the 24-105L across it's broader range.

However, after getting the 24-70/2.8L II (and selling the 24-105L), I also picked up the 70-300L as a travel telezoom. I find the combo of 24-70 II + 70-300L delivers better IQ across an even broader range, takes up the same room and similar weight in the bag, and I don't mind the lens changes. I'll likely sell the 28-300L in the near future (I bought it used on CL at a good enough price that I'll likely make money, or at least break even, on the sale - a long term free 'rental' like that is my favorite way to evaluate a lens.

Mt Spokane Photography said:

I'd be concerned about investing in a PW or any other such unit myself. Every time a new Canon body comes out, they will not work with it, so you have to wait a long time, 6 months to a year for a firmware update. If you must have one buy the cheap throw away Chinese models.
Another alternative, if you don't want to buy a 580 EX II, or ST-E3, get something like a $99 Canon 90 EX flash which can be used as a master and will work on new Canon models. Its far from a perfect compromise, but its cheap.

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+ 1 for me too.
Well, If you still want to buy Canon ST-E2 for $ 215 US Dollars just for 10 meters or 33.33 Feet for Transmission range, I would recommend the great Unit for my Canon Old flashes system = Youngnuo ST-E2 ( ETTL ) just for $ 87.50 US Dollars and get the Transmission Range up to 25 Meters or 82.5 Feet---Yes, on the bright sun shine too, Plus this great Unit use 2 AA batteries, Not Expensive 2CR5 Lithium Battery that very dificult to buy in the third world country.
Nice to talk to you, Sir
Surapon
PS, I got Canon ST-E2 , Youngnuo ST-E2 System + Fomex/ Dr. Ray system and Super cheap ( Made in China) $ 20-30 system, before I brough Phottix Odin---Yes, All the Old system will be in the boxes for a long long time.

http://www.amazon.com/YONGNUO-Wireless-Speedlite-Transmitter-Camera/dp/B0055QPKKE/ref=sr_1_1?ie=UTF8&qid=1381598863&sr=8-1&keywords=yongnuo+st-e2

+1 Post a sample.

Is one camera set to manual level and the other auto? Auto level will add gain (hiss) until it reaches a predetermined recoridng level, so when its quiet the hiss ramps up making it more apparent.

If you are serious about audio there are three possible ways forward:

To record audio seperately on something like a zoom h4n or similar (has built in ok mics or can take good externals)

To record audio seperately on something like a tascam DR-60D which also acts as an interface with the camera, so you have the security of the audio in two places, on the devices own SD card and in the cameras SD card as part of the movie file. (no built in mic, externals only)

Finally, an interface only device, such as a beachtek or juiced link. (no built in mic, externals only)

The main benefits of each of these approaches is more control over levels, cleaner sound and headphone monitoring. The Tascam & zoom stand out in this regard as you are actually listening to the recorded audio that will be on the Tascam, there is the the potential for there to be a problem between the beechtek or juiced link and not realise as you cannot monitor from the camera.

Because of the lights behind, I don't think you could do the longer exposure with model jumping out thing. She may not have motion blur, but the city lights would burn through her body. With this background I agree with the shorter exposure and keeping extra ambient light off of the model. I also agree that the 1st curtain flash will let the model know when to pose.

If she were twirling a sparkler or a LED light or something to create light trails, I would suggest the opposite; long exposure, heavily underexposed to reduce ambient light and ghosting, and then 2nd curtain sync.

JPAZ said:

Are those "vignettes" shots up cropped from your FF? If so, that degree of vignetting is easily cropped off and the remaining photo is still remarkable.

JP

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Yes, Sir, Dear Mr. JPAZ.
These Vignettes are very easy to crop/ Clean by use Photoshop Program, And After Crop and Clean--The Photos are remarkable Sharp Picture as the Super Distortion as we see in the Viewfinder. Yes We still can control the Horizontal line distortion , buy put the horizontal line in our point of view at the center of the Viewfinder ( The canter of the Photos) and that will be good photo with minimum distortion, after Crop the Photo as we need to see.
Thank again , Nice to talk to you.
Surapon

6D +17-40L does street in East London


Friday Frolicks by petach123 (Peter Tachauer), on Flickr


Well Red by petach123 (Peter Tachauer), on Flickr


Street - Hoxton 310813 by petach123 (Peter Tachauer), on Flickr


Street - Hoxton 310813 by petach123 (Peter Tachauer), on Flickr

Any suggestions?

AlanF said:

Pi said:

Looks good for that ISO but try ISO 100, tripod, no IS. Better yet - natural light, speed faster than 1/100.

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It's a shot of an LCD screen (at an angle as well). So, how would natural light be better?

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Natural light would be better if direct, natural light shining on a backlit LCD makes it brighter and increases contrast. In my experience, neither is true.

LetTheRightLensIn said:

Since my earlier posts in this thread I have actually used the 24-70 f/4 IS and just as the MTF predicted it is much better than the 24-105L on FF, especially on the all critical wide end.

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+1,

Well said. There is no substitute for practical experience with a lens. Unfortunately the 24-70 IS is a lens which is going to have to overcome it's negative reviews.

As I've said before; whether the improvement is worth the extra cash over the now very reasonable 24-105 is up to the individual.

wickidwombat said:

I agree most hoods offer some protection but the 16-35? really its he most useless hood out there and it takes. heap of space

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+1000 on that one. It's the most annoying thing to pack. Period. At least it's cheap. My 400 5.6's built-in hood took not one, but two impacts with concrete and cost over $400 to replace each time. And now I have a carbon fiber hood on my 300mm 2.8 IS II that costs $400, not to mention the $125 lens cap. The $150 deductible on my insurance isn't so bad considering the cost of our hobby.

As for the OP, that sucks, but hopefully it will work out okay and you'll just be out the filter. The threads look a bit damaged, too, but hopefully it's just cosmetic.

Rick said:

Canon Rumors said:

<p>We also understand that Canon is redesigning the shift mechanism on the new tilt-shift lenses and that they won’t share the same design... I would gladly welcome a more reliable design to the shift unit, and hopefully Canon can make the new lenses a bit less prone to broken knobs and other issues that I have seen.</p>

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Problem with the shift mechanism on the TSE-17? News to me.

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If they're redesigning ONLY the shift mechanism, perhaps they're looking at the post-style shift like the PC-Super-Angulon and older shift lenses. The new Schneider PC-TS lenses use barrel rings to adjust both tilt and shift independently. Very cool, indeed.

I will say the post-style shift is really a joy to use. I have the 75mm shift lens for the Mamiya RZ, and I previously owned the TS-E 24L II. Both are extraordinary. I do find the TS-E knobs a bit tedious now that I've experienced a post mechanism. Big fan, though the Mamiya post lacks a way to lock things down.

I frequently use my Canon 300mm F2.8 L IS Mk1 with the 2 x Mk3 (not Mk2) extender and get very good results if the light is good. No it is not as good as my 600 F4 L IS (now sold to pay for 800mm) but it is not that far short in good light and weighs/costs a LOT less! Camera is a 1D4.

I think you did great to catch it like that. I tried to catch it one time without the moon and it was way too fast for me. I'm not sure, but I suspect that even with a longer focal length, the ISS would still just be a dot.