Manual: http://gdlp01.c-wss.com/gds/0/0300008700/01/pssx50hs-cug-en.pdf

No IR input directly. You can use a remote RF trigger connected with an E3-type plug - look for one compatible with a Rebel/xxxD body, there are several available from Satechi, hähnel, Vello, etc.

Sent mine to Canon Australia.

17 days later [2 days after there turn-over time] I recieved mine in the mail.

They said they had carried out the necessary repairs, no cost to me and I had my baby back. Also, it now has the black mark on the inside of the battery compartment.

paul13walnut5 said:

I picked up a camera because I was interested in the power of photography. I became interested in gear, but really a great image interests me more than a great new innovation.
...

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Great intro! Gear is tool, nothing more, nothing less ...

Now to the main theme:
I really enjoyed to read Bruce Barnbaums "The Art of Photography: An Approach to Personal Expression"
- the book title is "program". He tries to open all the dogmas of photography like "there has to be black and white in an image" or "you have to compose after the rule xyz".

Before I read the book I have defined photography as "pure photography" - results out of camera are real photography. But these photographs have NOT shown what I have seen, they have been without "personal expression".

Another important perspective of Bruce Barnbaum: It is nothing wrong with a photograph which shows a lot of detail/things - but it is not easy to create great photographs with a lot of stuff in it.

Here a link to Bruce Barnbaum's web site: http://www.barnbaum.com/barnbaum/Portfolios/Portfolios.html

... and a shot that I haven't liked in full color but after converting to B/W and manipulating the contrast curve (after reading Barnbaum's book) I really like it (Lake Garda, Italy, late spring):

14-24 f2.8

Glass ND's are multi-coated. That alone would worth the cost. When you stack multiple filters as you do in landscape shot, the reflection between filters are the worst offender to cause flaring

But I'm not sure if I can uderstand the topic, wideangel... that must be some special angel isn't it?

I am with BozillaNZ on this one.

I used APS-H for years, indeed I still have my original 1D, but when I used them the 16-35 was permanently on one, it is the best lens for the camera by far.

Now I know you said the 16-35 was out of the question, but what about a second hand 17-35 f2.8 or a MkI 16-35 f2.8? They can both be had for reasonable money, the 17-35 often around $500 on eBay.

Best bit is you lose the lenses pretty bad corner performance when using an APS-H so you win every way round.

Random Orbits said:

but the bigest improvement will come with your 50 and 70-200.

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I doubt the 50/1.8 makes a good ff lens, I have it and even on crop using only the center it's less than mediocre.

chasinglight said:

Thanks for your input. I have looked at the 5d2 and actually wanted it over the 6d for some of its features such as ergonomics and PC sync, but people still want a lot of money for 5d2s.

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Yes, again same here - I cannot find a used 5d2 on the open market that has what I'd consider an ok price considering shutter count and the improvements of the 6d. I just mentioned because you might happen to know somebody who'd sell a 5d2 for an ok price to "good hands" of an enthusiast.

Thanks for the comments and apologies that this went missing. Not sure what I did... Anyway, the picture is back!

Richard

Going off the Amazon description, this flash can't act as a master flash. The M mode is for "manual." It is not E-TTL capable, either.

Get the 6D and save $1000. Keep the 50 f1.4 and the 70-200 f4is. Buy the 24mm f2.8 and the 85mm f1.8 (when you sell the 10-22 you've paid for both of these) Buy the 600 flash if you need one with the money you save.
Bank the rest and save it until you find out how this covers your shooting style. You can sell either the 24 or
85 (or both) and buy the L versions when you're flush and if you need them. Keep you eyes open for a new wide
zoom, an improved 35L, a tele-extender for the 70-200 and/or a second flash or whatever - including a second 6D or the next click on the full frame ride.

markojakatri said:

600EX RT is the best speedlite for 5D3. I have two of them, 430EX II and used to have 580EX II before. 600 is easy to use and it just works. Flash head must turn 180 degrees both sides, which 430 can't do -> 580/600 if you will buy canon.

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600RT or even older 580 EX II will be very useful. At $373 for refurb 600RT, grab it.

On the website NorthernLightImages there's a mock up of a 42mm f1.2 lens and the description clearly labels it as a fake. But it did get me thinking about what if Canon (or the N word) started to rethink their lens lines. A fast
42mm would be wonderful (especially with APS sized sensors). What other "new" lenses would you like to see.
It appears the zooms killed the 150mm focal length. Could you make a "less expensive" 250mm or 350mm (the
old Leica R longer primes)? Any other candidates?

RLPhoto said:

I make a decent income from my micro-stock sales. You really need to find niche markets because almost everything under the sun has been shot.

Also prepare for rejection... Alot of it.

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LOL, I am ready for rejection.....and I don't expect to get rich off this.
But mostly jumping for fun,and would be thrilled if someone actually wanted to buy something I shot.

I was looking on istockphoto...and it appears that the video area, is one area that isn't as saturated as the stills....thinking of trying for some of those too.

C

Do you mean the 9000? I need to get more ink for mine - this 13x19 size is addicting, and pricy

Again, to each their own and it is wonderful that we as consumers have options. Just wanted to add that these units are now available (got an email today).

dilbert said:

Well at least cid's two pictures are good. Bratislava is quite small and the rest just look like the typical tourist snaps.

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thanks, two is always better then none
I'm interested which two you like?

What is the Canon Canada CPS Program ?

For events, you'd require at least two cameras. One with wide lens and one with long lens. Most of the time, changing lens isn't an option. If you can't afford 5D3 + 5D2 (or some other cheaper 2nd cam), go for that 70D + 6D combo. Having the best gear isn't as important as getting the shots. Of course for other purposes, your 5D3 alone might be enough.

I tried both the Canon 1.2 and Zeiss 1.4. I bought the Zeiss because of it's contrast characteristics. I also like the bokeh compared to the Canon. I think it's also sharper. I remember the Canon being a good deal soft at big apertures. But the Zeiss is MF only. Which is fine for me.

The only 50mm that's going to trump both of these is a Leica with a Canon adapter. And that lens will cost more than both of these combined. But the Zeiss 55mm that's coming out soon will be even pricier than that!

BozillaNZ said:

cbecklund said:

BozillaNZ said:

Long exposure noise reduction

Turn it off. What it does is take another exposure with shutter curtain closed, called 'dark frame' then subtract this frame from your photo, intended to remove hot pixels.

If you shoot RAW you don't need it. hot pixels are easily fixable in almost all RAW processing software.

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As far as hot pixels go, I would agree. However as far as noise goes, you cannot remove that much noise in post without loosing a lot of detail. Although long exposure noise reduction is annoying (especially when taking 5+ minute exposures) I think it is worth the time to get an almost noise free image.

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Dark frame subtraction only removes hot pixels. It can't cancel out RANDOM noise, which is the major noise in modern sensors. Because noise in each shot are different, and you can't subtract noise from noise to get a noise-free image, the math doesn't work that way.

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Ok, well either way, I think it would be a pain to get rid of hot pixels. Here are two pictures, one without long exposure noise reduction, and one with (both at around 8 minutes).

paul13walnut5 said:

The squirrel with the 10-stone testicles? Posting that image is going to haunt me isn't it?

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That's the One

&

Yep

JasonATL said:

Stewbyyy said:

However, I don't get the problem when I'm using sunlight through the kitchen window. It seems to only happen when the lights in the kitchen are on.

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Hmmm. What kind of lights?

This now makes me wonder about your shutter speed. If it is set to 1/60 or higher, try 1/50 or even 1/40.

Edit: Never mind. This doesn't really flicker that much. But, I still wonder about the lights. This is odd...

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Shutterspeed is a 1/50th, shooting 1080p, 24fps.

No clue what kind of lights they are unfortunately, all I know is that they're fluorescent tubes. More disorientating than any other fluorescent lights I've seen though. They were recommended by the builder when we were getting the kitchen done up, we asked for powerful lights as our kitchen gets a lot of use for multiple things and we usually have dark days 95% of the time here in Ireland (doesn't help that the sun is on the front of the house and not the back where the kitchen is), so he said these were the most powerful he'd be able to put in.
I unfortunately can't remove the cover to check for a name/brand or anything.

I'm more interested that it can work at an incident angle of up to 60 degrees.
Finally, I might be able to use my 21mm Skopar (or the 12mm or 15mm Heliar) on a digital sensor without it going all purple on the edges...

Might as well use a zoom if you shoot 2.8 or slower often, I agree, that's why I shoot F2 or faster quite often, your zoom can't match my 1.4!

comsense said:

Jay Khaos said:

I'm aware that most of you will probably think that the idea of even attempting this is ridiculous, but

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No the idea is not ridiculous but need to me looked with right logic. Only conceivable reasons to do this:
1) Avoid theft: would not work - Any normal thief given an opportunity would not be repulsed stealing an unmarked big camera with big glass
2) Avoid attention: Would do the opposite - How many people look at photographer and scramble to read the model # on their camera. Most like the few who frequent forums like this. And even an unmarked rebel would raise the attention level of this group to moon.
3) Style and statement: There can be no arguments against this one. Except, be careful not to damage $3K camera!!!

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So far nobody mentioned a real serious reason for "debranding a product":

LEGAL. Anywhere in certain "spaces", which can be TVs, movies, sports stadiums, there can be a legal restriction for professional photographers, vendors etc. to show their brand, if an exclusive right to use advertising space, branding etc. has been given to a specific company. I.e. of Canon sponsors an event, they may not wish to have Nikon shooters prominently displayed during TV broadcasts. So, perhaps Canon gives all the photographers free cameras, but professional XX wishes to keep using his/her Nikon, so it's best somehow to hide that he/she is using a Nikon, otherwise there may be consequences.
Probably quite a number of readers here are aware of the ridiculous limitations that were imposed on shops around the London Olympic venues based on sponsor pressure.
Or the ambush marketing of a Dutch brewery during the World Cup. http://www.bbc.co.uk/news/10321668
I have seen a number of debranded cameras in Tv shows, most likely because of branding/legal issues.
Then of course there are the funny instances where commercials for a MS product are made with Apple hardware, the Nokia PureView ad (http://www.theverge.com/2012/9/5/3295316/nokia-apology-lumia-pureview-ad), etc.
So, there are good reasons when you want to hide a product brand.

PS: I forgot the story of the athlete who had a contract with some sports company, but used running shoes from the competition, and added some stripes to hide the fact....