Canon EOS C300 Mark II 4K Film \

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<iframe src="https://www.youtube.com/embed/UFAEEY4hxzM" width="100%" height="380" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p>The first 4K resolution film from the upcoming Canon EOS C300 Mark II has been published on YouTube 4K by Canon USA.</p>
<p>To view the short in 4K, you’ll have to head over to YouTube and select 4K resolution in settings.</p>
<blockquote><p>A classic con movie with a twist, Trick Shot is a a film about a family of con artists who travel across the country to pay off their son’s gambling debt and get more than they bargain for.</p>
<p>Directed by Evan Kaufmann and shot by Director of Photography Gale Tattersall Trick Shot is the first film to be shot on Canon’s new EOS C300 Mark II Digital Cinema Camera.</p></blockquote>
<p><strong>Preorder: <a href="http://www.bhphotovideo.com/c/product/1134579-REG/canon_0635c002_eos_c300_mark_ii.html/BI/2466/KBID/3296" target="_blank">Canon EOS C300 Mark II EF $15999</a> | <a href="http://www.bhphotovideo.com/c/product/1134580-REG/canon_0635c009_c300_markii_cinema_eos.html/BI/2466/KBID/3296" target="_blank">Canon EOS C300 Mark II PL $15999</a></strong></p>

New Phase One Camera & LS Lenses Leak

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Phase One may finally bring a new camera to market, this is something that has been talked about for years. Along with the camera, two new LS lenses that can resolve over 100mp have also come to light. The Schneider Kreuznach 120mm LS f/4 Macro and 35mm LS f/3.5 look like they’ll be released alongside the camera body.</p>
<p>Check the gallery below for more information about the camera, backs and lenses.</p>

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				<a href='http://www.canonrumors.com/wp-content/uploads/2015/06/Phase-One-XF-medium-format-camera-5.jpg'><img width="150" height="87" src="http://www.canonrumors.com/wp-content/uploads/2015/06/Phase-One-XF-medium-format-camera-5-150x87.jpg" class="attachment-thumbnail" alt="Phase-One-XF-medium-format-camera-5" /></a>
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EOS 6D Mark II To Shrink & Move Upmarket [CR2]

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We’re told the EOS 6D Mark II, which isn’t expected until early 2016 at the earliest, will move upmarket “slightly” in features and pricing.</p>
<p>We’re told again that a big goal with the camera is a smaller size and lighter weight, without sacrificing build quality. The camera will have its own full frame sensor, just like the current camera, along with the addition of NFC. Canon is also working on a “new connectivity feature” that may appear first in the EOS 6D Mark II, but it still in its infancy.</p>
<p>There “won’t be anything groundbreaking” in the EOS 6D Mark II, but the goal is to make it a good evolutionary upgrade. Expect bigger things from the EOS 5D Mark IV and EOS-1D X Mark II.</p>
<p>It’s far too early to expect any sort of specifications leak, as we’re nowhere near that being finalized.</p>

Patent: Canon Improved Mirror, AF at High FPS & EVF

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I had trouble understanding this patent, which covers a lot of different variables. <a href="http://www.northlight-images.co.uk/cameras/Canon_rumours.html" target="_blank">Keith at Northlight</a> breaks it down:</p>
<blockquote><p>An interesting Canon patent reverses a fixed semitransparent mirror, to just divert light to a phase AF unit, whilst an EVF appears where the focus screen would be.</p></blockquote>
<p>Patent Publication No. 2015-97352 (Google Translated)</p>
<ul>
<li>Published 2015.5.21</li>
<li>Filing date 2013.11.15</li>
</ul>
<p>Canon patents</p>
<ul>
<li>Half mirror and the optical path division by</li>
<li>One of the light beam received by the image pickup device</li>
<li>The other light flux I receive in AF sensor</li>
<li>FPS of the AF sensor, faster than the image pickup device</li>
<li>Pixel area of ​​the AF sensor is larger than the image pickup device</li>
<li>From the AF sensor and the image sensor to obtain an image to be displayed on the EVF or back display</li>
</ul>

Help me decide on my next camera purchase - full frame high end

I would appreciate any advice as I am deciding on my first full frame camera but there is no urgency in the purchase. I can wait for the release of the newer models but would like to plan the purchase and save up for the body and a big white to go with it.

I like to shoot wildlife and landscapes but will also shoot anything that interests me. Photography is a hobby for me.

Here is what I am thinking so far:
  • The super resolution of the 5Ds & 5Dsr is nice but not essential
  • The metal bodies of the high end cameras is a big plus so I can travel without worrying
  • I have crop-sensor cameras so I want a full frame camera
  • Very good AF performance
  • weather sealing is VERY important to me as I work on a ship
  • High ISO performance so I can leave the flash off as much as possible

Here are the cameras I am thinking about:
-5D3
-5D4
-6D2 - depends if it has a good AF system because I tried the 6D and there aren't enough points
-1DX - after the 1DX2 comes out
-1DX2 ;D just because - any guesstimate for the release/price?

Here are my full frame lenses, just to give you an idea of what I have so far:
-24-105L, 100-400L V1, 50/1.8 & I will have the 24-70/2.8 by th end of the year.

Pitched an idea to Canon last week - 1.2x teleconverter for TS-E lenses

First, a tiny bit of background.

In 2007 I met Chuck Westfall at a photography convention north of Atlanta, GA. He was cleaning sensors and had a table full of lenses too. We spoke for a moment and he asked that I try the 14mm L he had on the table. I put it on my camera, but since I am an architectural photographer, the first thing I noticed was the barrel distortion and of course the converging verticals that are the bane of those who shoot buildings and interiors.

Flippantly, but also hopefully, I said "If you really want to get my attention, you need to make an 18mm TS-E lens". Chuck looked at me as if I had two heads and said "Do you have any idea how much something like that would cost?". I said "No. But I know a lot of guys with their Sinars and Horseman's gathering dust in the closet who would probably gladly pay 3500.00 for one if it existed".

About two years later... the 17 TS-E was announced. I would like to think that my idea had at least something to do with that. After all, Chuck did not say "Well, we have a lot in development so just hold on." He thought I was nuts.

So, the NEW idea. A 1.2x teleconverter SPECIFICALLY designed for TS-E lenses. Why? Architectural shooters like to fill the frame with their compositions and there is just TOO large a gap between the 17 TS-E and the 24 TS-E II. Bear in mind, camera placement is often dictated by structures when you shoot interiors and buildings. Backing up is often not an option.

If Canon had a 1.2x teleconverter for these lenses, then anyone with the 17 and 24, by adding a 1.2x teleconverter, would also have a 20 and a 28 in their kit. That would cost a little bit in speed, but people shot shoot this kind of stuff work off a tripod.

Image degradation? Based upon my tests with the 1.4x III teleconverter... hardly going to be noticeable. However, sadly, there is no way to get to either a 20mm or 28mm focal length with the 1.4x. The only that that CAN be gained is turning the 24 into a 35 or having two 24's when shooting with multiple cameras (which I do all the time - shooting with 3 in fact).

I pitched to idea to Chuck two weeks ago and he responded that it he gave the idea to Japan. Hopefully, his memory was jogged when I reminded him of my hare-brained idea for that 18mm TS-E and this might actually be considered.

Not worthy of being a rumor yet... but I am keeping my ears and eyes open. A 1.2x teleconverter is likely a very easy thing to make compared to a 17 TS-E. I think they could sell a lot of them to those who are in my line of work.

A7r for only 199$!!! The real deal!

http://store.sony.com/a7r-full-frame-mirrorless-camera-zid27-ILCE7R/B/cat-27-catid-all-alpha-pro-capability?_t=pfm=category&affiliateCustomId=5405341&CJURL=http://store.sony.com/a7r-full-frame-mirrorless-camera-zid27-ILCE7R/B/cat-27-catid-all-alpha-pro-capability?_t=pfm%3Dcategory&camp=CJ_DF&clickId=10396361&affiliateId=skim19445X767312X0a027315668aa01f85fd71f300be91d0&XID=A:5405341:CJ

It may take a while to get the body but it's an official sony sale! I ordered one early for 199!!! What a steal.

Alternative to YN-622C for AF Assist

At evening events my 1D MkIV is pretty hopeless when it comes to low light AF. The AF assist performance on the 600EX-RT is modest to say the least when used with the 70-200 f/2.8isII. It needed some help...

So my two Yongnuo YN-622C have been my go-to accessory for AF Assist for the past few years (2012). With time they have become a bit knocked around and recently erratic. Batteries are charged, all terminals are clean and factory reset performed OFTEN. Anyone with YN-622C's will know the pattern thrown by the AF Assist is pretty weird, but it's been the best we've got.

Is there an updated alternative to the YN-622C? All I use it for is for AF Assist, when I need triggers I use the amazing Phottix Odins. The YN-622C pass-through design is what makes it so useful to me as I sit the 600 EX-RT on top of it. Yongnuo does make a standalone hotshoe-mount AF Assist http://flashhavoc.com/yongnuo-yn12af-af-assistant/ but it's not a pass-through design.

A web search has not come up with a newer alternative to the YN-622C, any suggestions would be greatly appreciated. If not, I'll just get a couple more YN-622C's.

-pw

Pentax to use Sony Sensor in Full Frame Camera

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Pentax is set to announce their first full frame DSLR by the end of 2015, and the latest suggests that Pentax will use Sony’s current 36mp full frame sensor. The camera will apparently also have a high resolution shooting mode, a feature that appears in the brand new APS-C Pentax K-3II.</p>
<blockquote><p>The K-3 II is the first camera in the PENTAX line to incorporate Pixel Shift Resolution® for capturing still life subjects with ultra-high resolving power. Pixel shift technology uses the camera’s in-body Shake Reduction mechanism to move the image sensor at single pixel increments, capture 4 separate images, which are subsequently combined into a single high definition image. Benefits include higher resolving power, reduced false color and improved overall image quality of non-moving subjects.</p></blockquote>
<p>This could turn out to be a very interesting full frame option from Pentax.</p>

Canon life size converter with Zeiss 50 and 100mm Macro lens

Does anybody know if Canon's life size converter is compatible with the Zeiss 50 or 100mm macro lenses? I am curious how it would compare with extension tubes, if I wanted to get to 1:1. I have used the life size converter with canon's 50mm and 100mm macro lenses where it gives 1:1 and 2:1 magnification respectively. I generally find the life size converter gives better results than just using extension tubes to get the same magnification. So I am curious if anybody has used it on third party macro lenses?

Patent: Canon Tilt-Shift with Image Stabilization

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A patent showing the possibility of image stabilization in a tilt-shift lens has appeared. While the patent doesn’t mention anything about a potential optical formula, it’s an interesting idea nonetheless.</p>
<p>We’ve <a href="http://www.canonrumors.com/2015/04/macro-tilt-shift-on-the-way-cr1/" target="_blank">heard in the past that Canon was working on a tilt-shift macro lens</a>, which would be an engineering challenge for the EF mount. Could we see IS appear in such a lens?</p>
<p>Patent Publication No. 2015-99216 (Google Translated)</p>
<ul>
<li>Published 2015.5.28</li>
<li>Filing date 2013.11.18</li>
</ul>
<p>Canon patents</p>
<ul>
<li>Anti-vibration possible tilt-shift lens</li>
<li>Possible anti-vibration while maintaining the tilt</li>
<li>A first vibration proof group corresponding to the tilt, the second of vibration proof group corresponding to the shift</li>
<li>Carry out the tilt vibration isolation of a shift anti-vibration, the telephoto side in the wide side</li>
</ul>
<p> </p>

40mm f2.8 STM or new 50mm f1.8 STM?

Hi all,
daughter is relatively new to photography (in fact is just finishing A-level photography) & is really into studio portraiture and has a 7D body.
I'm thinking of rewarding the end of her studies by introducing her to the world of primes.
As 50mm on a crop pretty much matches the age-old advice of 85mm on full-frame being The Studio Lens, my thinking was going that way, especially with the release of the new 1.8 STM, but I've read a few reviews now saying that the 40mm may be a better lens.
Don't suppose anyone on here has compared the two have they?
Or have any observations on using the 40mm for studio portraiture?
Cheers :)

Full Frame Astrophotography DSLR Coming [CR1]

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We’re told that Canon will release their first full frame DSLR geared to astrophotography some time in 2016. It is unknown which camera will get the conversion to an “a” model.</p>
<p>This would follow the APS-C astrophotography DSLRs from the past, the EOS 20Da and the EOS 60Da.</p>
<p>Nikon is about to release the D810a, which is their first full frame astrophotography camera.</p>

GoPro To Enter Drone & Virtual Reality Markets

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GoPro announced at the <em>Re/code</em>‘s Code Conference that they will enter the quadcopter market, with CEO Nick Woodman saying “Quads plus GoPro has been one of the most enabling combinations,”. GoPro plans to have the Quadcopter available some time in early 2016.</p>
<p>GoPro’s second product announcement is a 6 camera array that will allow users to creative 360 degree photos and videos. An early prototype can be seen above, but don’t expect to see the new product until the end of 2016 at the earliest.</p>
<p>The technology to stitch the images together will be by the French company Color, which GoPro acquired last year. The software automatically creates the 360 degree environment.</p>

Ron Howard & Josh Hutcherson Announce Fifteen Consumer Finalists For Canon's Project Imagination: Th

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<em>One Will Inspire a Short Film Starring Hutcherson </em></p>
<p><strong>MELVILLE, N.Y., May 27, 2015</strong> – Canon U.S.A., Inc., a leader in digital imaging solutions, along with Ron Howard (two-time Academy Award<sup>®</sup> Winner) and Josh Hutcherson (star of “<i>The Hunger Games</i>” franchise), have announced the names of 15 finalists in the <i>Project Imagination: The Trailer</i>contest. The contest, which drew a flood of submissions, encouraged people of all skill levels to turn their photos and video footage into movie trailers with titles, Hollywood style voice-overs and epic soundtracks.</p>
<p>The public is now able to vote through June 10 on the 15 finalists at <a class="bold_text underlink" href="http://imagination.usa.canon.com/" target="_blank">imagination.usa.canon.com</a>and then Ron Howard and Josh Hutcherson will select one winning trailer based on its overall impression, inspiration and imagination. The film is set to go into production this summer and will be written and directed by Kat Candler (“<i>Hellion</i>“).</p>
<p><!--more--></p>
<p>“As a veteran filmmaker, I appreciate the value of edge-of-your seat creativity in filmmaking, and that’s what <i>Project Imagination: The Trailer</i> is all about,” said Howard. “Josh and Kat are the perfect complements to what’s sure to be an exhilarating exploration into the inspirational value of trailers.”</p>
<p>“What’s most exciting about this process is that I don’t know what to expect,” said Hutcherson.</p>
<p>“We were thrilled by the number of truly creative trailers that were submitted,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “And, we know that Ron, Josh and Kat will honor the power of everyday moments to inspire something really fascinating.”</p>
<p>The 15 chosen finalists are:</p>
<ul>
<li>JR Poli of North Lauderdale, Fla., with “<i>Everything is Mean</i>“</li>
<li>Anna Fuller of Louisville, Ky., with “<i>A Reader and a Writer</i>“</li>
<li>Jan Garcia of Union City, Calif., with “<i>The Life and Times</i>“</li>
<li>Ben Alagna of Los Angeles, Calif., with “<i>Siren</i>“</li>
<li>Ryan McDowell of Campbell, Calif., with “<i>Borderless</i>“</li>
<li>Mina Park of Los Angeles, Calif., with “<i>Calling Card</i>“</li>
<li>Rachel Bingham of Sandy, Utah, with “<i>Ninja School</i>“</li>
<li>Zack Murray of Odessa, Fla., with “<i>Spin</i>“</li>
<li>Jonathan Spencer of Charleston, Mass., with “<i>The 18-Hour Proposal</i>“</li>
<li>Matt Sconce of Oakhurst, Calif., with “<i>The Hunt</i>“</li>
<li>Ryan Lawson of Chicago, Ill., with “<i>Bubbles</i>“</li>
<li>Giordan Moore of Springfield, Mass., with “<i>The Clumsy Shoveler</i>“</li>
<li>Marc Geiger of Lancaster, Calif., with “<i>Stuck</i>“</li>
<li>Mark Mukherjee of Tampa, Fla., with “<i>Tainted Water</i>“</li>
<li>Nic Thorson of Sherman Oaks, Calif., with “<i>Project Six</i>“</li>
</ul>
<p>For the third iteration of <i>Project Imagination</i>, Francesca Silvestri and Kevin Chinoy of Freestyle Picture Company are once again producing the film, this time with Josh Hutcherson.</p>
<p> </p>

Canon EOS 5D Series Celebrates 10 Year Anniversary

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TOKYO, May 28, 2015—Canon Inc. announced today the celebration this year of the 10th anniversary of the introduction of the Company’s EOS 5D series of digital single-lens reflex (SLR) cameras. Launched in September 2005, the EOS 5D enabled advanced-amateur users to take advantage of the impressive high-image-quality performance and photographic expression unique to digital SLR cameras equipped with a 35 mm full-frame sensor, which, at the time, primarily targeted only professional-level users.</p>
<p>At the time of its launch in September 2005, full-frame CMOS sensors were only made available in professional-level models. In addition to being the first advanced-amateur digital SLR camera to incorporate a sensor of this size, the EOS 5D was offered at a competitive price, contributing to the popularization of full-frame-sensor cameras.</p>
<p><!--more--></p>
<p>Furthermore, in November 2008, Canon launched the second-generation model in the series: the EOS 5D Mark II. The camera, which was the first in the EOS series to include a function enabling the capture of Full HD video, facilitated the widespread adoption of digital SLR cameras as a tool for capturing video. The EOS 5D Mark II made big waves in the motion picture and video production industries by delivering the exceptional image quality and impressive subject background blur unique to SLR cameras, while also allowing users to take advantage of Canon’s rich interchangeable EF lens lineup spanning over 64 models,<span style="font-size: 13.3333330154419px; line-height: 20px;"> </span>enabling a wide spectrum of imaging expression possibilities.</p>
<p>In March 2012, Canon introduced the EOS 5D Mark III, featuring dramatic improvements in still-image and video quality as well as enhanced AF precision and a faster maximum continuous shooting speed. Since its launch, the EOS 5D Mark III has garnered high acclaim in the market and, as the Company’s core advanced-amateur digital SLR camera, has come to serve as a driving force for the EOS series.</p>
<p>Canon, through the in-house production of all key parts for its EOS series digital cameras, has made possible a highly robust lineup, ensuring that each and every model within the series, including EOS 5D-series models, is equipped with the optimal sensor. To support the diverse needs of users, Canon will further strengthen its entire EOS-series interchangeable-lens camera lineup, including the EOS 5D series, which enjoys the widespread support of professional and advanced-amateur users alike, with the aim of contributing to expanding the photographic and video imaging culture.</p>

Canon Showing off 4K At CineGear Expo in Los Angeles

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<em>Highlights Include New EOS C300 Mark II Digital Cinema Camera, XC10 4K Camcorder, and DP-V2410 4K Reference Monitor </em></p>
<p><strong>MELVILLE, N.Y, MAY 27, 2015</strong> – Canon U.S.A., Inc., a leader in digital imaging solutions, will showcase its latest 4K digital cinema products for professionals in the motion picture, television production, and video content creation industries in Booth #12 at Cine Gear Expo Los Angeles 2015 from Friday, June 5 through Saturday, June 6.</p>
<p>Located at the Studios at Paramount Pictures in Hollywood, CA, visitors to the Canon booth will have an opportunity to receive hands-on experience with the latest cinema equipment offerings including the new EOS C300 Mark II Digital Cinema Camera, XC10 4K Digital Camcorder, and DP-V2410 4K Reference Display introduced in April. Canon will also have its new CINE-SERVO 50-1000mm T5.0-8.9 ultra-telephoto 4K zoom lens on display, the only lens of its kind in the industry. In addition, the new 50.6 megapixel, high-resolution EOS 5DS and 5DS R Digital SLR cameras will be shown.</p>
<p>In the Paramount Theatre during the Expo will be three Canon-hosted educational panel discussions, featuring industry professionals discussing their craft, and how Canon products have helped power their work. The panel discussion schedule is as follows:</p>
<p><strong>Friday, June 5, 5:30 – 6:30 pm</strong> – Amazon Studios’ Transparent: Capturing Intimate Scenes in 4K with the EOS C500 Camera featuring Jim Frohna (DP), Corinne Bogdanowicz (Colorist), and Zoe Van Brunt (2nd AC).</p>
<p><strong>Saturday June 6, 12:45 – 1:45 pm</strong> – A First Look at the EOS C300 Mark II Camera with Gale Tattersall featuring Gale Tattersall (DP), Tony Gutierrez (1st AC) and Ari Robbins (Steadicam Operator).</p>
<p><strong>Saturday June 6, 4:30 – 5:30 pm</strong> – Documentary Panel Discussion featuring Jenna Rosher (DP, “An Open Secret”, “Janis: Little Girl Blue”), Svetlana Cvetko (DP, “Brand: A Second Coming”, “Inequality for All”) and Jerry Henry (DP, “City of Gold”).</p>
<p>For more information about Canon at Cine Gear Expo LA 2015 please visit: <a class="bold_text underlink" href="http://pro.usa.canon.com/cinegear2015" target="_blank">pro.usa.canon.com/cinegear2015</a>.</p>

Which lens to add to kit for wedding photography?

Current kit:
Body: 5D III + 7D II
Lenses: Sigma 24 1.4; 35 1.4; 50 1.4; Canon 85 1.8; Canon 100L Macro; 24-105 f/4L IS USM

Missing: flexibility of a fast zoom lens since I avoid flash and often shoot indoors in dim light

Would you:
a) use two of these lenses on the two bodies to have two fixed focal lenghts
b) purchase a fast zoom (e.g. the Sigma 18-38 f/1.8 Art)
c) ...? please reply

Since not too long I walk with two bodies instead of just one and I find just two straps (I have two of the long optech ones) quite inconvenient) since the body which has the strap below the other body is difficult to move. It makes it quite a hassle. So I'd like to have something better for this but it must be safe. What would you suggest?

I heard many stories about some systems (which ones again?) that suddenly let go of their body + lens... :-X

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