Looking for advice regarding ring flashes

Hi guys

For a few days now I've been thinking about maybe adding a ring flash to my kit. I have experience with lighting in general but I've never used a ring flash, so I thought I'd ask if anyone here would be so kind and chime in with a few tips or some advice.

I'm looking to use the ring light mainly for filling in shadows when shooting tight portraits (head only, or head and shoulders). My working distance is normally somewhere between 1,3-2m away from the subject. I would want to use this light on sunny days with wider apertures, so high-speed sync capability is a must. Since I move around a lot a more compact and portable unit is preferred, and it must be battery powered.

Looking at different solutions I gravitate towards something like the Canon MR-14EX II Macro Ring Light which attaches directly to the lens. However this unit is specified for macro work, so I guess that may not work for me. Actually, all the ring flashes I've seen that seem to fit what I'm after have the word macro in their names. I don't know if there's anything specific that limit the use of those flashes, or if it's just a trend to call them macro.

Any advice on a ring flash that could work for me?


Thanks

- Alex

Video: Hands-On With the Canon XC10

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<p>The <a href="http://www.canonrumors.com/2014/12/4k-fixed-lens-camcorder-coming-cr2/" target="_blank">long rumored Canon XC10</a> is now official and <a href="http://www.amateurphotographer.co.uk/" target="_blank">Amateur Photographer</a> has a hands-on video with the camera.</p>
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<p>Canon USA has also posted their first introduction video for the Canon XC10.</p>
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Announcement: DP-V2410, A New 24-inch 4K Reference Display

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United Kingdom, Republic of Ireland, 8 April 2015 – Canon today announces its next generation of input-to-output solutions for 4K production workflows. The range includes the DP-V2410, a robust 24-inch 4K reference display, and two new 4K camcorders – the EOS C300 Mark II, a 4K Cinema EOS camera and the XC10, a compact, lightweight 4K video and digital stills camera for aspiring filmmakers.</p>
<p><strong>The DP-V2410 – 24-inch 4K Reference Display

</strong>The new DP-V2410 has been engineered for use on-set or on-location in both broadcast and cinema productions, to provide accurate and reliable output of 4K content, facilitating live shooting for quality control, focusing and exposure confirmation, as well as on-set colour management and grading.</p>
<p>Sitting alongside the existing DP-V3010 in Canon’s 4K reference display range, the DP-V2410 delivers stunning 4K 4096 x 2160 resolution with astounding accuracy in colour reproduction. Thanks to a new High Dynamic Range Mode, the display makes it easy to see both extreme highlights and shadow detail simultaneously, providing a more natural and realistic image. The DP-V2410 has also been optimised to support the DCI-P3 cinema standard, the ITU-R BT.2020 broadcast standard and ACES Proxy (ACES Ver. 1.0). Furthermore, a new IPS panel with RGB LED backlight system enables a 2000:1contrast ratio, whilst Canon’s automatic colour and brightness correction system ensures consistent image quality, colour and luminance, over time.</p>
<p>Equipped with both 3G/HD-SDI and HDMI interfaces, plus a built-in debayer, the DP-V2410 is able to show native 4K RAW footage direct from compatible Cinema EOS cameras, saving costs on an external debayer unit. In addition, an image quality link-up function automatically synchronises the colour settings from compatible Canon cameras, preventing settings errors.</p>
<p>A range of on-set functions enable quick and easy content review, including a 4K capable Wave Form Monitor and Vectorscope which confirm signal data. Additionally the display features multiple 1D/3D-LUTs for convenient monitoring and an audio level meter for accurate sound recording.</p>
<p>The DP-V2410 is encased in a sleek and robust body and incorporates a sturdy handle. Weighing just 12kg, it’s easy transport around sets, and is equipped with a 24 volt DC power unit to work throughout the day.</p>
<p>The DP-V2410 is expected to be available in Europe in Q4 2015.</p>

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Announcement: Canon XC10, A Breakthrough Compact 4K Video and Stills Camcorder

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United Kingdom, Republic of Ireland, 8 April 2015 – Canon today unveils the XC10 – a compact, lightweight video and digital stills camera that brings professional 4K quality to aspiring filmmakers and enthusiasts. Inheriting many of the Cinema EOS range’s features, the XC10 offers incredible recording versatility and is the ideal solution as a small, stand-alone camera for independent film makers or the perfect accompaniment as a supporting B camera in larger productions.</p>
<p><strong>Unleashing 4K recording for enthusiasts</strong>

Boasting outstanding market leading image quality, traditionally associated with larger cameras, as well as the flexibility and ease of use of traditional compact camcorders, the XC10 delivers consistently breath-taking results. Its advanced imaging engine – a powerful combination of a specially developed 1” CMOS sensor and Canon’s new DIGIC DV5 image processor – gives both budding filmmakers or experienced pros the blistering speed and quality they demand to capture 4K video, at a wide range of variable bit rates.</p>
<p>Able to fit seamlessly into workflows, or productions with existing Cinema EOS cameras, the XC10 can record UHDTV standard (3840 x 2160) 4K footage to an internal CFast 2.0™¹ card at up to 305Mbps, or Full HD (1920 x 1080) footage to an SD card at up to 50Mbps, with pro-standard 4:2:2 colour sampling for high resolution performance.</p>
<p>The XC10 delivers rich colour, synonymous with Cinema EOS cameras, with a high ISO of up to 20,000, ensuring excellent results in low light conditions, and a 12-stop Wide Dynamic Range, providing vivid detail in both highlights and shadows.</p>
<p>Shooters have the freedom to capture a diverse range of scenes in professional 4K quality using a specially developed 10x optical zoom lens, complete with Canon’s class-leading image stabilisation technology. With a versatile 27.3-273mm focal range (35mm equivalent, in video mode) videographers can easily switch between capturing sweeping scenes, to intimate close ups with a single lens. Pros and enthusiasts alike can change between movie recording and still image shooting, capturing high quality 12.0 MP images, or extracting 8.29 MP stills from 4K video footage.</p>

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<p><strong>Uncompromising design, optimised for easy shooting</strong>

The XC10 redefines the boundaries of advanced compact camcorder design, with a body that’s instantly intuitive to use. Once in your hand, you’ll find a rotating grip that supports a variety of shooting styles, as well as essential feature controls at your fingertips, including a manual zoom and focusing ring. Designed to match any shooting preference, the camcorder features a 7.66cm vari-angle touch LCD, with 100% field coverage, providing direct access to the menu system through a simple set of cross keys, while an included optical loupe viewfinder, that fits the LCD, offers a more traditional shooting experience.</p>
<p><strong>Fostering creativity with expert workflows</strong>

Professional videographers can easily integrate the XC10 into existing production kits and workflows, thanks to its portfolio of professional standard codecs and recording modes. Canon’s new XF-AVC H.264 codec supports recording in both 4K and Full HD quality, enabling easy integration into industry- standard Non-Linear Edit systems. Canon Log Gamma also enables maximum freedom in post-production editing and processing and seamless quality matching with content shot on Cinema EOS cameras. Additionally, videographers can freely shoot in 4K, and later down convert to Full HD, to create a higher quality end product, and enable greater flexibility in the editing process.</p>
<p>A selection of slow and fast motion recording modes – including up to 1200x fast motion in 4K/Full HD, and up to1/4x slow motion in HD – as well as interval shooting provide further creative opportunities.</p>
<p>The XC10 is also Wi-Fi compatible; enabling remote control of key features via a browser, smartphone or tablet – securing its position as an essential part of any Cinema EOS video shooter’s toolkit.</p>
<p><strong>XC10 Key benefits:</strong></p>
<ul>
<li>Stunning 4K video and 12MP stills from one compact camera</li>
<li>High bit rate XF-AVC files, great for post production</li>
<li>Seamlessly integrate with professional workflows</li>
<li>Get creative with fast and slow motion recording</li>
<li>Built-in Wi-Fi for easy browser/smart device control</li>
</ul>
<p><strong>Pricing and availability</strong>

The XC10 will be available from June 2015 with an RSP of £1599.99.</p>
<p><strong>Preorder: <a href="http://www.bhphotovideo.com/c/product/1134581-REG/canon_0565c013_xc10.html/BI/2466/KBID/3296" target="_blank">Canon XC10 $2499</a> at B&H Photo</strong></p>

Announcement: Canon EOS C300 Mark II. Full Coverage and Videos Here.

HTML:
United Kingdom, Republic of Ireland, 8 April 2015 – Canon today unveils the EOS C300 Mark II, a new 4K video camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail. Building on the unprecedented success of the acclaimed EOS C300, the more rugged EOS C300 Mark II features an advanced imaging engine with dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date.</p>
<p><strong>Supreme 4K image quality and versatility</strong>

With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of dynamic range, the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The camera offers professional filmmakers and broadcasters alike the very best image quality, recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions.</p>
<p>The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™¹ media, while simultaneously recording 4K RAW files to an external recorder, offering the flexibility and universal appeal for production at the highest quality available today. Additionally, the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process.</p>
<p>The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality.</p>
<p>To meet the requirements of a diverse range of shooting applications, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as automatic modes. These include, enhanced Dual Pixel CMOS AF (now covering approx. 80% of the frame vertically and 80% horizontally), auto white balance and Face Detection AF, all making it easier for independent news gatherers and documentary filmmakers to shoot on the go.</p>

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<p><!--more--></p>
<p><strong>Instant integration into professional workflows</strong>

Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality. The range features XF-AVC intra for 4K, and XF-AVC Long GOP and Proxy options for 2K/Full HD recording, both of which utilise H.264 codec, offering post production flexibility and ease of use. Filmmakers can select the resolution and codec type that best suits their production, with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD.</p>
<p>The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camera is also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly wider than previous Cinema EOS cameras. The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16 or 24 bit and 48 kHz.</p>
<p><iframe src="https://www.youtube.com/embed/Y8zNtfkLdOQ" width="100%" height="390" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p><strong>Designed for versatility</strong>

The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode. Compatibility with the RC-V100 remote control and optional Wi-Fi control also enables ease of use in a wider range of locations.</p>
<p>The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences.</p>
<p>Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today. For further flexibility, shooters can opt to change the lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option².</p>
<p><iframe src="https://www.youtube.com/embed/iJMZKWFJrvg" width="100%" height="390" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p><strong>EOS C300 Mark II key benefits:</strong></p>
<ul>
<li>High bitrate internal 4K recording with external RAW</li>
<li>High dynamic range files, ideal for post production</li>
<li>Seamlessly integrate with professional workflows</li>
<li>Automatic features make independent shooting easy</li>
<li>Shoot with confidence in low light with low noise</li>
</ul>
<p><strong>Pricing and availability</strong>

The EOS C300 MKII will be available from September 2015 with an RSP of £11,299 excluding VAT.</p>
<p><strong>Preorder:</strong> <strong><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>

Canon Australia Releases Canon XC10 4K Video Sample

Hello Friends,

Canon Australia today released a 4K video Sample Clip from its Latest Camera Canon XC10.

The XC10 is a compact, lightweight video and digital stills camera that brings professional 4K quality to aspiring filmmakers and enthusiasts. Inheriting many of the Cinema EOS range’s features, the XC10 offers incredible recording versatility and is the ideal solution as a small, stand-alone camera for independent film makers or the perfect accompaniment as a supporting camera in larger productions.

You can watch the Video Clip here : https://www.youtube.com/watch?v=QbTd5DbSk_g

Happy 4K Video Shooting.

Canon 16-35 f/4 vs. Sig 18-35 f/1.8 Art?

Don't hear much about the Sigma 18-35 Art lens...
I've got the Canon 8-15mm and the Sigma 24-105 Art (which I really like)
Looking to fill that gap for my 6D and 7Dii bodies.
The Canon has the extra width which I admit I would miss. But the Sigma is f/1.8 and $200 less, and, to be honest, despite all the hoopla about how sharp the Canon is, the Sigma seems just about as sharp, if not sharper based on this comparison http://www.the-digital-picture.com/Reviews/ISO-12233-Sample-Crops.aspx?Lens=949&Camera=736&Sample=0&FLI=0&API=0&LensComp=854&CameraComp=736&SampleComp=0&FLIComp=0&APIComp=0
Although, granted, the test is not run on a full frame body...
I mostly shoot still life, landscape, but some real estate, general enthusiast stuff.
Anybody ever tried both of them?
Thoughts?

More on the Upcoming Cinema EOS C300 Mark II

HTML:
<p>With the announcement of the Cinema EOS C300 Mark II around the corner, more bits of information continue to trickle in.</p>
<p>We’re told the next iteration of the camera will have a “significant” increase in latitude, even “besting the Sony FS7″. The current C300 has about 12 stops of latitude and the FS7 sits at 14 stops. <del>We’re also told the maximum frame rate for 4K recording will be 60fps. There will be higher frame rates available at lower resolution capture, but we’re unsure what the frame rate will max out at. It was suggested at 1080p @ 240fps could be the max, but we can’t confirm that.</del></p>
<p>We have still not heard anything about price, but expect it to be more expensive than the Sony FS7.</p>

Lensbaby Announces Velvet 56

HTML:
PORTLAND, OR and ST. LOUIS, MO–(Marketwired – Apr 7, 2015) –<strong>(ShutterFest 2015)</strong> — <a href="http://www.lensbaby.com/" rel="nofollow">Lensbaby</a>, providing creative effects lenses to photographers that ignite their creativity and expand their unique visions of the world, today announced the Velvet 56, a new high-end classic portrait lens. Velvet 56 will be on display for the first time during ShutterFest 2015, being held April 7-8 at St. Louis Union Station, St. Louis, Missouri.</p>
<p>Velvet 56 is a 56mm f/1.6 SLR and mirrorless camera lens with 1:2 macro capabilities. This “new classic” portrait lens delivers a velvety, glowing, ethereal look at brighter apertures, and beautifully sharp but subtly unique images as you stop down — with gorgeous, velvety tones that give digital images a film-like, organic quality. Incredibly versatile, Velvet 56 enables photographers to move seamlessly from shooting an environmental portrait, to capturing details in a subject’s clothing or jewelry. Nature and macro photographers will find its close-focus capabilities, combined with effects varying from impressionistic to just a touch of velvety smoothness, provide a set of visual tools that will expand their vision of the world.</p>
<p>Evoking the image style and construction quality of classic portrait lenses of the mid-20<sup>th</sup> century, Velvet 56 features the heft and smooth, dampened manual focus of these early lenses. Velvet 56, with an all metal body, will be available in two colors: traditional black, plus, Velvet SE, a special silver edition. Velvet SE will feature a beautiful clear-anodized finish, along with engraved aperture and focus markings.</p>
<p><!--more--></p>
<p><strong>Industry Reaction</strong></p>
<p>“Excited was an understatement. When the box arrived, I ripped it open…5 minutes later I ran down into the studio shooting test shots…Result? LOVE LOVE LOVE. This is going to be a huge hit.”

– Sal Cincotta, photographer, educator, founder of ShutterFest, and publisher of Shutter Magazine —<a href="http://www.salcincotta.com/" rel="nofollow">www.salcincotta.com</a> and <a href="http://www.behindtheshutter.com/" rel="nofollow">www.behindtheshutter.com</a></p>
<p>“I am IN LOVE with this lens! The thing that makes me most excited, and the reason I never want to take it off my camera, is the way it jumps from macro to far away shooting. I adore it! It is the perfect lens for a portrait or lifestyle session because you never have to take the lens off.”

– Caroline Jensen, portrait photographer & educator, <a href="http://www.carolinejensenblog.com/" rel="nofollow">www.carolinejensenblog.com</a></p>
<p><strong>“</strong>I don’t know what it is about this lens that makes me so emotional, but when I opened this photo up on my desktop it made me cry…have never experienced that before, it’s like this lens sees like I do…It’s like coming home…”

– Kathleen Clemons, nature photographer & educator, <a href="http://kathleenclemonsphotography.com/" rel="nofollow">http://kathleenclemonsphotography.com/</a></p>
<p>Velvet 56 allows direct access to the creative process of making beautiful and compelling images. This lens is a fluid extension to the photographic experience — the touch of the flawless metal, the tactile feel of minute details etched into its surface, the sensation of smooth, dampened manual focus. Photographers can effortlessly evoke classic appeal and transition from distant subjects to macro easily, capturing a variety of details in any given scene.</p>
<p><strong>Images

</strong><a href="http://lensbaby.com/velvet56.php" rel="nofollow"><strong>http://lensbaby.com/velvet56.php</strong></a></p>
<p>“Velvet 56 is the result of our tireless efforts to offer a brand new lens design that combines the best qualities of classic lenses while eliminating the negative aspects of classic lenses,” said Craig Strong, Lensbaby Co-founder & Chief Creative Officer. “Utilizing a never before used singlet-doublet-singlet optical design, we have combined a variable glowing highlights with tack sharp latent details even at the maximum, f/1.6, aperture. This groundbreaking design, combined with macro focusing, gives photographers one of the most versatile lenses ever made, helping them create images of any subject matter with unique heart and soul. Portrait photographers can now add a new must-have lens to their bag of most-loved equipment. Nature and macro photographers will appreciate the subtle variable, buttery-smooth aesthetic.”</p>
<p><strong>Velvet 56

Specs and Features</strong></p>
<ul>
<li>f/1.6-16</li>
<li>1:2 Macro</li>
<li>56mm</li>
<li>62mm filter</li>
<li>Focuses from 5″ from front element to infinity</li>
<li>Metal lens hood included with Velvet 56 lenses for mirrorless cameras only</li>
<li>Dimensions (DSLR) 86mm at infinity to 112mm at Macro, 71.96mm diameter</li>
<li>Dimensions (mirrorless without hood) 94mm Infinity to 120mm at Macro</li>
<li>Weight ~400 grams</li>
</ul>
<p><strong>Pricing

</strong>Velvet 56 retails for $499.95 (MSRP) and $599.95 (MSRP) for Velvet SE. The lenses will be available in Canon, Nikon, Sony A and Pentax mounts beginning 4/13/15 at lensbaby.com, B&H, Adorama, and from select specialty photo stores worldwide. Mirrorless mounts including Micro 4/3rds, Sony E, Samsung NX and Fuji X will be available in early May 2015.</p>

Great white lens overkill for a graduation?

Hi, this is not your typical "what's the cheapest lens I should use for a graduation ceremony" thread. I have a family member graduating with their MBA in a few months. I looked and the graduation will be held in what appears to be a large gym or something similar. I recently joint canon cps so I have been thinking of excuses to evaluate lens and thought this would be a good reason. Based on the distance and lack of light I figured something like a 300 2.8 + tele if necessary or 400 2.8 would be the best fit, but do you think that would be overkill? I could just shoot high ISO with my 100-400 or shoot wider with my 70-200. There is no guarantee I could get a lens to evaluate for the event, but I figured if I request it early enough.. Is there another lens you would suggest? Obviously we will also get the photos from the photographer on the stage, but I do like to shoot what I can.

Oh and other background, I will be shooting a 5d3. So full frame usable high iso.

Thanks for your help and opinions!

Canon C700x: New information. Explosive specs.

Just got this information from a pretty reliable personal friend (he's in a position to know),and he would never lie or fabricate to me but again he might have been lied-to, I highly rate its reliability but nothing 100%, lets say 80-90ish%

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​Anyhow the supposedly C700x specs are:

-Top of the Cinema line: alexa/Red yet in Small C300-like form factor

-New sensor (size in-between aps-h and FF), with 4096x2160 resolution, Global shutter, 15 stops of DR, with still high lowlight performance as previously or better

-New recording compartment (removable and connect to body with a thunderbolt input) that can take 3 New Canon Drives media (1, 2, and 3 TB available) or 3 CFs.

-10-12-14bit uncompressed raw, Mpeg 8-10-12-14, 4:4:4 bit compressed (800mbps to 50mbps) in any container (mov, mp4, xml) basically ALL compression codecs options available from 8bit 422 to 14bit 444 raw internally to the 3 new drives which can be configured to 3x3TB=6TBs (and externally too)

-4K 60P, 2K 120P, 720p 150p, SD 600p

-Body is longer in bottom to accommodate the recorder unit and 4 XLRs at bottom instead of top handle (now saved for just the LCD), body is a beefed up C300 in general.

-Weird emphasis on metadata with tons of specs

-Emphasis on skin colour in lowlight situations (We see faces in the dark)

-EF Cinema primes cover the sensor, and all Canon EF photographic lenses (so will be available in EF as well as PL). New EF-X ciinema zooms and EF-x cinema primes coming also with a weird emphasis on metadata

-One small internal battery pack lasts 4 hours with maximum features enabled

________

Believe it? I certainly HOPE it's true! We always say there's no such thing as perfect camera, but this one looks like the worlds first ''perfect'' camera, over every other competitor on the cinema market (alexa/red), but remember if it's true, it will be priced accordingly (think red/alexa/varicam/f55 range), so there definitely will be a lower-end C300 MK II as well to fill that gap. This one just seems to be aimed at the highest end market.

Super stacked teleconverters: Life @ 1880mm

So as I perusing the forums recently, I again came across a thread mentioning stacked teleconverters. I think I tried this once before, just for fun, but my lens collection has grown since then. Here's what I tried:

Nikon 300mm f/4
Nikon 1.4x TC
Canon 1.4x TC III
Canon 2x TC III
Canon 7D2

I put all of these together, using a 12mm extension tube & 20mm extension tube. My focus range was maybe 3' - 40', with an equivalent of about 1880mm @f/16. I had to shoot where the sun was shining or else crank my ISO way up. Focus was completely by hand, and I used a monopod to stabilize things. All said, it was still pretty hard to get a shot that was focused correctly and didn't have camera shake. Purple fringing was crazy bad. Things generally looked better in B&W, and it was probably best if you didn't zoom in on the photo much. But, all that being said, here are a few photos I ended up with:

leaf @ 1880mm by yorgasor, on Flickr

Pinecone @ 1880mm by yorgasor, on Flickr

Birdfeeder @ 1880mm by yorgasor, on Flickr

7D2_0564 by yorgasor, on Flickr

Safe to buy a 7D2?

I've noticed a lot of complaints of AI Servo AF issues on this camera since launch, and those that sent to Canon needed to often have their shutter and mirror box replaced in numerous cases. It seems to be a common repair thread.

Anyone think there was a hardware design defect with the original batch of cameras? I wonder if it is safe to buy now...

Scotland trip for birding - advice please

Hello Folks

I'm planning a trip to Scotland in may, mainly for bird and landscape photography, and seek some advice and hints. So far I have made up a rough route.

Edinburgh maybe two days, with a day trip to North Berwick to do boat trip to bass rock or something similar with the Scottish Seabird Center.
From Edinburgh going north to Dunkeld / Loch of the Lowes. I have read there is a nice reserve for birding, especially for ospreys.
From Dunkeld going further north via the Drumfries NP to Inverness and Fortrose.
Then going west to Gairloch and Loch Maree. There I hope to get the chance to photograph lots of birds (maybe eagles) and landscapes.
From Gairloch then to the Isle of Skye and then back to Edinburgh.

So if bird photography is a focus of this trip, what would you say? Any hints on where to go exactly around Inverness, Loch Maree and Isle of Skye? Or maybe some other good places which are not yet on my route?

Thanks a lot

24-70 II 2.8 DOF issues

I did a lot of research on DOF but am still baffled. I think they named it circle of confusion after reading some of my posts. I have a Canon 5d MK III and just purchased a 24-70 II 2.8. I had been using a 70-200 II. I normally shoot portraits. Heres the problem. The grand kids were over Easter and I took a bunch of pictures with the new lens. In all my pictures when one of the granddaughters was a foot behind the other, the one in front was tack sharp and the the one a foot back was blurry. I was shooting at 50mm, f8, 200 ISO 125. I was standing around 6 feet away. So I bumped to f11. No better. I went to 24mm, F11, 125 and the person in the back was much better but not great. Do I always have to shoot F11 when people are not at the same focal plane and I am in a close proximity? Thanks.

EF 50mm f/1.8 STM Mentioned Again

HTML:
<p>Our original source for the upcoming Canon EF 50mm f/1.8 STM has let us know that the previously “leaked” image of the lens was definitely a fake, which is something that was figured out relatively quickly by folks on the forum.</p>
<p>Our source says about the physical design of the new lens:</p>
<blockquote><p>The diameter of the lens body is the same, not variable like in the picture. The focus ring is also not as wide as in the fake picture.</p></blockquote>
<p>We’re still expecting to see this announced sometime in April, with availability coming soon after.</p>

Old Telephotos vs 100-400 II

I've been thinking about adding a tele lens to my arsenal but can't figure out which way to go. I rented the 100-400 II and compared it to my 70-200 2.8 II with the 2x and the 100-400 was better but not enough to justify buying it yet. I like that the 100-400 II is much smaller in my bag than the 70-200 with 2x. So I have also been looking in various classified and looking at old 300 2.8's and 400 DO which seem price wise seem to be hovering a tad higher than the 100-400 II. If I get either of those tele lenses I could have a 600 and 800, but when I go to thedigitalpicture.com and look at his test charts the 100-400 II is better or equal even with extenders! Is there any reason for me to consider higher prices of these old lenses? Also why are these old teles still really expensive even when they are beat up and not serviceable anymore? In case you're wondering I just want to use the lens for casual photography small prints to hang around the house and share with family.

ILC Camera Sales Slightly Down from Last Year

HTML:
Interchangeable lens camera shipments remain slightly down from last year, according to the latest data. DSLRs remain the bread and butter of the industry, as the perceived mirrorless shift still hasn’t taken hold when looking at the raw numbers, especially in North America. Could that be because the two biggest DSLR manufacturers don’t appear to have taken mirrorless seriously for the advanced amateur/professional, like Fuji, Olympus and Sony have?</p>
<p>As for Canon’s place in the mirrorless segment, it’s the same old story, is Canon not serious about mirrorless because the market isn’t growing, or is the market not growing because Canon doesn’t appear serious about it?</p>
<p><a href="http://www.personal-view.com/talks/discussion/12720/camera-sales-february-2015-data-quiet-corpse" target="_blank">See more charts and sales data at PV</a></p>

Looking for some studio lights

Hi!

Im in such a happy position right now that we (me+the wife) are about to move into a bigger house which has the option for a small home studio. Im very excited and currently looking for some decent home studio light sets.

I usually prefer to buy quality products that last a bit longer and are better in use. After doing some research I've found that quality studio lighting kits can be quite expensive. This has caused me to look into the 2nd hand market.

I actually got a pretty good deal on a Multiblitz 250 studio kit with 3 head units, stands, umbarellas, syncs and some reflectors - all in a aluminium casket. Does anyone have experiences with this brand/kit? My friend has offered me this so I'd be quite confident buying from him.

Tips and suggestions are welcome. I cant wait to get my hands on some lights and start working and learning! :)

-Dan

1DX now $4,900 via official USA dealers, how low before you would buy one?

So, now the 1DX is available via USA dealers for $4,900, what price would tempt you to buy one?

I nearly got one last year when the price went to $5,600 but decided that I really want the 1DX MkII, which even if it is $7,000, if it has more MP and new tech I will be happy to pay. I was just never sold on the 18MP and low iso DR, but $4,900 seems like a crazy good deal, are you swayed, if not how low would it have to go for you to be interested?

A Bit More About Canon's Fixed Lens 4K Offering

HTML:
<p>We’re hearing that the upcoming (and still name unknown) fixed lens 4K camera will have about 10-12 stops of latitude and will shoot C-Log. Beyond that, we’re told the hand grip is removable, as well as the viewfinder. The camera sounds more and more like it has been developed with drones in mind.</p>
<p>We should know everything in the next week or so, as NAB 2015 in Las Vegas begins April 11, 2015.</p>

Sigma 500 4.5 non DG vs Canon 100-400II + 1.4 TC

Hello everyone,

I've been lurking here for awhile now but have been unable to make up my mind on the choice between the two lenses listed above, or other close alternatives. I've spent 2 days with the Canon (loved the lens bare but only had a 2 x TC with me so no AF). I spent only 15 min with a used but mint Sigma 500 f4.5 and was impressed with most aspects of it as well. I currently shoot a Canon 70-200 2.8 II with the occasional (and often disappointing) 2 x TC III for surfing/windsurfing/kiteboarding on a 1DX and 7D (v1). I need more reach and image quality/focus speed, but the Canon 500 F4 is out of budget for now. I tend to shoot mostly at the long end, so wonder a bit if the 100-400 FL range is necessary for me even if it adds flexibility. The price of the older, used Sigma 500 is a few hundred more than the Canon 100-400 II. Weather sealing of the 100-400 is a huge plus, but not a complete deal breaker if a lens doesn't have it.

I'm also considering the 400 5.6 with a 1.4 TC, but have read the new 100-400 sharpness is superior, unless my recollection is mistaken Am I silly to consider the older Sigma when I can go for a 100-400 II with a 1.4 Tele with newer tech? Or do I wait until my budget creeps up into the 500 L v1 territory? The jump to the 1DX and longer focal lengths has been a recent one for me and I'm still fine tuning my needs. Thanks for any insights!

Purchase Canadian 5d3 body through Canon Price Watch? Anyone here has?

Has anyone here ever used these guys for a purchase? USA warranty, as is confirmed by CPW that is valid?

I have a important month long trip, and need ta new body that i can confide in its Af for irreplaceable pictures.

It will be on credit card, so it will be protected from fraud, but no hassle is better than less hassle.


thx in advance

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