peters_vecrumba
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Posts posted by peters_vecrumba
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As a rule I shoot color or B&W directly. That said, I've noticed that in playing around with files from my 10D, separating out by color channels and (potentially) selectively reblending often "feels" more black-and-white than a simple conversion to gray scale--which always seems a bit flat to me. There's a tonality to B&W which conversion from color doesn't--for whatever reason--capture.
Also, some of the samples here look like they were single color channel output.
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As has been noted, more glass = more flare, single/multi coating only reduces the degree of flare potentially added. With respect to "I have an (otherwise wonderful) uncoated Zeiss Jena Tessar on my Burke & James 4x5. It flares horribly on night shots." I too, have a B&J. The front element is hardly recessed at all. I too use B+W filters. B+W filters are noticeably thicker (that is, rim-wise) than the average "non-pro" filter. All the filter is doing is functioning as a $30 lens hood adding an extra piece of glass in the optical path. It's not the filter improving the picture, it's the filter rim acting as a lens hood.
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Unless you are doing something where your lens is decoupled from the camera body, leave the lens in "A" auto position, set the T90 camera mode to Av (aperture value) and then select your preferred aperture by using the dial wheel. For example, take your spot reading(s), then just spin the wheel to get the aperture you want (obviously, this would be especially important for portrait work). On a T90, you should never have any reason to take your lens off the "A" setting. Lens-wise, whether original breech or later twist doesn't matter, just that it's a lens with the little green "A" setting.
Best regards, Peters
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I love my 14mm wide angle, and it only does its magic if it covers a full 35mm frame. That said, it figure it's a few years off before something like that becomes affordable, affordable = price of a top pro camera (EOS 1V, etc.). For those willing to pay today, the 1DS does it, it's available, and has pixels aplenty -- and I don't see any burning need for more megapixels -- how many of us REALLY print room sized murals? (AHH, but the point is knowing YOU COULD!) :-)
Peters
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If you do inside non-flash, then you need the 2.8 (and a monopod, you'll get tired holding it after a while...). Outside, the f/4.0 will do, although even at early dusk with 400 film f/4.0 max it gets a bit dicey hand-holding in shadow.
I got the 2.8 and eventually got the 4.0 as well (got tired of lugging the weight...) In sharpness, they're about equal.
Peters
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I have had many Canon lenses, FD and now EOS... the 35-105/3.5 fixed is among the best in sharpness -- and having that extra stop or so at the top (vs. 4.5 to 5.6 for 3rd party lenses) makes a big difference. Also, the 3.5 only gives up half a stop to the "pro" 2.8 lenses -- you won't really miss that half stop (I would take the Canon over the Tamron 35-105/2.8).
Probably still my favorite lens, even though I have the 28-70 and 70-210 EOS 2.8's now. (The extra reach was nice!)
Peters
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Frank's response is right on target. I would also add that most of the "expense" is in everything else you do after you buy the film (especially printing, if you buy name-brand paper!). Extra work and minimal savings aside, it's also not worth feeling like you've locked yourself in to a film... I had a bulk loader in my distant youth and I still have a decades-old bulk roll of Plus-X still unopened.
Also, you can also try photo fairs for film, I used to frequent one here in NYC which ran every 5-6 weeks -- slightly out of date film, still perfectly good, can be had for very cheap.
5DSR or 5DS?
in Canon EOS Mount
Posted
Years since I last logged in... I did notice that the 5DS R did show noticeably more very subtle surface skin detail, the 5DS looked quite smoothed over in comparison despite otherwise very similar in detail resolution. Still deciding whether to go mirrorless/DSLR to replace my EOS 1n/1v's.