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Canon 5D Mark III for Sport

I shot four polo matches today using a Canon 5D and a lowly 100-400L lens. I often shoot important matches with a bigger lens, but my luggage weight limit is being eaten up by my other big lens, the Nikon 200-400/f4.

Anyway, let me preface this by saying that I am not a photojournalist. I don't shoot for newspapers or magazines; rather, I shoot for clients who like big bold prints and who pay to see their faces in the shot. That being said, how I shoot is relatively similar. On this bright day I shot in manual at around 1/2000 wide open using auto ISO. Here are some observations.

1. Image quality is stellar. I just can't get over how good the images are. What I get out of the 100-400 is much better than the 1D4 and simply no contest with the 7D. Moreover, the files are extremely ROBUST. By this I mean that they are highly amenable to extreme Lightroom adjustments without beginning to look like crap. Impressive as hell.

2. 6 fps is barely adequate. The swing of an arm happens in a fraction of a second and the length of time between clicks means an entirely different picture. I think to do it right you need minimum 8. Ten is borderline overkill, and you start getting quite a few of exactly the same shot. I think beyond 10 is a recipe for filling your hard drive needlessly.

3. The autofocus is "jumpy" and a bit frenetic. I just don't know how better to put this. Over the course of the day I tried ever different autofocus preset and it remained jumpy. It would latch onto subjects, then unlatch. This all happened very quickly, but I found myself missing shots because of the hair-trigger nature of the autofocus. Maybe I'll get used to it. I don't know. As of right now, I'm not entirely happy with it. Additionally, I do not like the way the autofocus zones are laid out and really wish I could change them. In portrait mode using action the zones just don't work for me.

4. Reach. Obviously I miss the crop factors of the 1D4 and 7D a LOT on a huge polo field. This is partially remedied by the fact that the files are bigger, which gives you a touch more room to crop, but also the quality of the files is so damned high that you can chop more and still retain quite a bit of sharpness. A down side is also that I miss a lot of shots because no matter how you slice it, your giving up a huge number of millimeter equivalents by choosing full frame. You get fewer shots, but the shots you do manage to get are better.

I'll attach a shot of Sapo Caset from Lobos, Argentina. I know several of you will disapprove of the oversaturation and the nature of the crop. I attach it to show how amenable the file was to Lightroom. This was shot in noon sun and the face was entirely in shadow. I pushed shadows to +100 to recover the face nicely and highlights to -75 to get rid of the harsh glare on the whites. This is the kind of shot that clients love.

Anyway, cheers. Those are my musings on using the 5D3 for sports. On a 10 point scale I'd probably give it a 7.5. It was definitely serviceable. I'm pretty happy with it. The truth is I got it more for the "social" photographs of the games. The second attachment is of Adolfo Cambiaso, the #1 player in the world. This was shot under a gloomy tent. I NEVER would have been able to get this shot with the 1D4 or 7D.
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4K+ From A 5D2 - The Hard Way

Go to Vimeo.com/40005142

"This project is a combination of traditional HDR, tone-mapping, and standard time-lapse techniques. With the use of the Dynamic Perception Stage Zero and a Merlin head, we were able to capture the grit and the grime of this wondrous place, like it had never been captured before. Every single frame in this production is a still photograph, no video was shot. It took nearly 35,000 individual frames over 7 months to complete this project."
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EOS 5D C: FF 1080p/60fps MJPEG 422 CLEAN HDMI $7000 [CR0]

P
I'm just guessing with no information, but I would think this will be Canon's next Cinema move. A 5D C, based entirely on the 5D3 and using the full sensor area, but without crippled video at twice the price. Not sure if the 5D3 sensor and heat handling allow it, but it would explain the horrid resolution crippling of the stills-oriented 5D3.

The price premium vs. competing options would be defended purely by the sensor size (plus vs. body size), for those whom size matters. :P

I'm guessing this will be announced at Photokina (once they have debugged the 1D C) and out by the end of the year.
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Canon Warranty Service Experience = A+++

B
I just wanted to share our experience with sending a camera body in for service. I've always heard that Canon's customer and warranty service is excellent, which is one of the reasons my wife and I are Canon users, but we've never had to use our warranty until just recently.

About 6 months ago I bought my wife a 60D to replace her T1i. Shortly after buying it we noticed that the rubber grip was loose in spots, and was peeling slightly. At first it wasn't enough to convince my wife to send it in, but a few weeks ago it started getting worse, to the point where it affected how you had to hold the camera. She went to the camera store where we purchased the camera, and they told her they would ship it out free of charge for service for her, and that it would take 3-4 weeks. She decided to check with sending it to Canon directly, and they estimated 10-14 days, depending on the type of service needed. My wife decided that sending it to Canon directly was the better option because she couldn't handle being without her baby for as long as the camera store was estimating.

She got a return authorization from Canon service and shipped it on the 3rd of April, and we received it back on the 9th of April. 6 days round trip, including 2 holidays! We have to say that we were ecstatic with the service. They sent us notifications when it was received, completed and shipped with a tracking number. The new grip on the camera is perfect, and way better than it was originally out of the box.

Now sending it in through the camera store could potentially have been this fast too, but having worked in retail, I know that often stores will stockpile warranty items and bulk ship them once a week or so. I don't know how this store handles it so we decided to not risk it, and take care of it ourselves. I must say it was a very positive experience.
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First dSLR, lens recommendations

S
Hi

I'm buying my first dSLR and I'm looking for some advice.

My current camera is the Canon Powershot G9. I have played with the different modes for e.g. aperture and shutter speed, and now I want more :)

I have looked around on the internet, reviews and forums and have reached the conclusion, that the 60D will do a nice upgrade from my current camera.

I like to photograph landscapes and animal as well as portraits.

As for lenses, I have read that the EF-S 15-85 mm f/3.5-5.6 IS USM is a good choice for an all-round starting lens so I’ll buy that unless you convince me otherwise :)

Now, the thing is I’m going to Malaysia in six weeks where I among other places will be going to the rainforest and hopefully I’ll be able to 'shoot' some wildlife.

I was fist thinking of getting the ES-F 10-22 mm f/3.5-4.5 USM as my second lens for landscapes, but now I’m wondering if a tele lens might do me better as the difference between 10 and 15 mm isn’t that much.
How long focal length will I need for 'shooting' animals? My guess is that even the 15-85 mm will be too short even at the long end. So is this 200, 300, 400 mm?
I will be shooting handheld most of the time, so IS is almost a requirement.
I’d appreciate any suggestions for primes or zooms lenses. My budget for lenses is 1,500 € at the most.
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*UPDATE* Canon EOS 5D Mark III Stock Delayed? [CR1]

Canon Rumors
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<strong>*UPDATE 3*


</strong>There’s some news out there now, that some LCD covers on the top of 5D Mark IIIs differ from others. Some being quite stiff, others being flexible.</p>
<p>You can see the discussion at FredMiranda. <a href="http://www.fredmiranda.com/forum/topic/1104080/4" target="_blank">http://www.fredmiranda.com/forum/topic/1104080/4 </a></p>
<p><strong>*UPDATE 2*


</strong>We have confirmed new firmware for the 5D Mark III that addresses a few issues is coming very soon. Cameras could get held back for this reason. The firmware will for sure address the 200 f/2L IS and 800 f/5.6L IS issues.</p>
<p>I changed the title of this post from “recall” to “stock delayed”.</p>
<p><strong>*UPDATE*


</strong>Lots more information is rolling in about this. Two of the retailers are BuyDig and Beach Camera which are one in the same. The story coming from them is the cameras have been held back “in case a recall is necessary”. However there is no mention as to why. The word “recall” may be the wrong word to describe the experience the retailer and customer had.</p>
<p><strong>Canon Digital Photo Professional to blame?</strong>


Another theory I have heard is a new version DPP is coming out next week to address the issues with it and the 5D Mark III RAW files, and the cameras are being held back to get the new version into the boxes. We reported the <a href="http://www.canonrumors.com/2012/04/the-5d-mark-iii-canon-dpp-software-issue/" target="_blank">issue with DPP last week</a>.</p>
<p><strong>I do NOT want to start a firestorm


</strong>I have received various reports of 5D Mark III shipments to retailers being cancelled. Retailers in the USA have told various preorder buyers that the cameras have been “recalled” and that an announcement would come next week.</p>
<p>I have no idea at this moment if this is true, or what the rumoured “recall” is about. Its out there on other message boards, so I have to post it here.</p>
<p><strong>Warning


</strong>Please wait for an official announcement before treating this as fact. I have asked a few other retailers in Canada if they have heard anything, and for the moment the answer is “no”. Again, I have received the same story from 3 USA retailers and their customers.</p>
<p>There are 3 possibilities with this one.</p>

<ol>
<li>Retailers are being misquoted or the wrong use of the word “recall”</li>
<li>The cameras are getting a firmware update before being released</li>
<li>There is a hardware issue that needs to be resolved.</li>
</ol>
<p>More info coming soon I’m sure.</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>
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What about T4i/650d ?

Hello :D

Yesterday I've read that probably 2 new cameras will be released - new 1d and some Cxxx (?) , but what about T4i ? Is it possible that they will announce T4i on upcoming NAB ? I'm waiting above two weeks with new dslr purchase, and i don't want to grab T3i if there will be new model in few weeks :(

Thanks 8)
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5d3: NR/Abberation Correction affect on RAW files

Hello!

I'm curious to know whether or not the various noise reduction/abberation correction settings have any affect on RAW files. Specifically, with regard to sharpness. My assumption is that they only affect JPEGs, and RAW files are truly that - RAW.

Ultimately, I'm needing to squeeze every bit of sharpness out of these RAW files, and I don't want anything impeding or compromising them.

Thanks in advance.
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Advice on Upcoming Camera/Lens Combos

M
Currently, I own the Rebel t2i with the 17-55, which fits my needs. However, I'd like to delve into FF. I am pretty much dead set on getting the Mark III. Question is whether I should get the body only or the kit. I currently own the 50 1.4, 85 1.8 and 135L. I mainly shoot indoor, low light type concerts but also bring it out for family events, vacations, walking around during the day type situations. For the low light shows, I don't really take many pictures of the actual show. During the performance, I'm usually video taping. The pictures come into play before and after when the artists need their pictures taken.

1) I was leaning towards the kit because I figure I can sell the 24-105 if I don't like it. I hear the lens is pretty decent all around but it's a slower lens so it probably won't work for my indoor, low light concerts. However, I do tend to use flash at these shows so maybe the fact that the lens is relatively slow won't matter at all since I have an available light source in the flash readily available.

2) On the other hand, I can just get the body and use my existing primes on the Mark III until the 24-70 II comes out. And I can keep my Rebel with the 17-55 and use two bodies for the concerts. Also, with this setup, I was thinking I could pick up a UWA/WA prime like the 24L II or 35L, or something versatile like the 16-35. Or maybe even take a chance and leave the 17-55 at home and use the 24L on the crop body and use the 85 or 135 on the FF. As I said before, I guess at these concerts, I'm taking more portraits of the artists and others more than the actual performance. And I know the traditional portrait range is like 70-135 or something like that. However, I feel that in an interior area, the portraits I take are usually in the 25-45 range, hence why I would use the 24L or 16-35L on a crop to take the portraits and the 85 or 135L on the FF for long-range type circumstances that might pop up.

Sorry for the long-winded post. Does this seem logical? What would other people do, especially low light concert photographers.
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I am done with B&H

roumin
I purhcased most of camera gear from B&H untill I placed my preorder for 5D3 a day after it appeared on their website. Communication was slow with no real answers from customer service and I would still be waiting for my camera if I stuck with them.

After someone posted on this website that Kenmore Camera in Washington had some stock of the body only package, I called them and I liked the family/small feel I got. I placed me order and received confirmation and tracking number within the hour and my camera was in my hand 2 days later. When I called B&H to cancel my order, the rep had a rude tone and asked me which camera store had stock as if he did not believe me.

Yesterday, I decided to buy the new canon 600Ex plus the Canon ST-E3-RT wireless commander, so I gave Kenmore Camera a call and they had both items - I asked them to match B&H pricing and they did. The rep told me they're not big enough to match the free shipping, but I did not mind paying an extra $20 for shipping. Anyway, I received my shipping notice within the hour and my stuff is on a UPS truck for delivery today. B&H has the Canon ST-E3-RT listed as pre-order item!

I guess I am just venting about B&H and sharing my positive experiance with my new found camera store. I am not affiliated nor getting anything from Kenmore Camera to write this.

Last week I was visting NYC and decided to visit B&H store for the first time and while I was impressed of how busy the store was, I sensed an unwelcoming attitude and one dude told me I couldn't take photos inside the store. Maybe its just the normal tone of New Yorkers, but I have to say it's kind funny that I couldn't take photos inside a Photo store.

While I never say never, B&H is no longer my primary source of Photography gear.
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Canon EOS-1D X & EF 24-70 f/2.8L II Delays Officially Confirmed

Canon Rumors
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<strong>From Canon

</strong>We previously reported that the <a href="http://www.canonrumors.com/2012/03/canon-eos-1d-x-delayed-again-cr2/" target="_blank">Canon EOS-1D X had been delayed</a> until June and the new <a href="http://www.canonrumors.com/2012/04/canon-ef-24-70-f2-8l-ii-delayed-cr2/" target="_blank">EF 24-70 f/2.8L II delayed</a> until July, both have been confirmed delays by Canon themselves.</p>
<p>There was no real reason given for the production delays.</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>
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CANON U.S.A. ANNOUNCES DEVELOPMENT OF FOUR EF CINEMA ZOOM LENSES

Canon Rumors
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A Wide-Angle Cinema Zoom and a Telephoto Cinema Zoom, Available in EF- and PL-Mount Versions, Will Further Expand Canon’s Cinema EOS System of Professional Digital Cinematography Products</p>
<p>LAKE SUCCESS, N.Y., April 12, 2012 – Building upon the historic November 2011 introduction of the Cinema EOS System of professional digital cinematography products, Canon U.S.A., Inc., a leading in digital imaging solutions, today announced the development of four EF Cinema zoom lenses. Designed to deliver exceptional optical performance on 4K resolution Super 35mm-equivalent cameras, each of the four lenses features a compact, lightweight design to facilitate handheld and SteadicamTM shooting while also covering a wide range of focal lengths. Included are two wide-angle cinema zooms – the CN-E15.5-47mm T2.8 L S* (for EF mounts) and the CN-E15.5-47mm T2.8 L SP* (for PL mounts) – and two telephoto cinema zooms – the CN-E30-105mm T2.8 L S* (for EF mounts) and CN-E30-105mm T2.8 L SP* (for PL mounts).</p>
<p>“Canon’s introduction of EF- and PL-mount versions of the EOS C300 digital cinema camera was well received by the film and television production communities,” noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “The development of these EF- and PL-mount cinema zooms will help add to the rich diversity of creative imaging choices available to the many film and television professionals who have embraced the new Cinema EOS System.”</p>
<p>A leading maker of precision lenses for professional digital photography, broadcast HDTV sports and news coverage, and many other markets, Canon has leveraged its years of expertise as a world leader in optics and imaging to develop its latest EF Cinema lenses. These wide-angle and telephoto cinema zooms will be compatible with industry-standard Super 35 mm-equivalent cameras and are engineered to deliver exceptional optical performance to support 4K resolution digital filmmaking. The four lenses will perfectly complement the compact body design of Canon EOS digital cinematography cameras with their own compact, lightweight design featuring a form factor well-suited for hand-held use, or for mounting on Steadicam or other lightweight, highly mobile camera-support devices used for cinema verité, “run-and-gun” shooting, or other rapid-action filmmaking.</p>
<p>The developments of these EF Cinema lenses are essential to Canon’s Cinema EOS System of professional digital cinematography products, which include digital cinema cameras, a digital SLR camera, and a wide variety of advanced lenses. Canon will continue to enhance its Cinema EOS System product lineup to support diverse image creation in motion picture, television, and other high-resolution digital production industries. All of these products are designed to contribute to the continued advancement of tools for visual expression and express Canon’s commitment to cinematic culture.</p>
<p>Canon will be displaying prototypes of the cinema zoom lenses at NAB Show 2012, one of the world’s largest events for the video, broadcasting equipment and digital media industries, from April 16 to 19 in Las Vegas.</p>
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CANON ANNOUNCES DEVELOPMENT OF 4K DIGITAL CINEMA CAMERAS

Canon Rumors
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LAKE SUCCESS, N.Y., April 12, 2012 – Canon Inc. is developing two digital cinematography cameras as part of its acclaimed new Cinema EOS System of professional cinematography products. Designated as the Cinema EOS C500* for use with EF-mount lenses, and the Cinema EOS C500 PL* for use with PL-mount lenses, the cameras will be capable of originating 4K (4096 x 2160-pixel) resolution digital motion imagery with uncompressed RAW output for external recording, in response to growing expectations for higher levels of imaging performance in premium Hollywood films and other production markets requiring the utmost in picture quality.</p>
<p>“With the unveiling of our Cinema EOS System last November to great acclaim, Canon marked our full-fledged entry into the motion-picture production market,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “To further serve the needs of Hollywood’s premier filmmakers, Canon is developing the Cinema EOS C500 and Cinema EOS C500 PL digital cinematography cameras, which deliver the added benefit of full 4K motion-image capture to the Cinema EOS System.”</p>
<p>The 4K imaging format is emerging as the new standard for advanced effects and post-production in Hollywood, and it is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery. The Cinema EOS C500/C500 PL digital cinematography cameras will not only support 4K-resolution video but also outputs this as a 10-bit uncompressed RAW data stream with no de-Bayering. The cameras offer the additional versatility of being able to output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. All of these digital image source formats fully conform to established SMPTE production standards. All 4K formats can be selected to operate from one to 60 frames per second. The cameras employ a 12-bit RGB 4:4:4 signal format during 2K output, which can be selected to operate from one to 60 frames-per-second (fps) as well. If switched to a 10-bit YCrCb 4:2:2 mode, the camera can operate up to 120 fps.</p>
<p>The Cinema EOS C500 simultaneously records in-camera a 50 Mbps HD proxy video to a CF card that is immediately available to support offline editing. Equipped with a newly developed Super 35mm-equivalent approximately 8.85-megapixel CMOS sensor, the cameras will be compatible with Canon’s wide range of interchangeable EF Cinema and PL-mount lenses and EF lenses for Canon SLR cameras. Highly mobile and compact for filmmaking versatility, the Cinema EOS C500/C500 PL digital cinematography cameras – like Canon’s Cinema EOS C300/C300 PL cinematography cameras – provide all of the same ergonomic features, except for the rotating hand grip.</p>
<p>Further details regarding the Cinema EOS C500/C500 PL digital cinematography cameras – including specifications and pricing – have yet to be decided. Plans call for these new products to be launched later this year. In addition to targeting a swift launch of these cameras, Canon will continue to enhance other components of its Cinema EOS System product lineup, which is designed to contribute to the continued advancement of tools for visual expression and the development of cinematic culture.</p>
<p>Canon will display a prototype of the Cinema EOS C500/C500 PL digital cinematography camera at the 2012 NAB Show in booth C4325 at the Las Vegas Convention Center from April 16 to 19.</p>
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CANON U.S.A. INTRODUCES EOS-1D C DIGITAL SLR CAMERA FEATURING 4K HIGH-RESOLUTION VIDEO CAPTURE

Canon Rumors
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<p><strong>CANON U.S.A. INTRODUCES EOS-1D C DIGITAL SLR CAMERA FEATURING 4K HIGH-RESOLUTION VIDEO CAPTURE</strong>

Newest Addition to the Canon Cinema EOS Product Line Combines the Convenient Form Factor of a Digital SLR Camera with Full HD and 4K Video Recording up to 4096 x 2160-Pixel Resolution</p>
<p><strong>LAKE SUCCESS, N.Y., April 12, 2012 –</strong> Continually advancing the frontiers of digital high-resolution motion-image capture for film, television, and other industries, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the EOS-1D C digital single-lens reflex (SLR) camera.* Delivering outstanding video performance, the compact, lightweight EOS-1D C provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications.</p>
<p>Equipped with an 18.1-megapixel full-frame 24mm x 36mm Canon CMOS sensor, the camera records 8-bit 4:2:2 Motion JPEG 4K video to the camera’s CF memory card at 24 frames-per-second (fps) or Full HD 1920 x 1080 video at selectable frame rates from 24p to 60p, making it possible for next-generation visual expression with even higher image-quality and resolution performance.</p>
<p>“The Canon EOS-1D C digital SLR camera was designed in response to the needs of filmmakers, television producers, and other high-level motion-imaging professionals,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “Not only does it combine 4K and Full HD video capture with a convenient design, its use of dual CF cards also offers an efficient workflow compatible with today’s post-production requirements.”</p>
<p><!--more--><strong>Creative Control

</strong>The Canon EOS-1D C digital SLR camera incorporates Canon Log Gamma to enable the recording of high-quality video with rich gradation expression, making possible the type of impressive image quality required in motion pictures by maximizing both highlight and shadow detail retention while also providing a high level of color-grading freedom. The EOS-1D C’s full-frame 24 x 36mm 18.1-megapixel Canon CMOS sensor makes possible a wide range of creative imaging expression, such as image-blur effects. Additional features include an expanded sensitivity range of up to ISO 25600 for exceptional motion-imaging results with reduced noise even in low-light settings. The camera’s ability to record 8-bit 4:2:2 4K and 8-bit 4:2:0 Full HD video to CF cards eliminates the need for an external recorder and enables workflows with increased mobility. If desired, however, captured video (excluding 4K video) can be output from the camera’s HDMI terminal to an external recorder using an uncompressed YCbCr 8-bit 4:2:2 signal.</p>
<p>4K video is captured by an approximately APS-H-sized portion of the full image sensor, while Full HD video can be captured in the user’s choice of two different imaging formats:</p>
<p>The standard Full HD setting captures the full 36mm width of the CMOS sensor to achieve the largest possible angle of view for any compatible lens.</p>
<p>An optional Super 35 crop setting enables cinematographers to match the industry-standard imaging format and angle of view achieved by traditional motion picture cameras. This enables video footage from the EOS-1D C camera to more closely match the look of footage from other cameras in multi-camera shooting environments.</p>
<p>Other useful video-related features on the EOS-1D C DSLR include a built-in headphone jack for real-time audio monitoring, and the ability to view the camera’s LCD even when the HDMI port is connected to an external monitor. The EOS-1D C camera uses the same LP-E4N battery pack as the EOS-1D X, and it can also be powered by an optional AC Adapter Kit.</p>
<p>The EOS-1D C camera ships with Canon software applications including EOS Utility, which enables various camera settings to be adjusted from a PC, and Picture Style Editor. These two personal computer applications enable users to view the camera’s live output on an external monitor1 and adjust the image in real-time to maximize shooting and post-production efficiencies. The software also ensures no loss of quality for 4K/Motion JPEG and full HD/60p video displayed on the external monitor, and it enables video shot with Canon Log Gamma to be output on the monitor with video gamma applied.</p>
<p><strong>Versatility and Value

</strong>The Canon EOS-1D C camera can be used to capture still images with more than 60 interchangeable Canon EF and EF Cinema Lenses, all of which are designed to deliver exceptional image quality to maximize the potential for creative visual expression. The compact size and lightweight design of the camera make it easy to carry so it is highly mobile for convenient shooting inside automobiles and other confined spaces. Its compact size also enables peripheral equipment such as rails and cranes to be more compact, which can facilitate smoother handling and reduced costs on-set. The camera’s low-light capabilities can also help to minimize lighting costs and increase versatility for lighting. For added usability, record start/stop can be remotely controlled by EOS Utility Software via an optional Canon WFT-E6A Wireless File Transmitter.</p>
<p>Realizing the same exceptional still-image performance as the recently introduced Canon EOS-1D X digital SLR camera, the camera provides a sensitivity range of ISO 100-51200 for outstanding still-image results with reduced noise, even in dimly lit settings. Incorporating high-performance Canon Dual DIGIC 5+ image processors, the EOS-1D C delivers high-precision AF and AE performance while also enabling high-speed continuous shooting of up to approximately 12 fps. In the ultra-fast continuous shooting mode, the EOS-1D C provides a continuous shooting speed of up to approximately 14 fps (mirror remains raised during shooting; JPEG images only).</p>
<p>The Canon EOS-1D C digital SLR camera is scheduled to be available within 2012 at a suggested retail price of $15,000.</p>
<p><strong>

</strong></p>
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Should I buy the 5D Mark III Kit?

ramon123
I'm seriously thinking of upgrading from a Canon XXD camera and want to know if those of you who have bought the 5D Mark III recommend taking the plunge. Obviously going from a Canon XXD camera to the 5D Mark III is a considerable jump however most photographers around including on this forum have said that there's no limit for how good a picture can be.

Purchasing the kit would mean this would be my first full frame camera as well as my first L lens. $4299 pretty much fills up my $4500 budget for photography. I do have a concern that there have been quite a lot of "returned units" due to malfunction etc. There have been quite a few issues popping up and that makes me a bit more nervous to buy something so expensive. What are the chances of getting a "dud unit?" and are all these issues that have come up able to be fixed through a firmware update?

I would say that I fit into the category that Canon mentioned below "advanced amateurs and emerging professionals".

Canon Press Statement:
"The EOS 5D Mark III is Canon's answer to hundreds of thousands of advanced amateurs and emerging professionals looking for a compact, high-quality camera system to help them achieve their artistic vision, whether it be through still or video imagery. The EOS 5D Mark III introduction coincides with Canon's 25 th anniversary celebration of the EOS camera system."

Please provide an answer with some backing behind your recommendation.
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Sports lens: 300 f/4 or 100-400, or other?

I am a strictly sports photographer, and don't have much money, but looking for a longer lens than my 70-200 f/2.8 Mark II with 1.4 TC. I shoot with a 1D4 and 1D3, and looking for an outdoor sports lens, baseball/softball/soccer.

So I can just about afford to get a 300 f/4, and if I use the 1.4 TC I effectively get 420mm With IS, at f/5.6. If I go with the 100-400, I can get to 400mm with IS at f/5.6, without using the TC. Don't think I'd want to use the TC on the 100-400.

The only issue is that I just checked the prices on a new 100-400, and I'd have to wait a bit to buy one, unless I go used.

On a side note: I could get a 400f/5.6. I know it doesn't have IS, but I'd always use a monopod, and would hopefully keep shutter speeds high since I'd be using it outdoors. I would also think it would make a cleaner image since the TC wouldn't be connected.

So what would you all think the better choice would be???

Thanks!!!
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my first video shoot with 5Dmark3 In NYC

New York // 5D Mark III // Ksiebfilms

info : lens : canon 16-35 2.8L // canon70-200 2.8L // canon50 1.4
edit program Final cut x // plugin Mflare for flare
shoot at the beginnig where shot on a tour ferier boat.. i was very surprise at the stability of the boat i didnt stabilazed the footage...

iso 100 day time
iso 100 to 250 in time square with canon 1.4

shot with every all-i format 1080 30 / 1080 24 / 720 60... 60&30 reconformed to 24
what is cool with FCPX for quick project is that you set your timeline to 23.98 and you drop every frame rate in the same timeline!

gear
slider : Konova k5 / 4 foot and manfroto tripod konovaphoto.com
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