colin_miller3

If only we could have light like that every time we picked up our

cameras.... *sigh*

Which one was the winner?

I am going to be doing some tests/portraits with T400CN, an Elan IIe, 50 and 85 f/1.8, 2 550EX wireless via the ST-E2 transmitter on light stands. I would like the dark colored background to all black but *just* black not past it. Should I externally meter the ambient and underexpose 2 or 3 stops? How bout choosing my aperture and shooting at 1/125th in manual mode?

I thought I covered everything in my orignal post. drat... I need

monos only for the altar and posed formals. Outside I will switch to 2

remote mounted 550EX's with an ST-E2 transmitter, though. So the monos

are for inside the church only.

My next purchase for wedding and portrait work will be studio flash. My plan is to slowly work towards studio flash with medium format for formals. For now, studio flash with 35mm for formals will be a big jump in quality, IMO. Monolights with really big rechargeable batteries to power them (one for each) is what I prefer. But I don't know how powerful they should be. 600 w/s? 800? 1000? I only shoot NPH and I prefer shooting at about f/5.6 and would only shoot f/8 very rarely. How much power do I need?

>Does anyone know if the elan 7 will focus at f8 instead of being

limited to f5.6 as the elan II is?

 

<p>

 

-- TJ Sullivan

 

<p>

 

 

Patience grasshopper......

I bought the Wein Safe-Sync and it works great. Others have used the

Nikon AS-15 with similar results. Someone might suggestthat you sell

them your Elan IIe for 5 dollars because it's useless and then buy an

A2e but don't lsten to them. ;) Sell it to me for 10 and double your

money.....

The new BP-300 does have a vertical AE lock button. I can't recall if

it has a control dial or not.<P>

As for the sensitvity of the sensors, he told me and told me very

quickly. I was still drooling on the camera, and I didn't hear him

clearly as we were next to the motor at the back of the bus. I recall

it was better than the Elan IIe, though. Whatever help that is.<P>

And I for sure didn't ask about the AF assist beam. Not exactly at the

top of my list. If I had known al the questions to ask, I would have

made a list. I didn't even know they would have the camera there.

>Dear God: You have been gracious to me in my life. I an thankful. But

PLEASE bless us here on Earth that the Elan 7 that Colin saw is only a

early prototype and that the real one will have a @*#%ing

SPOTMETER!!!!!!!!!!!!!!

 

<p>

 

Greg hit the nail on the head here. Sadly it is not an early

prototype. I shot the production mopdel. I have come to terms with it

though. The fact that the Elan IIe and the forthcoming 7e are all the

camera I need except for very rare occasions, I will be buying a very

nice handheld spotmeter. I know, I know. Slow, cumbersome if not using

a tripod, all the arguments against them. But people have used them

for years. The fact that I don't need any more of a camera than the 7e

offers, solidifies my decision to get a Sekonic 504. Plus I will never

need another. Flash, ambient, the whole enchilada.

 

<p>

 

I realized my previous post Re: AF sensor placement may have been

confusing. The setup is identical to the Rebel 2000. I will try again.

 

<p>

 

sensor

sensor x5

sensor

 

<p>

 

1, 5, 1 is another way to view it. Top line, middle line, bottom line.

 

<p>

 

I am getting kind of excited about this whole thing. When the 3

debuted I was like, "Oh whatever." But this is a camera I can really

utilize. The Canon rep I spoke about all this with showed me how to

use predictive AF in servo mode. I love it and makes 7 sensors look

really nice. The 45 sensors on the 3 is not so strange sounding now.

I'm sure the flash sync will be 1/125th or greater. I have never been

limited by the 1/125th of the Elan IIe. What's the big deal over flash

sync speed?

 

<p>

 

The AF sensors are the same as the Rebel 2K.

 

<p>

 

*

*****

*

 

<p>

 

Like that....

 

<p>

 

I didn't ask if it focuses to f/8 or not. Sorry.

I'm awake again and I remember more stuff.

 

<p>

 

No spot metering still. A 9.5% partial just like the Elan II. Built in

flash that pops up with your right index finger instead of a button.

The design of the camera is still basd on the Elan II and not the EOS

3. The eye control function is now a 3 position switch instead of

cycling through focus modes with a button. New VG grip called he

BP-300. Adds custom function button for vertical release. Canon is

discontinuing the A2 and Elan II and just offering the Rebel 2K, Elan

7, EOS 3 and EOS 1v. And the D30 digital of course. The rear control

dial is still the same except it adds the four buttons.

Almost forgot the new DS1 digital camera. Awesome little dude too.

$3500 list. (gulp) Practically same GUI as the EOS3 or Iv. They

wouldn't let us actually take photos with it. We could just look at it

and drool. I might be able to answer a few questions about it.

I went to a field trip today sponsored by ASMP and Pro Photo Supply from Portland, Oregon. Kinda fun but the cool part is all the new Canon gear for fall (September) 2K.

 

<p>

 

Elan 7e. Bad ass little camera. All black, dedicated DOF preview near lens dismount button, 7 AF points, 4 fps, wireless flash with 550EX's like it's big brother the EOS-3, 13 CF's with a new function for switching AF points with a touch of a button. Not sure about that exactly so don't ask. Rear control dial now has 4 buttons (N, S, E, W) for using that CF to adjust which AF points are active. The response time from whne your eye looks at a focus point is now 35ms. Down from 220ms on the Elan IIe. About $530 list. And $630 with new consumer zoom listed below. Awesome. Totally awesome. More may come to me later. I am so tired.

 

<p>

 

New flash. 420EX replaces 380EX and adds about 20 feet of GN and is a receiver flash for wirelss from EOS-3 and Elan 7e. That's right kids, new flash unit that is slave only if necesary. And only $199 list. Ha Nikon, take that. Much cheaper than buying 550EX's for slave mode only.

 

<p>

 

New 28-90 f/35~5.6 zoom to debut with Elan 7e.

 

<p>

 

No news of a IS version 70-200 f/2.8. Muy tight lipped on that. I asked directly, too.

 

<p>

 

Chew on this for your Sunday dinner. Later.

Brad, the Quantum batterries are lead acid. That has been their appeal

for so long. No memory like the NiCd's. I am really leaning towards

Quatntum now because of the lead acid type battery. Plus I found a

repair shop who will take the abttery door off of my flashes. I can

even keep my QB1+ and not have any door hanging open. Still totally

undecided though. *sigh*

You can be shallow all you want. But when Rebecca Romijn-Stamos wants

a date, be sure to tell her you're shallow and don't like all her big

white teeth. Then promptly send her over to my house. :)

 

<p>

 

Kidding aside, if flash is truly secondary, then the A2 is your best

bet. Of course if you bought the 3, you wouldn't ever need to upgrade.

The 3 covers all your needs and some you probably don't even know

about. At a cost of course. It's double (and change $.03) what the A2

is. Priorities I guess.

I'll start with saying how well thought out and worded your question

is.

 

<p>

 

Don't be so quick to relegate Canon flash technology far behind Nikon.

People do wonders with E-TTL and thorough testing. The A2 is "old"

technology as far as flash is concerned. Do you need the features

that the A2 offers more than the added bonus of E-TTL the Elan IIe (or

EOS-3) offers? That's a big question for you. Also, just as I was

beginning to type this, a message was posted and it reads:

 

<p>

 

A bit off subject perhaps, but I have heard that the 540EZ might be

a bit heavy for the shoe on the EOS 5. Anybody have any problems with

that? I think part of the issue was causing the pop-up flash contacts

to stick. I'm in the market too.

 

<p>

 

 

The EOS 5/A2/A2E are all subject to the internal flash getting stuck

in the down position. It has to do with the switches (2) under the hot

shoe rails, not the size of the speedlite. In fact, the "official"

speedlite for the camera is the 430EZ, not much lighter than the

540EZ.

 

<p>

 

So there ya go. An Elan IIe with a BP-50 is a very comfortable camera

for me. I tried Nikon too and it didn't feel comfortable in my hands.

So I went with a Canon product that did fit. Plus the BP-50 lets you

use AA's for power instead of a 2CR5 and it includes a vertical

shutter release (like the VG-10 I assume).

 

<p>

 

The EOS-3 adds the E-TTL functions. It is a bad mother-trucker. Very

heavy and feeling nearly indestructible. I think you should weigh the

expected use of the fps (5) the A2 has w/ the Elan (2.5 fps) and it's

E-TTL flash technology. Of course the 3 combines both in a really nice

body. The Elan IIe has CF4 also. I loved it until I got the BP-50. Now

I focus normally.

 

<p>

 

For sure get the 17-35mm, 70-200 and toss in a 50mm. For any newspaper

work you need the wide angle capabilities. I can't tell you how many

times I have wished for something wider than 24mm. I end up kicking

myself over and over. Hell, with a 17-35mm, you wouldn't even have to

focus stopped down to anything past f/4.

 

<p>

 

Again, weigh your need for faster motor drive against new flash

technology. The Elan IIe feels really good with the BP-50, too. Try to

pick one up and see for yourself.

I'm leery of posting a "vs." question, but I really need the advice.

 

<p>

 

Elan IIe

2 550EX's

QB1+

ST-E2 transmitter (soon)

 

<p>

 

I'm a wedding and portrait photog and really need what the high capacity batteries offer. But I am so tired of modules and their cords sticking out of my flash units. I even cut holes in my 380EX's so I could close the battery door. So I am switching to a Turbo Z or Canon Transistor Pack E w/NiCd Pack TP. I plan to keep the QB1+ because it works okay if it's on a light stand and not being futzed with. But for the full time on the bracket flash, I need less worries. My QB1+'s module failed twice last Saturday whilst 15 people were holding a pose. I had to jiggle the cord to get any juice to the battery. That's when I said "No more modules."

 

<p>

 

So shortly I will be choosing either the Canon or Quatnum model. Although Ellis vener would tell me the Jackrabbit is best, I am unsure of it's (and Canon's too) NiCd pack. I like how the lead acid Quantums operate. I plan on the 550EX's being on light stands soon with their own battery for location lighting. Having a high cap battery for each one will be immensely valubale.

 

<p>

 

Comments or thoughts?

That 300 f/2.8 IS is bad ass. I handheld with a 1.4X TC (so it was

actually a 420 f/4 IS) and the slides were tack sharp. No blurriness

whatsoever. I am really strong though. Really. 6'5" even. I lugged

around a 400 f/2.8 on a monopod with a 300 f/2.8 and a 70-200 f/2.8 in

a backpack at the zoo for 6 hours. Even if you only needed it 15% of

the time, you will really be thankful you have that little IS switch.

Save your latte money for the IS model.....

 

<p>

 

BTW, any L series lens will perform very well. Mind you the 1.4X is

rumored to be a bit sharper than the 2X TC

I was under the impression that varying the distance of flash to

subject will not change anything but the output (in w/s) of the flash.

Example: flash is 8 feet away and camera is set at f/5.6. E-TTL will

require the flash to produce enough light for an f/5.6 exposure

regardless of where the flash is. At 4 feet, the flash will produce

much less light as subject is half the distance as previously. 8, 10

or 20 feet shouldn't matter. That creates a problem if I want to move

the flash around for less light output only.

I'm a new owner of a 550EX with plans for another and a ST-E2 transmitter. My visions of q&d (quick & dirty) E-TTL w/multiple flashes is clouding my thinking. As a result, I don't know what slave group is. Being an ElanIIe user, I am restricted to one slave group only. Once again, Canon's excuse for a manual is far from in depth. So I turn to you, my fine EOS friends, for help.

 

<p>

 

In my own defense, I was thinking to achieve a flash ratio with the slave, I could set the slave to manual and try different output settings. 1/2, 1/4 or whatever. Is this possible?

 

<p>

 

Thanks.

Tom to answer your question why the gutters are shaped like that is as

follows: I would guess that this building is very tall, no? Since I am

99% sure it is, the reason the are shaped funny is because when liquid

falls great distances inside piping, it collects immense speed and

power. Falling liquid of more than about 2 stories would knock a hole

in even cast iron pipe when it did reach the 90 degree turn. So the

plumber needs to "jog" the downspouts before the rainwater gathers too

much speed. This is proven. If you could see inside a very tall

apartment complex you would see a cactus like array of sewer lines

finally reaching the bottom floor and the main line to the outside.

The "jog" slows down the flow to a reasonable speed. And if it isn't a

tall building, my other guess would be that plumbing code prevents the

downspouts from draining directly in the grates on the

sidewalk.<P>BTW, great image. Excellent light that day.

My mistake Shawn. Instead of no compensation I meant no bracketing.

Sorry to confuse. Techincally it was my morning and I was not fully

awake yet.

I'll drop an example of what I can do without bracketing. 1 shot at

the end of the roll. 10 minutes after sunset with 100% cloud cover. If

the .jpg looks to dark, well the slide isn't. It's just right to my

eyes.<P>

<a href="http://www.pond.net/~ckmiller/serena.html">click here</a><P>

Elan IIe<br>

28-105 at about 85<br>

Kodak Elite 100 at 100 ASA<br>

Av mode at f/4.5 w/no compensation<br>

That's the important point I am trying to make. No compensation and I

get well exposed images 95% of the time. As for compostion or subject

or posing, that's different.... ;-)

I would only open up 1.5 stops for a caucasion face. That being said

and your model <b>not</b> being caucasion, throw that out the

window..... I would compensate +1 if you wanted her face to be

the focus (haha!!) of correct color rendition. <P>The compensation you

need for print film is the same you would use for slide film. I

personally only compensate with negs when I am shooting into harsh

backlit situations. But I compensate everything with slide. I mean

everything. If there is more than 50% of black or white or sky in the

frame I compensate. Closer to 75% I compensate more. <P>I would use a

gray card and spot meter off of it. Get right up next to it if need

be. I assume you're shooting outdoors.....? <P> This would be a good

time to test your camera's meter against the spot meter (or vice

versa). <P>I'll add some personal experience to sign off. For the

longest time (12 months actually) I had to bracket everything when

shooting slide. I've got 70-75 rolls with very few "different" shots

on each roll. Tons of bracketing. Like + or - 2 in both directions. In

addition I rated everything 1/3 over for safety. I am now confident in

my metering skills and I know what my camera will do in it's 9.5%

partial spot mode (Elann IIe) and I NEVER underexpose any longer. I am

done bracketing except in very once in a lifetime circumstances. You

too can achieve this with practice (lots of bracketing) and careful

notes. Good luck and let us know how it turns out.

Don't fret Ben. I couldn't see either a Nikon display or even a Canon

display when I bought my first SLR. Same goes for my litte brother

with his new Rebel 2K. After one week of shooting with our new bodies,

we both were able to see the viewfinder info very clearly. Granted

neither of us wear glasses but you can try this out anyway.<P>

First pick up the camera. Obvious I know but stay with me..... Next,

depress the shutter halfway to achieve focus in a well lit room or

outside in overcast conditions. My point is you don't want to learn

this in the toughest conditions. (The Elan dims or increases the

brightness of the display based on the amount of light reaching the

viewfinder) Next look into the middle of the viewfinder an don't try

to look at the bottom display. Sort of let it happen. This seems odd

but it worked for me and my brother. Eventually you will see very

clearly all of the info at the bottom display area.<P> You are trying

to train your eyes to see compositon at whatever distance (15 feet)

and also attempting to see 1.5 inches in front of your eye. It can be

difficult.<P> Side note: I didn't buy a Nikon F-something because of

this problem in the showroom. I bought Canon instead because I could

see it instantly. Now I know better and should have bought the

F-something. <b>JUST KIDDING!!!! </b>