r._j.

Second hand, you can find the 80-200/4 zoom, non USM I believe, and an old model. Constant f4. Black barreled body.

 

(I had one and liked it, but I moved up to 70-200/2.8 IS 'L' lens.)

 

The 80-200mm f4 (constant) lens is very cheap. Figure around $100-125 - well worth it.

Thanks, everyone, for the responses. I was not suggesting that the camera was 'too fast' for the card/s, merely asking: "above which point would paying for ultra fast cards serve no purpose for that particular camera?"

 

You could be right - a plain 2gb Sandisk will suffice!

What's the crop factor on your body, if you're shooting digitally? Good Canon primes are the 50/1.8 and 50/1.4 - the latter allegedly a slower focuser than the 1.8.

 

Also good are the 85/1.2 and 85/1.8 - the former is a faster focuser (but a slower aperture).

 

Then there's the 135/2 or, for something wider, the 35/1.4. Everything here is an excellent lens.

Please clarify: was your "blank" film grossly over-exposed (washed out) or completely non-exposed?

 

Second scenario (washed out) would suggest a shutter speed fault, the first scenario would suggest either a possible aperture or shutter speed problem, possibly. Neither have anything to do with ECF calibration.

 

Faulty ECF would presumably give you a poorly focused picture, not one with an exposure problem.

 

I have several EOS-3 bodies and I rarely use ECF. Do you use it routinely? I've never seen that error message on my EOS-3s, but I have found that the camera can die unexpectedly (for absoulutely no reason), requiring that you detach and then re-attach the PB-E2 booster to solve the problem.

This may be a good question for Bob Atkins or someone who has been on the EOS

scene for quite some time.

 

Canon were evasive or vague when asked directly (by me) about the write speed

of the 1d.

 

They suggested not using CF cards above 4 gigabytes capacity, but they did not

say much else.

 

(I assume that there were no 4gb cards around at the time of the 1d launch, so

its compatibility with modern 4gb cards is impressive.)

 

I should not have an problems if I stick with my usual 2gb cards, but what

speed should I get: Ultra II, Extreme III or the new Extreme IV?

 

The Extreme cards can 'munch' data quickly, but if the 1d can't transmit

quickly, the full capability of the Extreme cards is not being utilized. It

would be a waste of money, especially when you consider than an Extreme IV

costs double the price of a Sandisk Ultra II.

 

The 1d can shoot at over 8 frames per second - but only if the card can handle

that much incoming information quickly, otherwise the camera's maximum frame

rate drops below 8fps (8.3 fps in actual field tests.)

 

Is anyone familiar with the Extreme III and IV cards and whether the are

useful on a 1d?

Someone commented on another photography forum (and I cannot vouch for the accuracy of their comment) that high-end Olympus digital cameras (such as the professional body, the E-1) have their IS in the body. (Again, I cannot vouch for the accuracy of this.)

 

With Canon equipment, it's in the lenses - for now. Future developments are merely conjecture.

If the original Canon 1d (4.1mp) body has clunky software, I'd like to know

what software 1d users have found useful?

 

Noise Ninja, Photo Mechanic, Phase One, Genuine Fractals?

 

Comments appreciated!

Budget oriented portable studio flash run off rechargeable Norman/Quantum

style power pack. I saw a fashion shooter using them on location. He

said "Google Dragoneyes" but I can't find anything. These units are very

portable and affordable.

I am looking to replace a missing instruction manual for the Canon 1d (4.1mp)

body. Would anyone be able to recommend whether the Magic Lantern Guidebook

(which covers both the 1d and 1d-II) does a better job than Canon's 1d manual?

 

I'd also like to know how 1d users feel about battery consumption/reliability

of the 1d. Thanks in advance.

Thanks, Sean, but the Metz 40mz-2 is a hotshoe flash, not a studio strobe.

 

My Metz is on the hotshoe, off-camera with a coiled lead (held two to three feet from the camera) or bounced through a brolly. It is dedicated to Canon using the appropriate Metz SCA adapter, but still the rear curtain sync doens't work, or only works intermittently.

I prefer fixed lenses, but ou don't seem to mind zooms, so:

 

5d body (full frame, big megapixels) with whatever back-up you see fit;

 

16-35/2.8, 50/1.4, 70-200 2.8 IS, 1.4x (if you need it)

 

... and keep the 300mm f4.

 

Exactly what will you be shooting? Watch out with slower apertured zooms (f4) in low light. Being let down by equipment on a paid shoot is extremely frustrating.

 

I do not carry "back up" camera bodies - every body that I am carrying is being used. Shoot every pro assignment on at least two bodies and lenses to cover against malfunctions if shooting film, which you ain't, admittedly.

 

Also get bounce diffusers for your flash units.

I am curious to know whether the EOS-3 rear curtain flash mode works with

flash units other than Canon Speedlites.

 

I am using a Metz 40mz-2 with the (Canon dedicated) SCA 3102 module. Rear

curtain flash sync seems to be working intermittently or only by turning the

flash on and off between each shot (?).

 

Even with the EOS-3 set to the proper Custom Function for rear-curtain

syncing, it doesn't work reliably. Are Speedlites the only option?

The 3083 module is the correct adapter for using a second flash remotely

triggered by the main flash, wireless-ly. However, the 3083 does not offer TTL

dedication on Canon cameras, only other makes. You are limited to Auto and

Manual.

 

When using other brands of camera with a 3083, you get dedication. Is there

some anomaly in Canon metering or circuitry?

Focusing speed can, of course, be affected by the lens in use, but will the

smae lens focus more quickly on a 1v than the EOS-3?

The SCA 307a cable was a coiled lead of three feet length. I believe the SCA 3008a is shorter than this. (?) And what length is the OSCS2 from Canon?

 

I think the Metz 40mz2 when combined with a SCA 3102 adapter shoe and one of the above cables will only give me Manual and Auto flash exposures, <i>not</i> TTL.

 

(The flash and SCA 3102 has to be on ther hotshoe, not off-camera, for TTL. Is this right?)

I am posting this in the hope that someone here has had a similar or same

problem....

 

I have the EOS-3 and a Metz 40mz-2 flash. The dedicated shoe that goes between

the camera and flash is the Metz SCA 3102.

 

Which coiled Metz lead is the correct one to take the flash off camera?

 

I have tried an SCA 307a coiled lead and it does not work. Someone has now

suggested the SCA 3008a. Any clues?

No, let me answer the question...

 

I use the 70-200/2.8 IS lens. If I don't need IS for a particular shot, I switch the IS off. If I don't need f2.8 for a particular shot, I close down and shoot. Nice to have the option for if/when I need it. I can't see people choosing the other lenses unless price is the issue.

By aquarium, do you mean a 'fish tank'? If so, note that the standard way of illuminating tanks with flash is by lighting from above. You are looking directly into the tank, front on, while the lights are shining down from above.

 

A black piece of cardboard with a hole cut in it (for the lens to poke through) should eliminate reflections of the glass. (The reflections might be of yourself, or of ambient lights and other detals in the room around you.)

 

Flash is very good for freezing motion due to the brief-ness of the flash exposure.

By aquarium, do you mean a 'fish tank'? If so, note that the standard way of illuminating tanks with flash is by lighting from above. You are looking directly into the tank, front on, and thr lights are shining down from above.

 

A black piece of cardboard with a hole cut in it (for the lens to poke through) should eliminate reflections of the glass. The reflections might be of yourself, or of ambient lights and other detals in the room around you.

 

Flash is very good for freezing motion due to the brief-ness of the flash exposure.

I've shot many such jobs. Without even reading your lens list, my immediate suggestion would be, firstly, 24-70 and, secondly, the 50/1.4.

 

You'll need a flash, too. The 50/1.4 will allow you to get ambient light into the pic as well.

 

"Drag the shutter" (try a shutter speed of around 1/60 - or slower if you're confident about hand holding without blur occurring) as this will retain some of the venue's evening ambience - warm light, spotlights, stage lighting (if there is any), candlelight on the dinner tables, etc.

 

Ideally, take the flash off-camera (by way of a bracket or coiled lead) as this will give a nicer overall effect than direct on-camera flash. A bounce diffuser helps as well.

 

Do not use flash on-camera with a telephoto lens (100-200mm section of a telezoom for example) as red-eye can easily occur if you are shooting from a distance. Definitely diffuse the flash, bounce it or simply take if off camera (off-axis) when using such a lens.

Several years ago there wasn't much choice in portable generators

compared to now. People were recommending Norman lights which may

well be good, but they looked a little strobe-like and not cheap by

my estimate.

 

I believe Alien Bees now make a portable battery to power their

studio lights. More flash manufacturers should follow their lead. Can

anyone recommend suitable products?

I would like to know how to use two Metz flashes (both are the 40-

mz2) for a TTL set-up. Ideally, a cordless TTL set-up would be ideal

but I don't think it can be done. My camera is the Canon EOS-3.

 

Metz make some sort of TTL adapter called the 3083, but I think it

requires cords for each flash.

 

There was also a device called the TTL multi-adapter, but I can't

seem to find any info on it. I believe it sat on the camera hotshoe

with jacks/plugs for up to 4 (or 7?) flashes.

 

I wish to use two off-shoes flashes, for copying artworks.

 

The cordless aspect is not crucial, but the TTL is important as it

means I will not need a handheld lightmeter for metering - he

camera's internal meter will largely do the work.

 

If cords are required, which ones?

Some of your pics would be vastly improved in vertical format. (Turn your camera on its side once in a while!)

 

Nice shots, overall. Some could be tighter, too. A wideangle lens can be good for 'getting it all in', but you can do the same thing with a telephoto lens by backing up a bit and compress all the detail into a tele view.

 

Of course, handheld telephoto views may not be easy in the dark at 1/20th of a second, however.

I have this bag and I am happy with it. I bought the black (low-key, hopefully!) one, although I believe they are available in other colors. I have had to do some jobs in fairly risky areas, including dangerous urban areas (just finished one such job at 2 o'clock this morning) and I have found it helps. Keep all of your gear inside the bag, nothing on the outside, and act casual. The bag itself is well made and can accommodate a lot if packed properly.

I was looking at the Hasselblad X-Pan camera for panoramic images

with 35mm film. Does anyone have opinions on thi camera, or can you

recommmend a suitable alternative?

 

I believe there is only three lenses available for the camera. Also,

I didn't like the viewfinder image, but if there is little choice in

cameras i may just vhave ot put up with it.

 

The camera will be used for nature, scenic shots and landscapes

(stock photography) and the occasional commercial architectural/real

estate job.