savas_kyprianides

<p>It works.</p>

<p>All in all, I kind of don't get raw in a point and shoot. Just talking rhetorically. If you care enough to shoot raw with it, why wouldn't you care enough to bring a superior camera along?<br>

How many times do you come away with a decent point and shoot shot and think how much better it would have been with a better camera? Understandably, you can only take a shot with what you have with you. Still.</p>

<p>What kinds of photography is very short flash duration good for?</p>

<p>It will work. Set your 580 on camera and set it to master. Set the other flash as the slave. Here is a nice article on the subject:</p>

<p>http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2966</p>

<p>True. C is independant of the ratio between A and B.</p>

<p>We are talking camera bodies, but the bodies is what translates into lens purchases. At whatever price point the body is acceptable to the buyer, they will need lenses nonetheless.</p>

<p>ST-E2 worked for me, but it only handles two groups. It will soon collect dust once I get a third speed light for group C. I can optionally get the 580 master off camera using a long third party cord. The rest will be wireless. ST-E2 can optionally be relegated to flashless low light focus assist with my 5DII.</p>

<p>In the event of rough handling of the camera, there are point and shoots oriented toward the construction industry with all the build quality that the usage implies. There are also point and shoot cameras that can be submerged, and that float, to no ill effect.</p>

<p>Another plus for the G versus S90 is that you can build a mini-system around it, if you choose to do so. You have your shoe mount, adapters, filters, built-in ND filter, easier to hold, variable LCD for unusual angles.</p>

<p>I bought an S90 for the ease of carry and am pleased thus far with its raw capture. I am more inclined to bring my DLSR along when I care to obtain exceptional quality and enjoy a fuller feature set.</p>

<p>Sports action is feasible with 5DII, but you have to work at it. You don't have the machine gun spray of the 1 series or 7D model. Concentrate on center focus point. Your uber-large raw images can be cropped for artistic effect.</p>

<p>80-200 is not called the magic drainpipe for nothing. Photographers who own them love them. You might find one at a very good price.</p>

<p>Agreed. You should handle both lenses. f/4 version is excellent, a touch sharper, less chromatic abberation and more contrast, especially comparing both at the extreme end. You will be more likely to have it on you, even if you own a lot of other lenses.</p>

<p>The new f/4 IS wasn’t out when I got my 2.8 IS. I went for it solely because I shoot as an amateur, otherwise primes in the equivalent focal lengths would have been just the ticket. I get reasonable quality from the lens plus the addition of IS when it is warranted. I have so few lenses to begin with and the 70-200 f/2.8 L IS helps keep my lens count down and fulfills a needed range.</p>

<p>What sold me on it was a rental from Adorama. I picked it up and out I went. It was bright and sunny out, but I happened into some spaces that were quite murky. St. Patricks Cathedral was one of them. Place was crowded and security was present, so I stood just within the doorway and captured a low-light shot of the distant alter. Without swapping or missing a beat. The image came out acceptable.</p>

 

<p>The accessory lens is good for a conversation starter.</p>

<p>A fashion photographer in France posted a video on this blog showing how he shot a series for a magazine. The video is further down the page. He did not use a tripod. I don't know if the link will post properly, but it can be copied and pasted.</p>

<p> </p>

 

http://www.benjaminkanarekblog.com/2010/01/16/in-the-wind-making-of-video/

 

 

<blockquote>

<p>Savas, none of those shots required an f/2.8 on a 7D</p>

 

</blockquote>

<p>The hatters store was shot at f/3.2; ISO 3200.</p>

<p>Other interiors at the museum really lacked available light, such as this one, shot at f/2.8, ISO 6400.<br>

<img src="http://SavasK.zenfolio.com/img/v5/p208865852-2.jpg" alt="" /><br>

or F/2.8, ISO 1600<br>

<img src="http://SavasK.zenfolio.com/img/v1/p230235929-2.jpg" alt="" /></p>

<p>Camera body was 5DII.</p>

<blockquote>

<p>Yes, but I see a lot of suckers carrying about a million tons of equipment when it is really not necessary. It is not a matter of not being able to carry them, but it is a question of enjoyment of the process. It is the same kind of question as to whether it is worth packing that 400mm lens if you are only going to end up taking 3 out of 100 shots with it. No one can answer this kind of question. It is impossible to carry every lens you might conceivably need - it is all about compromises.</p>

</blockquote>

<p>Robin, your comments are extreme and overreactive. Million tons of equipment? Carry every lens you might concieveably need? Take only 3 out of 100 shots with it? All from my saying I will carry a 2.8 all day if I think I will need it?<br>

An apt example is shooting an air show with it, coupled with a 1.4 TC.<br>

<img src="http://SavasK.zenfolio.com/img/v7/p296137650-2.jpg" alt="" /><br>

<img src="http://SavasK.zenfolio.com/img/v7/p283880924-2.jpg" alt="" /><br>

Or visiting an outdoor/indoor museum like our Old Bethpage Restoration.<br>

<img src="http://SavasK.zenfolio.com/img/v2/p314939468-2.jpg" alt="" /><br>

<img src="http://SavasK.zenfolio.com/img/v7/p36682269-2.jpg" alt="" /></p>

 

<p>I will carry my 2.8 all day if I think I will need it. Some folks avoid stairs, then walk the Stair-master at the gym. Same goes for avoidance to carrying heavy objects, then preferring to heft bar bells for a work out.</p>

<p>I don't care for auto mode in the Canon point and shoots I have had or tried. Switch it to program, and then we're talking. I, too, vote for S90 as a pocketable camera, though it has compromises that only the buyer can decide they can accept. Ergonomics stinks, but the camera can be slipped in a pocket. Rear wheel takes getting used to. Pop-up flash elevates unexpectedly until you know how it works, then you know what to expect and adjust to it. the good: 2.0 lens at the widest aspect. Reasonable low light performance. Raw capture in a small form factor.</p>

<p>If you are only going to get one zoom lens in that range and want maximum versatility, the 2.8 L IS delivers maximum versatility. The f/4 version is lighter and easier all around, except when the light starts getting dim. They are both great lenses. Try to visit a store that has both in stock to get a feel for them.</p>

<p>Sometimes it is good to pick easier targets.<br>

The array of tones in an interior space that is both shaded and sun-drenched is huge.</p>

<p>I did that Howard. It works good.</p>

<p>You are welcome three times!</p>

<p>John, you might discover a weakness in 5D II which is the crappy outer focus points. This tip will save you time later when you start seeing out of focus images. Count on your center focus point to nail it. Leverage the large 5DII image sizes for artistic cropping, in order to make up for having to use the center point, especially when fast action prevents a focus/recompose move. Fast action is feasible in a 5D II, but the camera body is not optimized for it, therefore you have to work for it.</p>

<p>Here is some action shot with the same equipment as John’s.</p>

<p><img src="http://SavasK.zenfolio.com/img/v1/p197562363-3.jpg" alt="" /></p>

<p><img src="http://SavasK.zenfolio.com/img/v7/p795969242-3.jpg" alt="" /></p>

<p> </p>

<p>I bought the 270 expressly for using my 5DII in family party point and shoot mode. I get enough practice with my 580's and don't wish to haul them around for such use.</p>