justrightphotos

One benefit of the new lenses is supposed to be a special new lens coating. This may not seem like big news, and in fact it may not be, but lens coatings continue to improve and do make quite a difference in the quality of our optics - no matter what you shoot with (besides pinholes).

 

:)

Thanks for your replies.

 

I've dealt with a lot of honest people, and have been fortunate so far.

 

In this case the buyer and I have had good correspondence over the past several weeks. I think that there is a certain level of trust, but the purchase that he will make is large. I know that if I were sending that kind of money to an unknown person I'd feel better knowing that the deal isn't over until we are both happy. I will use an escrow service if that's what is necessary.

 

My main two concerns are: Is escrow.com an agency that's considered legitimate? Do I need to make any specific requests or contracts when working wtih escrow.com in order to safeguard myself (seller) from getting taken advantage of?

I'm in the process of selling some of my used equipment to a buyer

in another country. He suggested using escrow.com to handle the

transaction. This would be to safeguard both the buyer and myself.

 

Since I've never used an escrow agency before I'm a little hesitant,

but I don't mind using it if it will make the buyer feel safer.

 

Do any of you reading this have experience using an escrow agency?

Are there any things that I need to watch out for, be advised of, or

avoid? I want this to be a smooth transaction. I've corresponded

with the buyer for several weeks already and we do have a certain

amount of trust for each other. My hope is that he gets the

equipment and that I get the money without problems.

 

Any advice will be appreciated.

 

Please reply here on the forums, or by emailing me at:

 

pavelfoto@yahoo.com

 

Thank you.

I've just been trying to decide what to do with the very cords that you're asking about. Are they still in high demand, like when I bought mine? I've got two of the long cords, one of the short curly ones, two end modules, one hot shoe mount module, and the distributor. Does anyone know if they'll work properly with EX flashes on EOS cameras such as an EOS-3 or a D-30?

 

As for Adorama, I've had good luck with them. B and H also. Like a previous poster, I usually use the one with the lowest prices.

The lenses you've mentioned, as well as those mentioned by others who have responded to your question, are good at a variety of different things - based primarily on angle of view. I'd like to throw out another suggestion - the FD 24 f/1.4L! Sure there's the f/2.8, and the f/2, but the f/1.4, that's the real deal. It's a super lens that lets you make the make the most out of very little light. Would a lens like this appeal to you? I bought mine years ago after my FD 24 f/2 was stolen. The FD 24 f/1.4 was a great lens to use, albeit a bit heavy. When I started shooting with EOS equipment a while back my 24 f/1.4 was put into its case and put into the cupboard with the other unused equipment. Reading your question reminded me of that lens. What a lens it was! Fast, quite sharp, and a piece of work. I'm sorry for rambling, but my vote goes for the 24mm, the faster the better!

Thanks for the suggestions and help. I especially appreciated the photos. I've got it together, and it works great.

 

That's what makes these forums so great - people with knowledge, willing to help others!

Thanks again!

I usually carry a few bodies at once and need to be able to throw one over my shoulder while I'm using the other. I'd have trouble shooting with one body while the other is still on my hand, Frank.

 

So, I'm asking for anyone who has used both the hand strap and the neck strap on the same camera to let me know how you did it. Thanks in advance for any help that you can give me.

I remember reading that there is a way to put the hand strap and the

neck strap onto an EOS 3 (with the motordrive) so that both could be

securely fastened.

 

Does anybody know how to do it? Has anybody had experience doing it?

 

Thanks.

 

Paul

This is for anyone who knows. In many recent advertisements the Canon

EF teleconverters are advertised as APO teleconverters. Whereas in

the older ads. that I have seen they were just called EF

teleconverters. One salesman told me that there is a new series of EF

teleconverters that is of much higher quality. Is he telling me the

truth? Has there been a recent improvement in the EF teleconverters?

Art Morris sells one as does "visual echoes". Perhaps you can use a credit card and have them ship it. I live in Europe too and after several years have never seen one in the shops over here.

 

The one sold by Art Morris is much more compact than the Kirk model. Good luck.

When shooting macro photos with the EOS 3 I would like to use more

than one flash. I've got the 550EX on the camera at this point, but

would like to move it off of the camera, to the side on a bracket. I

am wondering if it's possible to make use of my off camera cord, and

300TL flash (from the FD days)instead of buying another 550 or 420 EX

flash, and still have TTL.

 

Has anyone mixed the new with the old flashes and lived to tell the

tale? If it's possible, let me know. Thanks.

Rob,

 

Thanks for posting the awesome scans! I love the lion. I can almost feel the heat and the breeze that's blowing the lion's mane. It's also exciting to hear that the photo was taken with the kind of lens that most any photographer could afford.

 

Paul

Linda,

I'm not familiar with the king cobra head, but I am familiar with the tripod as well as the problem of occasionally having things get stuck. If the king cobra head can be tightened (made rigid so that it won't rotate or tilt freely) with the head tilted or in the vertical shooting position you may be able to get some leverage which will help you unscrew the head from the bolt on top of the tripod plate. Remember to turn it in the correct (counter clockwise) direction. If this isn't possible, or doesn't work then you may have to try to loosen that brass bolt at the bottom of the plate on the tripod. I believe that before you can do this you will need to pull that little pin that is stuck through the bolt. That, I believe, keeps the bolt from loosening or rotating when one is adding or removing heads.You may be able to pull this pin by starting a small screw in the end of it,then pulling the screw and the pin out with a pliers. After the pin is pulled you should be able to rotate the bolt with a socket wrench. If this doesn't work take the whole thing to the tech. at your local camera shop. Good luck!

Lance,

Perhaps you could rent one of these awesome lenses and see how it works for you. You've got a good idea, this lens might be just the tool you need to make it work.

P.S. Keep up the great work! Happy Easter!

The previous poster is correct. There is a built in protective filter on the front of the 500L. It protects the first large element. If the filter gets damaged you can expect to pay several hundred dollars to replace it. That's better than replacing the large lens element or the entire lens though.

 

As you guessed, the lens hood does a very good job of protecting as well. Leave it extended. On my older FD 500 I always leave the lens hood extended. My custom case is designed for that size lens with a camera body attached. When I travel I retract the hood and put the lens into the trunk type case that the lens came with.

Sam, If you haven't, check the archives for extensive discussion of this very topic. That said, I've got the Arca Swiss B1 and I've never regretted buying it. It's smooth, lighter than most, strong, and made to work beautifully.

 

"Buy something cheap, and you'll enjoy the money that you saved that day, but you'll regret its purchase every day you use it. Buy something well made, but expensive, and you'll feel the sting the day you buy it, but enjoy it every time that you use if after that."

author unknown

 

I hope this helps. Happy shooting!

Andelko,

I spent a week skiing and photographing near Mont Blanc last year. Much of the advice given above is good. The pol. filter is very handy when the situation is right (the sun is shining at about a 90 degree angle to what you're shooting), but caution must be used since it is possible to render the sky black. The film choices you've mentioned are what I shot. I was very satisfied with them.

 

Another filter you may want to consider is a grad. neutral density filter. This is because of the huge difference in the light. contrast will present a huge problem. You may need to (with the filter)hold back the sky 2 or even more stops. See Gallen Rowell's sight for technique usiing these filters.

 

Good luck to you.

I've read what I could find concerning this and still need some

advice.

 

What I need to know is this. Can any of you, who have experience

using the T90 with two or more flashes, give me your opinions on the

performance of the TTL cords (like those used on EOS cameras)? What

flash modes were lost?

 

Have any of you used the Ikelite system? Which flash modes were lost

when using it?

 

Either way, did you always use identical flashes at varied distances

from the subject or flashes with different guide numbers? Will a

dedicated Metz flash work as well as Canon's 300TL with either

option?

 

Thanks.

Benjamin,

 

I saw one in a shop in San Jose for $800 a couple of years ago. It was in great shape, but I didn't have the cash at the time. Will the shop let you shoot a roll of film through it? It might be nice to see whether YOU like it.

Good luck.

Thanks for the information. Dave, your page is quite helpful. I'd recommend it to anyone with questions about their speedlights. My question now is: if I used the 300TL and say, the 200E that you mentioned, do I just need to experiment with distances, or is their a rule to help me establish a starting point? I know that if the two flashes had the same output I could figure the lighting ratio by differing the distances of each flash to the subject. Now with two different flash outputs, how will I know, without just experimenting? Could I achieve good results with my 300TL and a slave unit on another non TTL flash? If, afterall, the two flashes are on a macro rig where the flashes are set up to light a subject which will be in about the same position, the lighting ratio would be roughly the same, wouldn't it?

 

Thanks.

I'd like to make a twin flash rig like I've seen Frans Lanting and

others using for macro work. I'd like to make use of my T90's TTL

flash metering. I know that the 300TL flash works well in this

capacity, but my question is this: when using two or more flashes is

it desirable (or necessary) to use another 300TL flash unit, or may I

use any of the newer EOS flashes along with one 300TL (and the proper

cords) and still make use of the TTL features? I'd probably want a

main and a fill flash. Rather than differing the distance of the two

flashes to the subject could I use a weaker flash along with the

300TL, both at the same distance from the subject? Would I be

creating more headaches for myself by not using another 300TL?

 

Thanks for any help you can give me.

Bob's answer is good, but I know an even cheaper route to go if you only need to be able to tilt and shift. You'll need an older(FD)Canon body. There is an FD 35mm f/2.8 lens with both tilt and shift that you can find used. I've seen them go for $500 - $800. I've got one and it works very well.

I've got the 340 with an Arca Swiss B-1 perched on top. I love this combination. After looking at the two tripods that you mention I decided to go with the 340. My reasons were: 1)it's more stable, 2)it's quicker to set up, and 3)it's just the right height for me.

 

If you're concerned about length when compressed then you're right in considering the 345, if the other things are more important to you then the 340 may be just right for you.

 

By the way Gitzo has got a rebate going until the end of the year. Buy now and get a nice check back from them in the mail!

 

Good luck in your quest for support.

I'd like to thank all of you for sharing from the wealth of your experiences. I don't see all of the answers I've received via e-mail on the above thread, yet.

 

Even though I rarely take the camera out without having some subject in mind, I've found that nearly every time I'm out, something unexpectedly occurs that proves to be a wonderful photographic opportunity. I guess it's all about being out there and being ready. Keep on sending the wonderful experiences! Thanks.

It's been my experience that often when I'm out shooting, with no particular subject as my goal, I come back home with a real "winner" of a photograph. It may be a backlit poppy stretching toward heaven above a field of rumpled brown grass. Or it may be the pheasants that came out to feed when I was setting up to shoot the corn stalks swaying slowly in the breeze. I'd like to hear some of the stories that our richly experienced photographer friends can tell. What's been your greatest or most unexpected thrill?