Took some pics with my 24-105L on my 6D today and the horizon was curved when I had the lens at 24mm. A LOT. Embarrassingly so. I'm not really sure what this is called to look it up. Lol Barrel distortion or field of curvature? All I know is it was a lot. Would doing afma on this lens help any? Is it pure user error? Or is this just normal for this lens? Someone I know said it was because I used the "kit" lens, but this is an L lens I thought it would be better than this. I mostly am not using it at 24 so it really only showed up today when I was at the beach taking some pictures.

If I can figure out how I'll try to attach an example. Thanks for any info/help anyone has on this issue.

I have a 60D at present and I'm able to wirelessly trigger the 430 ex mkii using the built in flash and ettl.

The 5d mkiii doesn't have a built in flash, so does it communicate wirelessly or am I going to have to buy some fancy accessories to trigger the flash. Regardless if I knew the answer before I put in the order for the mkiii... I was still going to get it... but I'm hoping I don't have another expense after plunking down a small fortune for a body.

Anybody downloaded?

Are you using it in preference to any of the other flat styles?

I would use it but am just getting my head around LUTs etc. How are you processing the X-Video footage? Is there a LUT I should be using?

Cheers

Can you post anything shoot with 70-200 f4 IS USM + Canon 7D?
Thanks!

Hello,

I have had the 5d3 for about 6 months and love it. I just recently upgraded to the 600 flash, mainly to have more flash coverage when using my 17-40l lens (because the 600 flash goes down to 20mm, the 430 ex ii only went down to 24mm.)

When I had my 60d I loved the wireless flash transmitter that was built in. I used it all the time with my 430 ex ii mounted with an umbrella diffuser.

So now I would like to wirelessly mount my 600 off camera and use it with my 5d3. I am torn between getting an extra 600 flash to act as the master and have the second 600 off camera or if I should just get the st-e3 and use that to trigger my existing 600.

I hear that the st-e3 does not have af assist and that may be a factor in low light situations. I would mainly be using these for baby and toddler pictures in door so it won't be dark - but it also won't have lots of daylight either --- thus the need for flash!

Any suggestions? Sorry if this issue has been explored before...

Ok this may have been asked before if so i apologise.Who uses all the points on there cameras or do you still focus and recompose?i personally since getting my 5d3 and 1dx have been using all the points even the outer ones,but i think scrolling through the points can take time which can lead to missed moments so i am thinking in some situations to use focus and recompose again.What is your methods?

Hello

Yesterday I experienced a strange problem. I was taking long night exposures of a village in greece with a tripod with exposure time ranging from 5 - 30 seconds.

After the longer exposures (10 seconds+) purple artifacts were visible in the images. They looked like a flare. But they appeared even if I turned around 180 degrees for a new exposure. The same with and without the UV-filter (B+W 080 MRC).

So there is indeed something between the first lens element and sensor causing this. Has anyone any idea of what this is?

I am using EOS600D with some custom functions like ISO noise reduction turned on.

I've picked up a couple flashes and am looking into multi-speedlite setups for both indoor/outdoor use. Where I can use your advice/experience is what type of stand to get. I'm looking at something like the Manfrotto 1051BAC or the 1005BAC. I'd like it to be small enough to be somewhat portable, but I also intend to use softboxes with the speedlites in the future so stability against wind and weight might be a factors (with possibly more than 1 speedlight in the softbox).

Is one model better suited than the other, and if you know of something more appropriate, please let me know!

This is going to sound a bit sad or obsessive.

I had a dream the other night, in which I had some digital camera - a small, rangefinder-ish-sized one, or like the Fuji X ones that are coming out now.

It had a manual-focus, wide-aperture lens on it, and I manually focused it, and got a great picture, with great bokeh. It had blossom or something in it.

I think the lens was probably one of my Olympus OM film camera lenses; probably the 50mm f/1.2.

I woke up, remembered it, thought about it. It was one of those dreams that changes your mood about something.

I found I really WANTED such a nice, small digital camera I could fit my manual-focus lenses to, even though logically, AF is better and more reliable and usually faster.

I realised that actually there isn't a lot out there at the moment that I could buy that would let me do that. I could buy a current Fuji one and a Fuji->OM adapter, but the newer ones still seem to be fixed-lens ones. The X-Pro one is a bit old now, and I think I would prefer to get its successor, if one comes.

I could get the EOS M, and the EF adaptor and then use my OM to EOS adaptor, but given the bad press the EOS M has had, and the fact that a better one appears to be imminent, it would probably be a bad use of funds to buy that now.

It has made me search for somewhere I can get decent film (Velvia, for example, seems to have a good reputation). I have a nice film camera I could use; I think I'll have another play with film in the near future.

For now, it's a lovely day, so I'm taking my 5D3 and 24-105L out.

Had a lot of fun with this body ;D

Hi. Another lens question and a big decision for me.
i currently use a 70-200L F4 (original NON-IS version) and it is a great lens. However i always these days use it in combination with a 1.4 mark II teleconverter.
should i replace these with the new 70-300L IS or the 100-400 (i will not have the funds for the new version if and when it comes out as it is bound to be a lot more expensive than the current version) or keep what i have ?
i mainly shoot around the 250-300 range but up to 400 might sometimes be useful.
Any thoughts or ideas would be appreciated.

Looks like a cool piece of gear.


I can't think of what I would use it for, but I thought some of you might want to see it.




Aputure V-control USB Focus Controller

Went on the photohunt with my 70-200 2.8 II testing my new E2xIII.

As I consider myself a passionate amateur I am happy about tips and feedback to improve!

Basically when you use the Photoshop/ACR workflow to process the RAW DNG folder you have to set working space for ACR to sRGB 16bits which is all fine BUT most people calibrate monitors and TVs to something like gamma 2.2 but you were editing in sRGB and as soon as you take the footage out of something not completely color-managed which includes almost all video playback software you end up with the sRGB video file's sRGB tone response curve not getting converted for use on a gamma 2.2 display and you get the contrast and saturation a trace boosted and the shadows and lower mid-tones become too dark.

The fix is to add a step right before you save out as TIFF in your batch action. Use "Edit->Convert To Profile->Custom RGB" and then rename it to "REC709 Primaries With Gamma 2.2" (or whatever) and hit OK (it should already have selected REC709 primaries and gamma 2.2 for you automatically, if not, make sure it has gamma 2.2 set and REC 709/sRGB primaries set). This will store each TIFF in Gamma 2.2 with sRGB/REC709 primaries instead of in sRGB TRC with sRGB/REC709 primaries so your videos should look the same when played back on your sRGB/REC709 primaries and gamma 2.2 calibrated display as they did when you edited the initial frame in ACR/Photoshop.

But that is not all. That simply makes the TIFFs get stored as gamma 2.2 but AE will still convert them back into sRGB TRC instead of leaving them at gamma 2.2 unless you make sure to set "Preserve RGB" as one of the options for the output codec in the render queue and I believe that you also need to change AE preferences to chose "None" for working space to turn off its color management engine.

That does the trick (it's actually simple all you do is turn off the AE color management once and save those prefs and then just add the convert to profile with gamma 2.2 thing to your RAW batch action in Photoshop once and you are good to go with nothing more needed to be done each time.

Then when you import into Premiere Pro it looks the same way as it did in Photoshop/ACR (assuming your monitor is internally calibrated to sRGB/REC709 gamut and gamma 2.2 D65m if not there may be slight variations due to primaries in different locations and such although if you at least calibrated it through software the gamma/WB ramp should still work in your video card and that should still match up more or less).
It really makes a considerably noticeable difference. Your video won't end up overly saturated/contrasty/dark in dark to midtones compared to what you thought you had prepared in Photoshop/ACR. If you were fine-tuning in Premiere Pro anyway I suppose it doesn't matter but it saves you from having to re-tune to make up for sRGB vs gamma 2.2 differences which is hard to exactly do by hand and it means less need to push bits around once you are possibly no longer in full bit format.

I have found limited reviews of this pair.

From what I have read the Canon falls off faster and to a greater degree in the edges/corners than does the Zeiss.

Has anyone compared this pair? Is my summary correct? Anything else to add?

Thanks

I have dutifully registered my Canon products, using their online registration tool. Thus, they have my address. Their database should also tell them that I have a fair amount of gear registered with them, pretty much all of it high end stuff. By 'fair amount', I mean $40K worth at current retail prices. You'd think, armed with that knowledge, they'd be able to have a pretty good idea of what would interest me as a consumer, right?

Today, I received my first direct (snail) mailing from Canon. A brochure for the new EF 200-400mm f/4L IS USM Extender 1.4x, perhaps? An ad highlighting the benefits of their excellent RT flash system, GPS accessories, etc.?

Nope. A little brochure highlighting the features of a pair of dSLRs sure to be of interest to a 1D X owner...

I had an issue a while back when I used my BG-E7 that my 7D locked up, and the aperture woukdn't change.

Removed the grip and the cam worked fine. There seemed to be a hair on the grip, which I removed and then business as usual.

When I took my 7D out tonight it was dead. Removed the grip and tried the battery, fine.

Cleaned contacts, refitted. Replaced with freshly charged batt etc. Sometimes cam powers on, sometimes does not. If I leave it on (although failing to power up) it comes to life after 30s or so.
It then powers down (probably got the power safe CF on) then after 30s starts back up again without being touched.

The camera seems fine straight from the battery, not fine from the grip.

Anybody had similar problems and know of things to check?

Hi. Photography has always been a hobby but not one that I have really studied on the technical side so that hopefully explains my question

The 650D has a DIGIC 5 processor and the 60D has a DIGIC 4 but all the reviews that I read say that the IQ between the two is not noticeable. How can this be ? If that is the case then will there be a big difference in IQ on the 70D over the 60D which I have heard will be out soon and will probably have a DIGIC 5.

Reason I ask is because the features on the 60D are enough for me but is it worth waiting and spending several 100 more $$ on the 70D just to get a much better IQ.
I am not interested in fps or a touch screen and I don't shoot RAW.

Thanks in advance for your thoughts and advice.

Hi

This topic may have been beaten to death and I have tried to read whatever I could find for Iceland but haven't yet decided the way to go so hopefully you guys that have been there could advice. I'll be there this summer and being one of those one in a lifetime trips you want to ensure all bases are covered. My current equipment consist of:

5D III
Zeiss 2.8/21
Sigma 35 1.4 HSM Art
Zeiss 2/50 MP
Canon 85L II
Zeiss 2/100 MP
Canon 70-200 F4 IS (+ 1.4extender II)

I got therefore a nice focal range covered but the question I may need your advice with concerns the darn Puffins, the occasional bird in the Myvatn area and the long reach landscape shots. I think this will in turn also influence the choice for the backup body to get:

From what I read (or not???) a 200mm may be a bit short for Puffins or the birds at the Myvatn area and I'm not impressed by the 70-200 F4 IS coupled with the 1.4x extender I currently have. The options I can think of is to selling the 70-200 F4 IS and getting a 70-200 2.8 II (keeping the 1.4 extender) or to get a used Canon 100-400 instead.

Regarding the backup body I would consider the following options:
1) any used APS-C (7D that I know well or 60D or even a 650D etc): I can get them cheap used. APS-C has the added crop factor bonus so the option to take a 70-200 II with extender becomes very versatile for the birding. However in the eventuality the 5DIII fails then I'll have only an APS-C so my 21mm becomes effectivelly a 35mm which is not very nice for a place such as Iceland...

2) a cheap used 5D II: whatever happens with the 5DIII I still have the wide end properly covered with the 21mm but then I may need to get the 100-400 (?)

So, to end a long post what would you do:

-Used APS-C as backup body, selling 70-200 F4 IS and getting 70-200 2.8 II (I keep the 1.4 extender anyway)
-Used 5DII as backup body, selling the 70-200 F4 IS and getting the Canon 100-400

Nota: I plan to resell whatever backup body I get after returning.

Thanks for the help!

So, since I've heard this term "microcontrast" now for a while, I thought I'd start a thread comparing and describing the EF mount lenses (Canon or 3rd party) with the best microcontrast.

As I understand it, this characteristic of a lens is essential for birders and pixel-peepers?

Please, educate me and others on the forum on this topic.

Can someone tell me what tripod I need to get for my Canon 60D?
The main purpose of the tripod is to shoot video

Lightweight would be great - but this isn't a priority since it won't be carried around much

Do I need to invest in getting a separate head? Does the tripod come with a head that would be sufficient?

What else do I need to get? Anything: bags, extra batteries... anything else...?

Thanks


Omar

I've been seeing a LOT of my shots lately, come out with a ton of noise, on stills and even video it seems.

This is is at ISO4000, and I've seen others post at this high with no problems like I'm seeing.

This is one of many, I've got some that were ISO 1000...and just as noisy and grainy as this one.

I've not altered this at all, straight out of the camera, underexposed, etc....but even with post I can't fix this.

Any suggestions what I've got going wrong here that causes my 5D3 to be so noisy?

Thanks in advance...I'm still (obviously) quite the noob.

cayenne

i have a 500d and im thinking of upgrading to a new body but should i buy new glass instead