miklosphoto

I heard it in a camera store that it might be coming on April 15.

Hi Luis, when did you buy it at B&H?

Michael, I agree with you (-:

Actually, I have both a film (EOS-3) and dSLR cameras. And could not live without either of the two. Digital is fantastic (I have a 5D) but there is something about the film SLRs what I simply call magic. That feeling of releasing the shutter and then the whole process of waiting. You capture something what is then captured and hidden in that small box and you can't wait to get the film proccessed to see the result. I love my 5D and everything about it but it is just I miss that little magic.

Miklos

Hi Cheaster, in my opinion, is is actually better/cheaper to learn photography with the dSLR. All you need is a computer and you can practice and shoot thousands of photos free of charge. Now, that all said, if you get the 1V and use it for few days you will never want to touch the 400D again in your life. It is like driving a Ford Focus after a Lexus.

Quality, built, speed, focusing - the only equivalent to that is the 1D in digital dSLRs.

Miklos

Does any one know where I could get the EOS LINK Software ES-E1 and the cable

with it? Or, is there any one who might be selling his/hers?

thanks

Miklos

If it is interior architecture, I would not even look at anything but the TS-E 24/3.5. I have tried out that lens and it is awesome!

But that is only if the 24mm is enough for you.

Miklos

Hi Scott,

I would think that if your Falcon Eyes have a slave switch they can be triggered by the flash of the speedlite. But that means you will need to fire your Speedlite. That is the only way to use your 580EX as the master.

Hope this helps.

Miklos

I had one bad experience with amazon.com when ordered my first 5D. They sent me a camera which was defective and used. I guess it was used only as far as some one got it before me and returned it because it did not work, then they sold it again. So I returned it and ordered one from B&H, came in perfect.

Since then I never ordered camera gear from amazon but still comparing the prices and saw that B&H actually has better prices.

Hope this helps.

Miklos

I switched my 20D to 5D last summer, never regreted it, not for a moment. However, you should also consider what lenses you use and what you shoot. I have many prime lenses, they were all designed for 35mm cameras, they do the same on 5D. On the hand if you do, for instance only super telephoto photography, stick with the 20D. Just imagine, a 300 mm lens with 1.4 extender gives you 672mm. For me that is only 420mm.

Yes, I agree with Clyde and Les on all what they say. MF must be a totally different experience.

BTW, what I meant that by saying that with MF there is no control because I can't afford the scanner, I meant that that because I already own a 5D for long time. Now, if I did not have a 5D, it would be MF with a top scanner what I'd go for.

Hi Dennis,

I have the same lens and use with the Canon 1.4 TC. I think is a perfect combination. I do not know anything about the other manufacturers. I know that the Canon is the most expansive but I wanted to have the best integration between my equipment. It gives you constant F5.6 and 420 mm and I use it for birds in fly with perfect sharpness. AE is very fast.

hope this helps; you can check some shots made with the 300mm and 1.4 combo (and a 5D) at my page: http://www.photo.net/photodb/folder?folder_id=575202

Miklos

Richie,

I've been having the dilemma for a while now. The only difference that I own an a 5D already (and and EOS3 too). I am looking for a good deal on a medium format but always back out of the purchase because have similar doubts as you. First, with the 5D and the 3 I have my whole workflow under control. Images from both cameras end up printed on my own Epson R2400. I scan 35 mm slides with my Nikon Coolscan V ED. If I get a medium format, the control is gone because I won't afford now to get a the top of the line Nikon scanner to scan. If you print commercially, then I would get the medium format though. Oh, and by the way, with the 5D it is actually my printer which is the bottleneck, I could print larger prints if I had a bigger printer.

 

Bottom line: it is you print size what determines you tools.

Miklos

Getting a 5D with those two lenses it is like buying a Mercedes and insisting on putting a say 1.6 liter diesel engine in it. I had those two lenses before and used them on a Digital Rebel. Even on a the Rebel those lenses were the bottleneck to get the max out of the camera.

My opinion is that if you are not doing photography for living or at least part time living you don't want to spend money on the 5D. If you still want the 5D because your budget is not an obstacle, get a good lens with it. For example 24-105mm L lens.

Miklos

Hi Susan,

nevertheless, I want price myself as a pro because of two reasons:

1. I am proud of my "second" job too and I have enough positive feedback on my photography - I want to paid respectively.

2. I always want to keep in mind that there are professionals out there who can't drop their prices (just like you described); that is the reason for asking my question, I do not want to undercut the market rates. If someone does not want my rate, fine, I have plenty of work to do in my "first" job.

BTW, just in between I was typing my answer, a client agreed to pay me $500 for shooting for few hours a corporate party (no prints included). I hope that is not undercutting the market. If so, please let me know, next time I will ask for more.

thanks

Miklos

As I described above, the events are corporate parties, celebrations. I will sell prints seperately online.

Can some one please give me some information what a reasonable event

photography price quote could be?

Here's some details:

- I am a semi-pro (i.e. photography is not my main job)

- Did events before free of charge (someone who knew me asked me to do a

favor) with high client satisfaction

- The clients are in San Francisco Bay Area; corporate parties, celebrations

- Prints will be charged separately, I need to give a quote just for my time

 

Any advice is welcommed.

 

thanks

 

Miklos

I would need some practical advice on full length lighting set-up. I have been

doing only head and shoulders so far, but now have an opportunity to do some

full length shots. It will be important to show full length because my models

will be wearing some spectacular dresses. Now, I've been always hiding my

background light behind the subject but how can I do that with full length

shots. I still want to use back-ground light to blow out the background and the

floor which will be the same seamless paper. Any practical advice? My main-

light is an Alien Bee with shoot-through umbrella and the fill is a 4x6

reflector.

I have another Alien Bee for the back-ground. ANy advice/help appreciated.

thanks

Miklos

There are two ways to that:

1. As stock photography: http://www.istockphoto.com/ - this is just one example

2. Customers can actually order prints:

see my forum post on it from yesterday: http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00I7Sw

 

Miklos

Anyone knows an alternative to Shutterfly's Pro Gallery if I want to do even

photography and sell photos online?

http://www.shutterfly.com/professional_photo_gallery/index.jsp

I got a Westcott Mini Apollo to use it with Canon Speedlites. All the product

descriptions say to use a regular umbrella bracket to mount the Mini Apollo on

the lightstand. It results that even with the small 430EX the head is pushing

out against the softbox head which I found very useless.

Has anyone found any other practical way to mount a speedlite together with

the Mini Apollo?

thanks

Miklos

Thanks for every one who contributed to answer my question. I think my resolution issue is resolved now. Here's another question I have. I tried to scan both with the Nikon Color Management on and off. Now, I had previously people suggesting to scan with Nikon CMS off and color manage in photoshop if I need too. But honestly, with CMS on I am getting very nice colors which I like, also since both Nikon Scan and Photoshop are set to adobeRGB it seems to be a good solution. When I scan with CMS off, it is sRGB which then converted to adobe in Photoshop and if I choose to order commercial printing I need to convert it back to sRGB. What do you suggest would be the best workflow for color management?

thanks

Miklos

Ok, so to understand everything, I do not want to set the scan resolution at 4000 and also set the output size to say 8x12? That would be the same thing as trying to enlarge the image "digitally".

I should keep the actual output size 1:1 to the 35mm negative?

Yes, Les managed to get what I was after and I saw the he actually scanned at 4000 dpi, and that might be just the answer. I did not do that based on the advise given by pro printing labs to scan at 400 dpi because that is how they are going to print it. SInce I print at 360 on my R2400 I was scanning at 360. Now, I can't wait to get back to my "darkroom" and try the max 4000 dpi.

Thank you guys for the tips.

Here are some details how I tried to scan:

- Nikon color management is turned off

- Output size was set to 8x12

- Output resolution set to 360 dpi

- usind digital ICE in mormal mode

 

When I enlarge the final result to the actual pixel size I get a very poor resolution. If I do the same with images from digital cameras I see sharply every detail. Maybe it that I am expecting something what is not realistic, but my expectation is based on those statements that scanning film gives better result then digital photography. That is why I am assuming that I am just doing the scanning right. I hope that is the reson and not that I actullay would need a $100,000 pro scanner. (:

Exactly because of this limitation I was setting my output sixe to 8x12 (not 8x10 so I can scan the whole frame).