Antananarivo - landscapes & streets

A black and white series taken in Madagascar's capital city Antananarivo (AKA Tana).

Canon 5D Mark III with a 24-70 L II. I'm new to B&W and used Silver EFEX Pro for the conversion. Keen to hear from the group on how to get the most from it - or alternatives. Thanks for looking.

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Zeiss to Announce Otus 85 f/1.4 at Photokina [CR2]

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<p>We’re told that Zeiss will announce the next in the Otus line, an 85mm f/1.4 for Photokina this September. We’re also told that it’s possible an Otus 35mm f/1.4 could also be announced, although that isn’t confirmed. If the 35 isn’t announced at Photokina, expect it some time in 2015.</p>
<p>What comes after those two lenses is unknown. Although we have heard that a pair of tilt-shift lenses are in the works, as well as an Otus zoom lens.</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

the canon 100d/sl1

Hello All, I recently purchased a 100D/SL1, I'm just after an opinion on people who have used this camera?
Do you like it?
Do you hate it?
Worst and best parts, etc?

I personally love it, very small but you get used to it handles just like a slr, love the crop factor on a small form body and it's got a fantastic shutter sound :)

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What has become of the long-rumored Canon 50mm IS?

I am extremely tempted to just pull the trigger on the new Sigma, but, I'm finding myself doing more and more hand-held video where external stabilization is just not practical. (see, here: http://vimeo.com/m/92210589)

I have the 28mm f/2.8 IS and it's probably my favorite lens right now.

I like the 50mm focal length even better, I was hoping the release of the Sigma would prompt Canon to at least announce something but...all I hear are crickets!

DXOMark Compares the Sigma 50 f/1.4 Art to Zeiss 55 f/1.4 Otus

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<p>DXOMark has completed their review of the Sigma 50 f/1.4 DG HSM Art series lens and put it in direct competition with the Zeiss 55 f/1.4 Otus lens. The Sigma holds up very well. However, as expected, the Zeiss does look to be a better lens optically, as it should be at 4 times the price.</p>
<p><strong>When compared to the Otus</strong>

<em>“At f2 the Sigma is almost on a par with the Zeiss, only it can’t quite match the Zeiss in the corners – though the difference in real world terms is trivial. The new Sigma can boast of slightly better control of vignetting and, arguably, chromatic aberration at maximum aperture, though there’s some fringing evident in the extreme corners. The Zeiss has remarkable transmission but, at close to $4,000, nothing short of exceptional performance is expected.”</em></p>
<p><strong>DXOMark Conclusion

</strong><em>“As part of the company’s new Global Vision Sigma’s reimagining of their premium lenses is reaping dividends. The 50mm f1.4 DG HSM A is every bit as good as the earlier 35mm f1.4 model, in fact it’s slightly better in outright sharpness and uniformity. If there’s a downside it’s that lenses built with few compromises are generally large and heavy, but at least Sigma isn’t making you pay through your wallet. At $949, the new lens isn’t much more expensive than the firm’s high-speed 35mm, and is similarly competitive when compared to rival offerings from the big-brands.”<strong>

</strong></em></p>
<p><strong><a href="http://www.dxomark.com/Reviews/Sigma-50mm-F1.4-DG-HSM-A-Canon-lens-review-Art-for-Art-s-sake" target="_blank">Read the full review</a> | <a href="http://www.bhphotovideo.com/c/product/1045458-REG/sigma_311101_50mm_f_1_4_dg_hsm.html/bi/2466/kbid/3296" target="_blank">Preorder the Sigma 50 f/1.4 DG Art</a></strong></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Patent: Canon EF 24-70 f/2.8L IS

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<p>Another patent showing a Canon EF 24-70 f/2.8L IS. We have seem them in the past and have been told that prototypes have existed for such a lens. The issue has always been size and weight and it being usable over long periods of time for event photographers.</p>
<p><strong>Patent Publication No. 2014-52413,2014-52445</strong></p>
<ul>
<li>Publication date 2014.3.20</li>
<li>Filing date 2012.9.5</li>
</ul>
<p><strong>Example 1</strong></p>
<ul>
<li>Zoom ratio 2.75</li>
<li>Focal length f = 24.7-35.21-68mm</li>
<li>Fno. 2.9</li>
<li>Half angle ω = 41.21-31.57-17.65 °</li>
<li>Image height 21.64mm</li>
<li>223.94-207.87-180.56mm overall length of the lens</li>
<li>BF 38.31mm</li>
</ul>
<p>Source: [<a href="http://egami.blog.so-net.ne.jp/2014-04-17" target="_blank">EG</a>]</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

How to tell when Eneloops are running dry in 600EXs?

So I use 4 600EXs for all my lighting needs, powered by Sanyo eneloops. In the past using 580s and 430s, I've used a full power flash dump and counted in seconds for the ready beep to determine roughly how juiced a set of batteries were - 2.5s meant fine, 3.5s-4s served as a reminder to change out a set for a fresh.

What I've been finding with the 600EXs is that even when the batteries are near death, the ready beep still engages after 2.5s-3s after a 1/1 test, only to discover it stops firing and dies just a few pops later mid session.

I doubled checked to ensure every test on each flash is not set to 1/32 but to 1/1 full power. It's frustrating when you think everything is charged and a speedlite fails, and perhaps I've been foolishly relying on those ready beeps to gauge battery status.

Anyone else experiencing this?

Super Macro Underwater / ISS Timelapse short film

Hello everyone,

I put together a short underwater film called Critter Planet. It is filled with very rare underwater creatures, one of which a Kalinga Ornata nudibranch, is so rare, that as far as I can see I am the only one in the world with video footage of it in its natural habitat.

To better tell the story, I also incorporated some timelapse from the ISS. Also, have done some narration for the first time. Check it out, and let me know what you think.
Dustin

Watch in HD!!

Critter Planet, Canon 5d Mark II
[/quote]

600EX-RT white balance/collor issues

Hello everybody,

I bought 600EX-RT about a month ago. Haven't really tested it outdoors yet, but found one issue while using it indoors.

The first flash i had was the manual Youngnuo 560 (chineese made) and used it on auto WB, indoors and usually at manual setting on camera on 250 shutter speed and diaphragm from 1.4 to ~ 5.6 on 50mm lense and standard lense (18-55 450d kit lense) i believe. The colours were perfect - never felt the need to adjust WB. Then I was asked By girlfriends co-worker to shoot the baptism ant thought - damn - i need flash with ETTL.. so after some time i emptied my savings and bought the new flagship flash and thought it would make mirracles.. Test shots at shop were ok.. Baptism shots atschurch were ok .. But when i use it indoors in a room i found it warmens the colours too damn much. Ok my walls are yellow, i use the flash at same settings as the chineese onw and get radically different results - my white cat's fur becomes a bit yellowish and so on. Last day i shot my mothers birthday ( the walls were white, with no reds or yellos and the pictures were all oversaturated in red an magenta. Yes i shoot in raw.. But shouldn't i atleest get the results comparable to chineese flash? I'm thinking about taking flash to canon for inspection but i don't know what to tell them :) I have tested it head to head with chineese one and i don't understand what is the problem.. Both of them are on M and tested Both on 450D 50D and 5D MKII - same results.

Have any of you had simillar experience? Will be thankfull for any replies, cos it does't let me sleep at nights :)

PS. English is not my first language, so sorry for grammar mistakes :)

Advice needed: thinking of a 5D as a second body

I am considering the pros and cons of getting a 5DI as a second body.
It might come handy as an inexpensive camera for street photography, or in suboptimal conditions (like for my Niagara trip) where I don't want to take my $ 3K camera. It will be a good second camera where I don't want to or cannot change lenses.
However, I have never actually held a 5D and since I might buy online, I was trying to get an idea of what to expect in terms of features (or lack thereof), ergonomics, usage guidelines, etc. I have used a 50D and 7D before getting my 5DIII and I am quite familiar with the 5DII.
Also, what should I expect to pay for a reasonably good condition 5D? The prices are widely variable and quite confusing. I see people selling 8+ ones of FM for $ 380 and 7+ ones for $ 600 on CR.
Are there things to specifically look for in a used 5D (I know the mirror fix is one)? Is it better to buy from FredMiranda or Craigslist? I have never bought a camera on CR, although I've bought lenses. Or should I play it safe and get it from Adorama or KEH?
Sorry for the many questions. As always your time is most appreciated.
Thanks, Deep

Sharpest EF Lenses (according to DxO)

Many people are singularly focused on lens sharpness (I'm guilty, too), so I thought I'd check out DxO's sharpest lenses for each focal length / zoom range and share the list. These are the P-MPix scores using the 5DIII and are should be just about every production model that they've measured, but I may have missed or accidentally included a few. The duplicates are where there is a tie.

By Focal Length

Primes
Canon EF 600mm F/4L IS II USM 20
Canon EF 500mm F/4L IS II USM 19
Canon EF 400mm f/2.8L IS II USM 21
Canon EF 300mm f/2.8L IS II USM 22
Canon EF 200mm f/2.8L II USM 17
Canon EF 180mm f/3.5L Macro USM 14
Sigma 150mm F2.8 EX DG OS HSM APO 17
Carl Zeiss Apo Sonnar T* 2/135 ZE 22
Sigma 105mm F2.8 EX DG Macro 18
Carl Zeiss Makro-Planar T 100mm f/2 ZE 20
Tamron SP AF 90mm F/2.8 Di MACRO 16
Sigma 85mm F1.4 EX DG HSM Canon 20
Sigma 70mm F2.8 EX DG Macro 17
Carl Zeiss Distagon T* Otus 1.4/55 21
Sigma 50mm F1.4 DG HSM A Canon 21
Canon EF 40mm f/2.8 STM 18
Canon EF 35mm f/2 IS USM 20
Carl Zeiss Distagon T 28mm f/2 ZE 18
Carl Zeiss Distagon T 25mm f/2 ZE 17
Canon EF 24mm f/2.8 IS USM 19
Canon EF 24mm f/1.4L II USM 19
Carl Zeiss Distagon T 21mm f/2.8 ZE 15
Canon EF 20mm f/2.8 USM 14
Carl Zeiss Distagon T* 2.8/15 ZE 16
Canon EF 14mm f/2.8L II USM 15

Zooms
Tamron SP 150-600mm F/5-6.3 Di VC USD 14
Canon EF 200-400mm f/4L IS USM Extender 1.4x ON 14
Sigma 50-500mm F4.5-6.3 APO DG OS HSM Canon 14
Canon EF 200-400mm f/4L IS USM Extender 1.4x 19
Sigma 120-400mm F4.5-5.6 DG APO OS HSM Canon 13
Sigma 120-300mm F2.8 DG OS HSM S 20
Canon EF 100-400mm f/4.5-5.6L IS USM 13
Canon EF 70-300mm f/4-5.6L IS USM 15
Canon EF 28-300mm f/3.5-5.6L IS USM 13
Canon EF 75-300mm f/4-5.6 III USM 12
Canon EF 70-200mm f/2.8L IS II USM 21
Sigma 24-105mm F4 DG OS HSM A 18
Tamron SP AF 28-75mm F/2.8 XR Di LD 17
Canon EF 24-70mm f/2.8L II USM 18
Canon EF 16-35mm f/2.8L II USM 14
Tokina AT-X 16-28 F2.8 PRO FX 17
Sigma 12-24mm F4.5-5.6 EX DG HSM II Canon 12

By Sharpness

Primes
Canon EF 300mm f/2.8L IS II USM 22
Carl Zeiss Apo Sonnar T* 2/135 ZE 22
Canon EF 400mm f/2.8L IS II USM 21
Carl Zeiss Distagon T* Otus 1.4/55 21
Sigma 50mm F1.4 DG HSM A Canon 21
Canon EF 600mm F/4L IS II USM 20
Carl Zeiss Makro-Planar T 100mm f/2 ZE 20
Sigma 85mm F1.4 EX DG HSM Canon 20
Canon EF 35mm f/2 IS USM 20
Canon EF 500mm F/4L IS II USM 19
Canon EF 24mm f/2.8 IS USM 19
Canon EF 24mm f/1.4L II USM 19
Sigma 105mm F2.8 EX DG Macro 18
Canon EF 40mm f/2.8 STM 18
Carl Zeiss Distagon T 28mm f/2 ZE 18
Canon EF 200mm f/2.8L II USM 17
Sigma 150mm F2.8 EX DG OS HSM APO 17
Sigma 70mm F2.8 EX DG Macro 17
Carl Zeiss Distagon T 25mm f/2 ZE 17
Tamron SP AF 90mm F/2.8 Di MACRO 16
Carl Zeiss Distagon T* 2.8/15 ZE 16
Carl Zeiss Distagon T 21mm f/2.8 ZE 15
Canon EF 14mm f/2.8L II USM 15
Canon EF 180mm f/3.5L Macro USM 14
Canon EF 20mm f/2.8 USM 14

Zooms
Canon EF 70-200mm f/2.8L IS II USM 21
Sigma 120-300mm F2.8 DG OS HSM S 20
Canon EF 200-400mm f/4L IS USM Extender 1.4x 19
Sigma 24-105mm F4 DG OS HSM A 18
Canon EF 24-70mm f/2.8L II USM 18
Tamron SP AF 28-75mm F/2.8 XR Di LD 17
Tokina AT-X 16-28 F2.8 PRO FX 17
Canon EF 70-300mm f/4-5.6L IS USM 15
Tamron SP 150-600mm F/5-6.3 Di VC USD 14
Canon EF 200-400mm f/4L IS USM Extender 1.4x ON 14
Sigma 50-500mm F4.5-6.3 APO DG OS HSM Canon 14
Canon EF 16-35mm f/2.8L II USM 14
Sigma 120-400mm F4.5-5.6 DG APO OS HSM Canon 13
Canon EF 100-400mm f/4.5-5.6L IS USM 13
Canon EF 28-300mm f/3.5-5.6L IS USM 13
Canon EF 75-300mm f/4-5.6 III USM 12
Sigma 12-24mm F4.5-5.6 EX DG HSM II Canon 12

Tamron 150-600 mm with 5dIII: Menu setting critical

Just received my Tamron 150-600 mm. To my vast disappointment, it would not focus beyond 300 mm unless I manually brought it close to focus. :( However, on a whim, I found that under the 5DIII AF menu, "Lens drive when AF impossible" was "OFF". When I turned it "ON", the lens focused just fine! So, save yourself some aggravation and change your settings before you dump the lens in the box and return it!! :)

Which Eneloops batteries for my 580 EX II?

Hi,

I'm thinking of going for rechargeable batteries as it's good for the trees and bunnies, and in the longer term, my wallet.

There's been quite a bit of talk about Sanyo Eneloop batteries bering the way forward, but I'm not sure which ones to get.

The options I have found are 1900mAh, 2450mAh and 2550mAh.

Whilst I am tempted to go for the higher power ones, albeit at a higher cost, I was wondering if I could get away with the standard 1900mAh Eneloops?

My flash is used mainly for wedding photography during the evenings, so I want it to last, and I want the rechargables to last for abot as long as the Duracel normal batteries I use.

Any advice or imparting of experience would be most appreciated.

Many thanks,

Grant :)

New world of Light !

Thanks for the previous advice on lighting set ups and my first OCF set up is nearly complete with a simple couple of light stands and westcoss 43"umbrellas, have also ordered three YN triggers which may take a little longer to arrive.

Just for info i found a great deal on a set of Rogue Flash Gels ( 20 with kit ) for only 19.99 and free delivery from Currys UK.

One question , I have received the hot shoe mounts which are labelled type B. when i fit them to the light stand where the bolt goes through to secure it only just hits half of the top of the tube and wont go down any further also the flash goes in the top but seems a bit fiddly and not the best fit.

this the mount http://www.amazon.co.uk/gp/product/B0034WR19Y/ref=oh_details_o01_s00_i00?ie=UTF8&psc=1#productDescription

and these are the light stands http://www.amazon.co.uk/gp/product/B0011363NS/ref=oh_details_o00_s00_i00?ie=UTF8&psc=1

anyone have any experience of these or is it simply because they are cheap ?

thank you
Andrew

www.andrew-davies.com

Shot with an EOS-M

Got a chance to sit sideline at an NBA game. The camera rules indicated on the ticket were that no detachable lens camera/ lens combinations were allowed, and there were plenty of security types prowling the court when play was not in progress.

So I thought that the EOS-M and a 24-70 lens might sneak by, and it did. Needless to say no flashes were allowed either, but the light was surprisingly good.

I prefocused on the basket and tried to catch action that occurred around the net the best shot is below. Surprisingly the 24-70f 2.8 was almost enough lens. The pros that were shooting the game were firing the 1dx and what looked like a 200f2. Rebound photo ƒ/2.8 50.0 mm 1/800 800 Shutter speed priority AE



And a second one showing static crowd picture: https://www.flickr.com/photos/56580542@N05/13906821583/

Attachments

UK Exclusive: Canon Unveils White EOS 100D and EF-S 18-55mm f/3.5-5.6 IS STM Lens

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<p>United Kingdom, 16 April 2014 – Canon today introduces a new white edition of the world’s smallest and lightest APS-C DSLR , the EOS 100D, as well as a new white version of its EF-S 18-55mm f/3.5-5.6 IS STM zoom lens. Ideal for first time users looking to explore the world of DSLR photography, the new editions to the EOS range make it easy for anyone, whatever their skill level, to capture and relive special moments in stunning detail.</p>
<p>Measuring just 116.8 x 90.7 x 69.4mm, the EOS 100D is compact enough to always carry with you and features an 18 MP APS-C Hybrid CMOS AF II sensor and a range of simple controls and automatic shooting modes, making capturing stunning images and Full HD movies effortless. The incredibly lightweight and compact body provides a traditional DSLR shooting experience while the large 7.7cm (3.0”) ClearView II touch screen, makes it easy to adjust settings and review images straight after capture.</p>
<p>The white EF-S 18-55mm f/3.5-5.6 IS STM lens is the perfect partner for the new EOS 100D, providing the flexibility to capture everyday subjects from sweeping landscapes to close-up portraits. An Optical Image Stabilizer ensures images are captured with impressive detail and clarity, while the near-silent STM technology also ensures noise is kept to a minimum whilst focusing in movies.</p>
<div id="attachment_16363" style="width: 575px" class="wp-caption alignnone"><img src="http://www.canonrumors.com/wp-content/uploads/2014/04/100D-w-EF-S-18-55-IS-STM-WHITE-565x575.jpg" alt="White 100D" width="565" height="575" class="size-medium wp-image-16363" /><p class="wp-caption-text">100D Stormtrooper Edition</p></div>
<p>White EOS 100D – key features:

18.0 Megapixel Hybrid CMOS AF II sensor

Compact, portable design

Simple shooting with Scene Intelligent Auto

Optical viewfinder and large touch screen

Full-HD movies with Hybrid CMOS AF II

Creative Filters and Extra Effect Shot

Built-in Feature Guide

EOS System of lenses and accessories

White EF-S 18-55mm f/3.5-5.6 IS STM – key features:</p>
<p>Versatile focal length range

Compact design

Four-stop optical Image Stabilizer

Smooth focusing with STM motor

0.25m closest focusing distance

Super Spectra Coating

Non-rotating front element

Manual focus ring

Circular seven-bladed aperture

Pricing and availability

The EOS 100D White will be available from May 2014 with an MSRP of £499/€599</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong>

via <a href="http://www.the-digital-picture.com/News/News-Post.aspx?News=9502" title="The-Digital-Picture" target="_blank">TDP</a></p>

Cobra flash (edit:speedlite) softboxes for portraits

Hello everyone,

I've been working on my photography skills (as a hobbyist) for a few years now, but I've not really committed to off-camera flash yet. That is something I wanted to do for a while but I always delayed the experience, mainly due to monetary constraints. I did not want to buy cheap and buy twice... well I did some 'buy cheap' but that is another story.

For the record, I own a Sigma EF 610 dg super (full manual control), a chinese e-ttl flash with GN~48m (no manual control - remember the by cheap line?) and an old manual flash with a GN~24m. As you must already have guessed, I mostly plan on using the Sigma.

I also own a set of Cactus V4 transmitter (...buy cheap anyone?), but they don't work with the Sigma (apparently those seem to want full ttl info or nothing to fire, even in manual mode). Anyways, it is not that much of a problem as the flash can be triggered by preflash (even in ttl) and I'll probably go for a long e-ttl sync cable for times when the trigger is obscured.

Now I have a few questions here.

1- Is a single cobra flash in a softbox assisted by a reflector enough to light a full body portrait indoor?

2- What about outdoor for fill?

3- What would be the largest softbox a single speedlite can fill while maintaining a uniform lightning in those two situations?

4- Would I be better off with some cheap continuous lightning solution than a single speedlite?

Also feel free to provide any more info you find relevant, but keep in mind that my budget is already pretty stretched so I can't afford much. Examples of results you got with a single off-camera speedlite and comments on how you were set-up are also welcome.

Thanks.

Lighting and triggering setup

Now I know this will forge a lot of opinion and theorycraft, so let's keep this a nice friendly discussion. ;) Thanks in advance for reading and contributing!

Like many people, I feel I have reached the limits of what I can do with my current gear, lighting in particular. I can assure you that I am not suffering from Gear Acquisition Syndrome, it really is time to upgrade. I've also done tons of reading and research, so much so that my head is pretty much spinning and I've been on the fence while I've saved up for a year to even make this happen.

I want to use a mix of continuous lighting, flashes and strobes. I believe that each have their own place and usage, so I do feel that not one particular solution will do, hence the need for all of them. To answer what I trust is your most pressing question: I largely do portraiture that I have been known to describe as 'Tim Burton on crack'. Bright colors, intense characters, the strange and unusual kind of thing. I shoot both indoors and outdoors, so mobility of equipment is somewhat important too.

I somewhat have my heart set on PCB Einsteins for strobes and ideally 600's for flashes (hopefully cheaper Yongnuo ones when they are finally out). I am open to suggestions otherwise, but also keen on the bowens mount for modifiers in general.

My main problem comes not just in triggering, but in remotely controlling power and doing so quickly. Right now, I use a Canon 90ex with optical triggering/remote power control or older YN-602 triggers (with no remote power control) and a whole lot of running around while doing my best impression of Mallory Archer saying 'hang on' repeatedly (props if you get that reference, heh).

To throw fuel on to this fire, I am considering switching camera systems from Canon to Sony.

Given all that info, I seek a unified triggering system that would somewhat be camera independent, device independent and allow for remote power control. Especially if I go with Einsteins and 600 flashes, (unless you mad geniuses have better ideas/suggestions) I am currently leaning towards:

Cyber Commander - would allow for remote control of the einsteins and should work Canon or Sony.

YN-E3-RT or YN-622-TX - AF Assist would be mad bonus, would allow for remote control of flashes and cover issues like HSS and ETTL support.

I love grouping and ratio control for power, and realize that the Einsteins would be on their own. I hate the thought of using two seperate systems, but it's definitely better than the running around and disrupting the flow/vibe of a shoot. Would love to hear ideas/suggestions for a more unified system though =)

And FYI, this is probably the closest that I've seen for what I'm trying to accomplish and is an interesting read.

http://www.nicknphoto.com/wedding-reception-lighting/

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