dave_holland

<p>I have the 300 2.8 and the 500 f4. That 500 is not really a sports lens, and remember that your employer may supply you with lenses once you find a job. No doubt, the 400 2.8 is a more valuable lens than the 500, and I agree with the comment that the faster (2.8) 400 is worth the extra grand. If you must get one, I would get the 400. However, the 300 is an outstanding sports lens and with an aps size sensor and a 1.4 X extender you may not use the 400 very often. There are a lot of other things to spend money on at College. Remember also that when the 400 is attached to your lens, you are limited to action farther down the field. When you are a long way from the action, other players have a way of getting in your field of view. So with good judgement as to where the action will be, the 300 is more versatile.</p>

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<p>The above comments are accurate. However, I find using a mix of optical triggering and hardwire to be confusing and sometimes inaccurate, especially if you try to mix Canon's ETTL system for automatic metering of flashes with non-Canon flash. If you try to use ETTL, the preflash may fail to trigger the AB's, so they don't get included in the calculations, making ETTL calculations unreliable. And if you don't have the optical trigger in the AB disabled, the preflash may fire the AB's, without enough time before the real flash to fully recycle before it fires. So, in the interests of simplicity I prefer to trigger all by the same method, usually avoiding optical triggering altogether. <br>

One simple option would to be hardwire everything from you PC port. But to do that you would need some way to trigger the 430, which does not come with a flash trigger port. When I use those flashes together I have sometimes done it with a homemade hardwire triggering system, made with a soldering iron and some old lamp cord. I've hardwired several Canon flashes together with Alien Bees without difficulty. To trigger the 430 you need to trigger through the 430 hotshoe, which requires a special adapter made by Wein, Paramount, FlashZebra, and a few others. Some people will make their own trigger jack by drilling holes in their 430, but I've not been brave enough to do that. Once you have that special adapter you can use it for adapting radiotriggers if you later upgrade.</p>

<p>You might try renting some monolights to see if it will work. Depending on the sports team, you may be asked to stop. I have had some success using Alien Bees with hockey, using pocketwizard triggers. With your 20D and PW's, remember that you can't shoot faster than 1/250s, which in my experience is adequate (I haven't had much problem with flash ghosting). If you get Noise Ninja, you will confidently boost ISO to 800-1600, which will allow you to close down the shutter a little and get more players in focus. For easiest setup I've clamped flashes to glass with superclamps and used a hard throw technique. The following photo was taken from the far end of the rink, with two alien bees, one bounced off the reflective ceiling.</p><div></div>

<p>You can't trigger optically unless your master is in the hotshoe or connected to the hotshoe by the off-shoe cord. So, no-go from the PC port when triggering optically. However you can hardwire both flashes to the PC port, in parallel, and control each individually from the back of each flash, manual only I believe. I have an ST-E2 but it is rarely used. So, saving money to buy an unnecessary ST-E2 is an oxymoron. For just a little more you can get a third flash (430?), and use the master capabilities that you paid for in the 580.</p>

<p>This will work, all hardwired, and you can make your own cords with a soldering iron and about an hour of your time. Cost would be about $30-$40. As mentioned above, you lose ETTL, and the wires connect through the PC port of the camera, not the hotshoe. The flashes are connected in parallel, not in series, so there is no limit on flash number. I have a hardwire setup that I made, using the free schematic outlined on the str o bist website in the lighting 101 seminar series. Do I use it very often? No, since wireless triggering is so easy. I did it for kicks and as a reliable backup.<br>

The easiest way to do get off camera with Canon equipment is to use Canon's wireless optical triggering. No wires, and you already have everything you need. Your 580 is the master, sitting in the hotshoe of the camera. Set the 580 flash to "master". Then turn on the 430 and set it to 'slave'. Turn both flashes on and experiment. Good for you to move quickly to manual adjustment of flash output. If you use this regularly you will soon discover that you want to set the CF option of the 430 to never go to sleep. Otherwise the 430 will suddenly stop responding if you ignore it for a few minutes. Optical triggering is the best way to get going quickly, without having to learn frustrating technical details.<br>

I can't tell you a lot about triggering with Cybersyncs, but if you want to know about Pocketwizards, I posted some photos of how to trigger the 430 and older Canon flashes that don't have a dedicated trigger port. Go to Flickr and search spelunkerd, then go to the stro bist gizmos set. Most of the time you can use optical triggering but if you want more reach or if you want to work in bright daylight then you need radiotriggers.</p>

<p>I treked all across Nepal with a Lowepro drybag 200, 22 lbs of just camera equipment. I had very similar equipment to what you are carrying, including the 70-200. But I also hired a sherpa carry my clothing and other stuff.<br>

For REAL backpacking, you can't possibly carry all of that and be safe. When I have to carry a tent, stove, bear spray, and food for several days, I use a Lowepro chest harness for the camera, and I have a normal zoom on camera and a wide lens clipped to my belt. You may be surprised to see that I do carry a small Gitzo CF tripod with RRS ballhead. A tripod is loads more useful than a long lens, and lighter as well.<br>

Unfortunately that means that the day I saw a wolverine I only had my 16-35, and the animal was a tiny blurry smudge in the landscape, even though it accidentally walked right in front of me. But even if I had carried my 70-200 I would have missed it unless the lens was mounted and ready to go. The 70-200 is not a backpacking lens, I would never have the energy to carry it. Bring it in the car, shoot a few frames at the beginning and end of the trip, and leave that pregnant baby at home.</p>

<p>If your primary concern is to have a camera that is less conspicuous, you don't make a lot of ground to move to the current Rebel, or any other SLR. I find the Rebel series to feel like plastic toys compared to the 20D, so even if you want to stay with an SLR it wouldn't be my first choice.<br>

You might want to have a look at the Canon G10. It's a lot smaller, with manual functionality and a hotshoe to allow most of the flash features of higher level cameras (with a really high sync speed as well). It's a small P&S camera with professional level adjustability and a 14 Megapixel sensor. Rangefinder cameras like the G10 are well suited to street photography.<br>

http://www.bhphotovideo.com/bnh/controller/home?ci=0&shs=G+10&sb=ps&pn=1&sq=desc&InitialSearch=yes&O=jsp%2FRootPage.jsp&A=search&Q=*&bhs=t&Go.x=0&Go.y=0&Go=submit</p>

<p>I have both. My answer? Get both.<br>

Off camera flash is a new world, with endless possiblities. Learning how to use off camera flash opens up a whole new area of photography to expand your skills. You can't really do off camera flash unless you invest in some kind of trigger system and at least one flash, preferably two.<br>

The Canon trigger system is built in to their flashes, so if you get one master (580 or 550) and one slave (430, 550, 580) you have Canon's optical trigger automatically, without buying anything more.</p>

<p>Sure, it's more expensive. But you retain ETTL metering which you will not necessarily get if you buy some other flashes. Does it do everything? Of course, no. If you get serious about triggering outdoors you will want more. But it gets you going with minimal fuss and minimal technical effort. This frees your mind to work on the more important aspect of photography, the creative side.</p>

<p>Dave</p>

 

<p>I have both the IS and the non-IS versions of the 70-200 2.8. The above comments are accurate. These lenses will help you, but maybe not as much as you expect. I strongly recommend the IS, but not for sports! It is only marginally better than the non IS in that arena. But I would get IS anyway because you want to be able to freeze faces for those players who are standing still. IS will help where camera shake is a dominant issue, not subject movement. Ultimately, better technique will be your solution, regardless of what equipment you can afford. Get closer, let nature show you well-lit opportunities, and position yourself to take advantage of that. Use a monopod. Look for photo opportunities close to you so you don't need to work at the long end of your lens. When light fades, put the camera on your lap and enjoy the game.</p>

<p>Also, have a look at Noise Ninja for post processing -- it will give you more confidence that you will end up with usable images despite high ISO.</p>

<p>Dave</p>

<p>Arthur Morris has made a name for himself in this area. Google his name and you will find his website, with lots of info and also the best book ever on the niche topic of bird photography. Just be prepared for the big eyes you will get when you lust after those huge lenses. But he also goes into the important aspect of how to get close, how to attract birds to you, how to set up a blind and a feeding/shooting station. And how to slide through the mud on your belly for hours with a heavy lens and a patient heart. He loves that old 400 5.6.</p>

<p>If you don't want to shoot manual, then radio triggers are out, except for the new pocketwizard devices. As long as you are shooting indoors then the Canon optical triggering will work fine. And you don't need to buy the ST-E2, as any Canon flash master (550 or 580) comes with a built-in optical triggering system. I would get at least one master (550, 580), and a second flash to act as a slave (550, 580, or 430). If you get two 580's, the interface issues will be less marked. Then, most importantly, practice, since you want to have this all down pat before trying to use it at a paid wedding.</p>

<p>I have the above equipment. Go for it, it's a versatile setup and it sounds like a good deal.</p>

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<p>If you take your gear (now) to a local customs office, they will document the inventory in a green card that shows you own the equipment. It's free. Then when you return to Canada, if they ask you to prove you already paid GST, you show the card and get your gear back right away. Otherwise they might seize the gear while you go home and search for old receipts.<br>

I agree, it would be simplest if you went as a friend to the wedding, keeping all transactions north of the 49th.</p>

<p>The 300 2.8 IS is sweet, and you can add a 1.4X extender if needed. Are you sure the venue you hope to shoot at will permit you to use professional glass? You might consider renting one first, as it's a lot of dough if you're not sure you'll use it.</p>

<p>Check connections at the cable, if possible change cables and see if it happens again. Try moving the PW and flash to see if it may be in a spot that is subject to RF interference. Switch the PW's to see if you can find the weakness. Sometimes PW's can be too close to trigger. Does the red light on the RECEIVING PW light, to indicate it got the RF signal?<br>

Dave</p>

 

<p>It's both. The 20D chassis is more solidly built than the Xti, and the Rebel series camera bodies feel more like plastic toys compared to the 20D/30D/40D/50D line. That said, the Xt has a much better sensor, and the larger LCD is sweet, and the you may find the lighter body to be an asset rather than a liability. I find the electronic interface of the Xti to be less user-friendly, though experience will help you to overcome that. </p>

<p>With only two pocketwizards you can't trigger both off camera without a third wizard. So, you have to keep at least one of the flashes on camera anyway. In a dark reception hall, Canon's optical triggering should work fine, and so I would use optical triggering rather than PW's, retaining ETTL capability. I would consider the 'strobe on a stick' technique, minimizing the output of the on-camera flash. boosting ISO to at least 800. Hope your cave has a white ceiling. </p>

<p>Dave</p>

<p>Yup, you need a pretrigger cord. I made my own, though it may be easier to just buy one. I posted a few photos of how this all works at my flickr address. Here's a link:<br>

<p>Dave</p>

<p>I find that a white card, AKA, a "better bounce card" is more versatile and works better. Most people don't understand that the stofen works mostly by bouncing light back from adjacent walls. I have a stofen somewhere, but I almost never use it.</p>

<p>I have shot tons of hockey over the years, sometimes with strobes, sometimes bare, with all kinds of lenses. No question, the 70-200 2.8 will be your workhorse.</p>

<p>Dave</p>

<p>If she gives it back late, you'll have two crop-frame cameras with similar features. I would look for a used 5D from a reputable dealer, as the 5D brings complementary features to the XT. A bit more expensive, but loads better for most creative photography. Just remember that you have to check if your lenses are compatible, as EF-S lenses won't work with full frame. All full frame lenses will work with the XT, however. You'll be amazed at the extra room on the wild, wide side. Both the 20D and the 5D are cameras that will make you hope she lost your camera. The XT feels like a toy compared to both of those.</p>

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<p>On my 5D I get some vignetting with almost all of my lenses, despite the fact I use top quality glass. I haven't noticed if the 20mm is more or less prone to that, but I doubt it is your lens. Subjectively, vignetting seems a little worse with digital compared to film, though I haven't done a scientific comparison. As the light strikes the plane of the film/sensor, peripheral light hits at a different angle. So, it would be easy to conceive that a digital sensor might be more or less sensitive to tangential rays than film.<br>

You do make a small sacrifice when you use more than the sweet spot of the lens. However the benefits are fabulous.<br>

Live with it, there's nothing you can do.</p>

<p>Top 10 tips for shooting ice hockey:<br>

10. Shoot at ice level, usually in the attacking zone of the players you want.<br>

9. Get the full photoshop program, and learn to use curves for added drama.<br>

8. Shoot in manual exposure mode, to avoid underexposure caused by ice background. Usually overexpose by one stop. Avoid underexposure.<br>

7. When the faceoff is in your zone, go for the bench photo as the players and coaches follow the action.<br>

6. Adjust white balance manually. Most rinks are about 3700-4000 deg K.<br>

5. Get at least one full frame head shot of each player, up close.<br>

4. Noise Ninja.<br>

3. Boost ISO to at least 800, better at 1600.<br>

2. Shoot close to wide open. Fast glass is critical, IS is not. 70-200 2.8.<br>

1. Set CF4 so that you focus with the thumb. Way more important than you would think.</p>

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<p>I have a 20D and a 5D.<br>

5D vs 20D:<br>

Dramatically better bokeh.<br>

Focus point no better, maybe not even as good as my 20D.<br>

Autofocus not better.<br>

Bigger field of view in the eyepiece, but you don't notice that effect after your eye adjusts.<br>

More beefy camera body, more heavy, better, larger LCD.<br>

Lots better for portraits.<br>

Much better low light noise, so can boost ISO higher.<br>

Noticeable vignetting, not so great image sharpness and quality at the edges, even with top quality glass.<br>

Slower shutter than 20D, not great for sports, and you need longer lenses.<br>

sync speed 1/200, slower than 1/250 for the 20-30-40D lineage.<br>

Bigger files allow more cropping, but pixel density is actually lower.<br>

Finally, real wide angles, drama. That is the greatest advantage.<br>

Same batteries as the 20-30-40D (but only with 5D, not MKII)<br>

The combo of both cameras offers complementary qualities that make you want to keep both.<br>

My 20D is now my backup camera, rarely used.</p>

<p>There's no way I would leave my 70-200 at home on that trip. Even if you use it for only one photo in ten, the 'wow' factor with the combined tele and superb bokeh on the 5D will be invaluable.</p>