I've been asking myself a very similar question: get the 24-70mm II or the 70-200 2.8 II? I've never had prior versions of both, and my current collection of L lenses includes the 17-40 f/4, the 50L and the 100L macro 2.8 IS.

After hearing all sides of the responses, I can surmise that it really depends on your subjects, expected shooting distances and typical lighting conditions vs available light.

Here's a question to throw into the mix: if the OP wants flexibility of the 24-70 with some extra reach but without the needed bulk, what about investing in the 24-70 II + a 3rd party extender like the 1.4x or 2.0x (Canon's own extenders are not compatible)? :

I'd of course presume that with this combo, the excellent sharpness, lack of CA and slight distortion of the new 24-70 will all be degraded slightly with the extender, but the penalty's not that severe hopefully. Extenders from makers like Kenko or Sigma are suggested. Anyone has actually tried such pairings before?

Cheers, Joe

brianleighty said:

I think I read this somewhere one time that some people set their cameras to 0 for sharpness to make it easier to tell if the shot is actually in focus or not on the LCD. Similar to how you get a focussing screen without the tiny micro lenses which make it look sharper than it really is. Is there any weight to this at all? Of course in post you can set it to whatever you actually want.

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Never heard that one. I use 5X or 10X and live view and am pretty confident in the focus adjustment. However, except for special conditions, I have never been able to focus more accurately than a properly adjusted AF system.
I think that my vision might not be as good as some.

I've got a 189 f/2.8L.

Er, that is a 135 f/2L and a 1.4x TC .

Very versatile & portable setup, and you can leave the TC at home when you don't think you'll be needing it.

I sold the 70-200 f/4L non-IS zoom after I got the 135 & TC as the zoom just ended up not fitting in my bag when it came time to pack for a trip, & the 135L always came along.

I was thinking of the 7d, but it's just too old now and the ISO performance isn't good enough for me as i sometimes need to do low light filming, (concerts/clubs) so I'll get the 5dm3 at the end and pay the price as it just has better video options than the 1dm4...

Renting out isn't an option for me as it's way too expensive, and I have panasonic hpx500's available for short time renting from my university at no cost.

neuroanatomist said:

zim said:

Is it correct that this limitation (I also have this issue with the 500D) has been fixed in the 7D through a software update only?

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Yes. But given that your camera has already been replaced (three times over now), I would not expect an update for you. The 7D firmware update seems to be something of a stop gap, since Canon is not yet ready to release a 7DII.

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:'( :'( :'( :'(
A well, still it's got a great little (under-rated I think) sensor

I voted no change.

It'll be discounted and discontinued ASAP, but it's still a fantastic camera with several qualities that the 6D won't have, such as better weathersealing, CF compatibility and a tougher/faster/durable shutter.

I think they'll be readily available in the secondhand market, but the price won't take a dive.

I own the pre-IS 400mm f/2.8L II and see that it is not listed on the CPS repair eligible list. My lens is working great at the moment, but I am concerned that if the USM fails or something else goes wrong that I am going to have a very expensive paperweight. I am considering selling it while I can.

Does anyone know where I can get it serviced? Parts availability?

For an iris opening of a certain constant size, the f-stop will be lower for a lens with a longer focal length. This is because f-stop is the ratio of iris size to focal length. Practically, this means that most telephoto lenses will have a smaller minimum f-stop than most wide angle lenses.

sama said:

I broke my leg a few weeks back and thus have to cancel my planned trip to the beautiful Muskoka and Algonquin area. Attached are some pics taken with my Canon 40D in my neighborhood.

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Some more to share.

This is another eBay deal for Canon EOS 5D Mark III! If you have missed the last $2749, you may consider this one. The lens is a good one (my walkaround lens).

Price: $3499 (usually $4299).

http://www.ebay.com/itm/Canon-EOS-5D-Mark-III-Digital-SLR-Camer-w-Canon-24-105mm-f-4L-USM-AF-Lens-/230857493010

Went out shooting the CaniCross and Sleddog championships last weekend. After a bit of wondering around I found a spot that not only allowed me to get some cool shots but added a nice reflection to them as well. (Some other shots thrown in for good measure. ) ;D


CaniCross Finnish Championship - 29th September 2012 - Ohkola, Mäntsälä by K3ntFIN, on Flickr


CaniCross Finnish Championship - 29th September 2012 - Ohkola, Mäntsälä by K3ntFIN, on Flickr


CaniCross Finnish Championship - 29th September 2012 - Ohkola, Mäntsälä by K3ntFIN, on Flickr


CaniCross Finnish Championship - 29th September 2012 - Ohkola, Mäntsälä by K3ntFIN, on Flickr


CaniCross Finnish Championship - 29th September 2012 - Ohkola, Mäntsälä by K3ntFIN, on Flickr


CaniCross Finnish Championship - 29th September 2012 - Ohkola, Mäntsälä by K3ntFIN, on Flickr

Canon 5Dmk3 with voitlander 20mm f3.5 SLII

set it to f8 infinity focus on the lens (hard stop) Pretty much everything from 1.5m away from you and beyond will be in focus

adjust shutter and iso as needed

KKCFamilyman said:

qwerty0 said:

KKCFamilyman said:

I even tried HP and still some were ok and some were bad but I was fighting the paid photographer for shots. Surprisingly she shot all night with some Uwa that looked like a fish eye by tamron on a Nikon d7000 she just shot without looking like it was a weapon. Am I trying too hard is that not what composition requires you to actually look thru the viewfinder?

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It's probably just a misunderstanding of your words but I am assuming you just mean that the paid photog was getting in your shots and not the other way around right? You weren't actually getting in the paid photographer's way? Because if you were - you were screwing with someones living for no good reason. If you mess up your pride is hurt and you write on an internet forum. If they mess up it costs them money / reputation / future income. You don't have to be impressed by them or even their photography. It's just courtesy.

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I understand. I feel attacked here. I am just trying to get better at photography as it is my passion and hopefully want to do it professionally at some point. I did respect her and stayed out of her way as much as possible. It just felt like everytime I wanted to just get those few candids she was there or I was in her way. She said no flashing when i'm flashing so I had to do it without a flash. I was there helping watch my two kids and the ceremony so pics were hard to concentrate on. I just took a few here and there. Unfortunately the only ones that turned out good where the bride and groom. The wife is now mad and said all the one's I was meant to take of the kids were bad. I was respecting the professional that is why I did not get the shots I wanted. Very frustrating to hear it on this forum and from the wife. Maybe this is not my calling.

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Don't think that. If she really wanted a 2nd shooter, she should have gotten a photographer with a second shooter. Take this as a big learning experience, and unfortunately with some lessons on what not to do, but that's often how we get better at things.

Unfortunately you didn't get a chance to coordinate/talk with the photographer more before the ceremony, I'm sure she probably would have given you a few tips, and helped coordinate where you each would be, and what general photos she would try and get vs you would try and get. Don't let this stop you, it's just one experience in a long list of experiences to come.

Second outlet was the first thing.

but yes it stays flashing with no batteries in it as well, takes an unpluging and plugging back in to "RESET" it to no batteries in 50% flashing and the 2 charge light green with NO batteries in place so I'm assuming its broke.


frig sakes.

I have both: 5D2 for landscape, 7D for sports and wildlife

One reason might be all the OS failures on the Sigma 120-300. It seems to be carrying on the Sigma penchant for unreliable OS. Everyone is hoping that the newer version beefs up some of the weak points. I will not be wanting to buy one just to see.

cayenne - I'm glad you're enjoying Handbook.

I'm back to admit that I might have been a little harsh toward Resolve. I hadn't tried it since version 8.

I took another look at it this weekend. My reason for revisiting Resolve was that I recently decided to pre-order a BMD Cinema Camera. I'm still not finally sure that I want one, but I decided to pre-order now, figuring that I can do more due diligence before it ships. If I'm not convinced that I want it, I can cancel.

Back to Resolve... I wanted to do a bit more research on the workflow that I might have if I work with raw files. So, I downloaded some sample dng files and the new version of Resolve Lite and started working on them. I still stand by my statement that Resolve it a bit cumbersome. But, like any software, once you learn its quirks, things aren't that bad (notable exception for me is Microsoft Office 2007 and later - still get frustrated by it!). Anyway, the updated UI in v9 is much better than I remember than with v8. I'm also more up-to-speed on color correction, in general (still learning a lot!), so that probably helps.

I also picked up Handbook again and now that I look at it again, it really does give a lot of guidance on Resolve.

So, like you, I'm going to be learning more about Resolve in the coming weeks/months. It is just so powerful. And, I'm enjoying it. The round-tripping thing isn't that bad with a combatible editor. Alas, I use Vegas Pro. The new version (v12) just added the XML import/export ability. So, I'll be learning this, too.

On the other hand, I've been using Magic Bullet Looks for the last year. I still prefer its UI. Looks is just fun to use. Plus, it integrates so nicely with Vegas. If it only had some of the tools that Resolve has. So, I'm not quite ready to give up on Looks, but I can see a point where I might use both.

Anyway, thanks for the report back. Good luck!

the on-camera modifier market is astonishing to me, and filled with more claims to lighting perfection than carter has little liver pills. Thing is, they all have their areas of strength, but unfortunately too few of the mfgs are really candid and up front about their weaknesses. Spotting the over marketed and over-stated capabilities of certain pieces of plastic is even amusing all one has to do is go watch their videos.

almost any small diffuser or on-camera tupperware or similar contraption works well when there are sufficient reflective surfaces of suitable color. For example, when confronted with a situation such as found in the wing light video, I would suggest that fongs and stofens would produce similar results (bare bulb diffusers love venues like that). The possible exception to this may be the floor bounce advantage, and of course having a nice white bouncy floor is clearly commonplace on location, as is the look one obtains when lighting from below but I digress.

Admitting that I haven't used/played with it, what strikes me initially about the wing light is what it could do without sufficient reflective surfaces for direct, on-camera flash. It would be like holding an ordinary garage trouble light (one of the long florescent ones...) next to your camera. Horizontally, it is a larger light source. vertically its nearly as small and horrible as the bare flash head.

As long as folks remember that light always travels in straight lines, the mystery of tupperware and other contraptions is lessened somewhat, as well as the temptation to buy into the many and various overstated claims. I suspect the wing light will work well in a number of situations and looking forward to seeing some example photos -- especially in less than ideal "many white reflective surfaces" situations.

I say get the 24-70 refurbed from Canon for 1100. I love mine, no issues whatsoever, in fact this weekend it made me money.

killswitch said:

I currently have the Canon 60D and will upgrade to either 5D Mk III or 6D. I currently own the Tokina 11-16mm f2.8 DX Pro and absolutely love it. However, once I make the jump to full frame I am contemplating buying one of the following UWA lens. I currently have the Canon 24-70L as well.

1) Canon 16-35 f2.8L
2) Canon 17-40 f4L
3) Canon 14 f2.8L II [not too eager as it's way too expensive ]

Though I hoped there was a 14-24 version from Canon.

Of the 3 mentioned, which one delivers greater contrast and sharpness. If there are any other lens from Canon or other brands that will delivers stellar sharpness in the center of the frame as well as in the corners then I am open to suggestions. Thanks in advance!

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If you were will to spend for a 14-24L, Why no look at the 15mm Zeiss? Its stunning.

I'm hopeful about the rumor of a smaller and less expensive flash unit using the radio system. I have an STE3 and two 600s and can't justify a third one. But something in the $350-$400 range with less output would suit me perfectly.

Steven_urwin said:

pwp said:

Steven_urwin said:

So I was wondering if this was just me, but the AF seems to hunt for a while before finding the lock.

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The 5DIII has a raft of AF settings that will definitely have a bearing on your results, depending on what it is you are shooting. Get them back to default and then experiment. With the correct AF settings for the job you are doing, the 5DIII should easily out-perform your 7D.

Maybe you are using AI Servo where One Shot may be more appropriate. Or try using a selected AF point rather than trusting the entire auto 61 AF point array. In my experience, in most circumstances a selected AF point will deliver more keepers than leaving the decision up to the AF brain. You're the boss.

Paul Wright

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Thanks for this Paul. I should have been a little more clear, you're right. I work in nightclub, and have learnt not to trust anything other than centre point with the AF. I also only shoot in single shot, as I like to choose the focus, and then compose the shot.
I think what I am really waiting for it for the lock. It seems to find the focus ok(ish), but the hesitates to find the lock. I am used to waiting for the VF to flash up red to confirm this (I have switched it from auto to enable, so it's not a case of it achieving a lock, and me not realising) before moving the to re-compose.
After finding what I think, it thinks is focused, the time the camera 'hesitates' is just long enough for the subjects of the photo to become self conscious, and look at each other a the moment is lost.
I am aware there is a setting in the AF setup to prioritise on shutter release, over focus, but I don't this is an option as I like to choose my focus, then re-compose.
I aware that the lighting is terrible in most nightclubs, but I have the 580ex2 and have never has this same AF lock 'lag' before with the 7D. Just a little upset with it really.
I wasn't needing anything better than the 7D AF wise, that's not the reason for the purchase. I just really wanted a FF 7D.
After reading about the 5Dmk2 AF woes, I thought I would hold out for this MK3. And am just wondering really if the 'massive AF improvement' is 'massive' compared with 5dmk2, but possible a little step back, from what I consider a faultless 7D's AF system.

Sorry for the essay, but wanted to be as specific as possible to try to clear this up

Steve

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I got the same problem as yours.

A little bit lock 'LAG' on 5D MARK III with low light situation. Sometime slower than 5D MARK II's center point.
But in very-low light situation my Mark III can focus while Mark II can't.
So when both can focus. Mark II won't have any lock lag symptom. Not saying about 7D. It's Superb !!

BTW Ai-Servo on MARK III is lightning fast than MARK II for SURE.

neuroanatomist said:

Glad to help. Just to add for any APS-C user who happen to be reading this thread, the crop factor is taken into account, so for example in Av mode on a 7D with a 100mm lens, the camera would keep the shutter at 1/160 s to as high an ISO as possible.

That behavior is the same as bodies which do not feature a minimum shutter speed in Av mode setting.

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I think it is unique to 7D and may be 60D.

For the rest of of APS-C cameras the min shutter speed is set to 1/60 I believe.
I shoot with T2i and camera chooses 1/60 as shutter speed when I am at 250mm.

RunAndGun said:

Mt Spokane Photography said:

I hate that button. I've lost a lot of the feeling in my hands and can't easily operate buttons. In 14 years of using DSLR's. I've never had the dial turn by accident. I wonder what it might cost to heve it removed

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I bought my first 5DMKII in '08 and have two plus a MKIII. I have NEVER turned the mode dial by accident on either MKII. I don't know if I hate the button on the MKIII, but to me it is definitely more of a hinderance than a help. I would definitely prefer the camera without it.

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I do a lot of photography on the move... with the camera hanging from my shoulders by the straps, mode dial issues were ALWAYS a problem for me... I would have the dial on M or AV and bring the camera up ready to shoot and next thing I knew it could be in B or C1 or whatever and if i was lucky, i would catch it before I did a shot and got burned... if I wasn't, I would lose shots. First time I ever really had that problem.. 50D, didn't catch the problem... lost an entire shoot. My camera usually goes whereever I go and that mode dial has always been a liability for me... not anymore...

As someone who buys not-working/for parts cameras and lenses regularly on eBay, I would say you could get about $250-350 for a submerged 24-120mm. That'll be a nice little chunk of change for a new replacement.