enzo_simonelli

If they offer the Sigma EF 500 DG <b>Super</b> <i>by a good price</i>, I would go in place of SB600; I maybe would not for the Sigma EF 500 DG <b>ST</b> (STandard).

<br>The Super has full manual dial (Vary-Power); the ST, full and 1/16 Power only.</br>

<br>The Super is more alike the SB800, indeed; You may manually dial on the Flasher's body itself, steps of Power-output by 1/1 (full), 1/2 (an half), 1/4, 1/8 and go on.</br>

<br>With the ST, every Manual Power-setting has to be done by the Camera body; or by keeping at i-TTL</br>.

By the way, did You forget <b>2nd Curtain Sync</b> Custom Function on the Camera setting?

If so, the delay You see, is normal: it should increase along with longer/slower a shutter-speed You would change to.

I assume You are firing Studio Strobes as wired to the 5D's PC outlet - OR - with on-Camera 580EX/550EX set for M Manual-mode and the 3-positions switch at the base of the 580EX has to be dialed to OFF; otherwise, You still get a pre-flash from the on-Camera Speedlite, triggering the Strobes too early (out of Sync).

On the very moment the Camera sets Power-ON and AS initialization, it dryes much current. So, problem may still come from the side of the battery; Li-ion rechargeable battery might start exausting and became unable to supply the starting-peak of current.

 

Also, cleaning contacs of both the battery and the Camera's battery-housing by a stik of wood (no scratching metal) should be attempted: Li-ion batteries generate smallest specks of sort of black things, along the contacs.

 

Worth an attempt would be, powering the Camera by a 6 Volt DC External Power-Supply; it fits into the plug beeing on the back of the Camera, right-hand side, hidden by cup.

 

Let me know how that develops, as I am interested in the Dynax equipment as well.

 

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And if you use a flash template for the gallery, then they cannot right click and download a picture.

 

[p]Flash Player 9 can't survive a screenshot, yet:

http://www.dynamicfactory.us/xmlswfdemo/f1/index.html<div></div>

Tray leaving both the Power-switch and the AS switch ON, now open the batteries' door and take them off.

 

And leave the Camera without batteries to 24-48 hours.

 

Then turn every switch OFF and insert a set of FRESH batteries. Try the gun at once.

For free, spaces and templates to get experimenting at :

 

https://www.blogger.com/start

 

You get which template to be choosen, at certain step of "Create an account" procedure. Once signed-in, You can even open, access to template's HTML code and modify it.

 

If You scroll people's blogs, You find someone was able to insert Creative Motion things, too.

 

You may open a blog of these as Your Home-page, well; then in the Template HTML You insert a linkage to a free-storage fotogallery. I can say: http://www.gallery.camera-info.com/index.php

 

Free best greetings from Italy

K? Scale (Kelvin degrees) wants to simulate a material, say 'piece of iron', emitting light along with its becoming more and more hot.

 

At first, at low temperature it starts emitting Infra Red rays as heat, not visible Light though; it appears as dark, still. Then, it starts emitting visible Light, only in the Red cast, but.

 

Around 2700-3400 K? it is in the range of Tungsten Incandescent Wire as employed inside lamps; here You get a colour-cast of Light where Red and Yellow are heavily present. Blue components are still almost absent; this is why the Orang-ish lighting given by incandescent bulbs, domestic ones or photographic-type either.

 

Blue rays appear along with increasing of temperature.

 

But this works for incandescent sources. With fluorescent chemicals, a peak suddenly goes on in the middle range of colour scale, in the green-ish zoone.

 

The true is, fluorescent bulbs/tubes turn Red/Green tens of times in a second, so achieving sort of white-Light to the human eye.

Marc Williams wrote: " ... this is because you may need to increase the depth of field when shooting multiple rows of people ... "

 

Greg Jansen wrote: " How would shoot a processional without a flash? A fast lens used at its widest aperture is going to have such a shallow depth of field that you would be lucky to get one out of 10 shots usable. "

 

This is a good reason for Andrea, beeing aimed to do mainly-Natural Light works, to hold Her current Olympus equipment, too. This small-sided sensor Camera wants wider a focal-length to catch the same scene as an APS-C sized Camera does instead through a less-wide lens.

 

The wider/shorther the Focal-Length, the depther the depth-of-field; still by same f/value. I can suppose She at a reception, She dialing to a large Aperture to catch as more Natural Light as possible, so incurring in the "shallow depth-of-field" thing; as more if APS-C and even more if FullFrame sized Sensor.

Hi Rebecca!

 

If I recall it right, Olympus was 1-2 years ago introducing Liveview LCD on their E-330; and We are talking about an interchangeable-lens digital SLR at all, also featuring built-in pop-up Flash and hot-shoe port.

 

They do exist. It just is not a Canon.

 

Most likely others also went introducing. A drawback anyone may find with Olympus, is their small-sized 13x17mm Sensor; Canon/Nikon run around 16x23mm.

 

You for sure can find Liveview LCD on certain simil-digital-SLRs, also so-called "prosumer"; not interchangeable Lens, though.

 

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I follow and develop Nadine's addressing: don't be in a hurry to get rid of Your current equipment, not so bad really, but hard to be re-sold fast and well.

 

Good a deal for the money, it MIGHT arises on Konica Minolta Digital Reflex Cameras, worth a sight.

 

Maxxum 7D (2005, Jan) 6 Mpx http://www.dpreview.com/reviews/konicaminolta7d/page2.asp

 

Maxxum 5D (2005, Jul) 6 Mpx http://www.dpreview.com/news/0507/05071503kmmaxxum5d.asp

 

Also marketed as Dynax 7D and Dynax 5D (here in Europe) both them feature *** sensor shift based Image Stabilization ***; that translates into 2-3 slower steps as available Shutter-speeds, without incurring in Camera-shake blurring. So You can capture more Natural Light thanks to slower shutter, still if almost-steady subjects.

 

Every Lens You mount, became stabilized; good range of Lenses available.

 

Neither Canon or Nikon still offer Image Stabilizer at Sensor level: they turn You to buy, IS/Vr called, Stabilized Lenses, things of expensive.

 

Maxxum/Dynax 5D 7D are also good ISO-performers: lowest noise up to ISO-800; ISO-1600/3200 also there.

 

As a previous poster recalls us, Sensor's dimensions (how much large it is) enter in play in the "shallow Depth of Field" thing. Konica Minolta DSRLs have 23.5 x 15.7 mm CCD sensor, as large as Nikon D70 D200 and Canon 400D 30D have (so called, APS-C frame; Full-Frame is Canon 5D's 36x24mm Sensor). Olympus DSRLs instaed, employ smallest 17.3 x 13.0 mm one. Held Your Olympus as a worth back-up equipment.

 

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A Monopod would be a great option, equiped with a quick-release plate Head; many used ones around there. It helps enabling to dial to slower shutter-speeds, than how feasible by hand-helding the Camera; You gain 2 steps, at least (from 1/60 hand-held, to 1/15 with Monopod).

 

Bogen-Manfrotto Monopods:

http://www.bogenimaging.us/Jahia/site/bius/pid/6780/cache/bypass?actualPathCategoryKey=1CAT:AAA1:2CAT:BB34:3CAT:CC13:4CAT:D440&curMarketId=NONE&curBrandId=NONE&kindOfProductCollectionRequest=productList&isCleanList=true

 

The Heads:

http://www.bogenimaging.us/Jahia/site/bius/pid/6780/cache/bypass?curLevel=1CAT&curFamilyId=NONE&curMarketId=NONE&curBrandId=MAN&actualPathCategoryKey=1CAT%3AAAA1%3A2CAT%3ABB34%3A3CAT%3ACCC1%3A4CAT%3AD153&productContainer_windowsize=10&ctnscroll_productContainer=&productSort=productBrand&productSortOrder=asc&kindOfProductCollectionRequest=productDetail&detailPid=8183

 

Prices:

http://www.adorama.com/BG679.html

http://www.opticsplanet.net/monopods.html

 

My greetings to You:

ciao

 

.<div></div>

Panel Reflectors: the more You bring the panel far away, the larger it has to be.

 

So, sort of cheap material, home-made large panel(s) out there.

Since the Zuiko 35-100mm f/2.0 needs to be afforded and indeed with it at 100mm, You might expect more-but-not-so-much more than with Your 50/2 (in respect of "shallow depth of field" whole-body shot from far away), take into consideration a third-brand "prime" Lens:

 

Sigma 150mm f/2.8

 

You can buy it by one-third at least less, than the Zuiko 50-200mm f/2.8-3.5 which at 150/200mm no longer keeps f/2.8 and 200mm will be way often too long (400mm equiv.), almost un-usable in weddings.

 

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" ... some *tricks* to get away with not using flash at all for a wedding".

 

A Monopod with a quick-release plate Head !

 

As long as Bride&Groom won't start dancing in front of the priest (usually they keep steady), You can shoot long shutter-speeds, say 1/15 with no Camera-shake, thank to a Monopod.

 

It is hard instead to get, a steady image by an hand-held 100mm (200mm equiv.) Telephoto; this lead You to 'spend' LV by setting 1/125. Unless You have E-510 featuring sensor shift based Image Stabilization.

 

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Almost OT. Kind of Filters also may turn as useful: Center Spot, Soft Spot, Sand Spot.

 

Center Spot consist of a glass really acting as a diophtric lens, likewise close-up lenses, but an hole in its center. Since You put in focus what is in the center of the frame, this mainly acts through the hole; everything else around get yet affected by the diophtries, so resulting into a enhanced out-of-focus effect.<div></div>

Canon did a version of 20D, 20Da where the inner filter, as beeing in front of the sensor with very DSRL, is here much more allowing IR rays to pass through.

 

Sigma 10D I own, has the Sensor's filter easily removable by a few screws; someone I know, did it.

 

Once the Sensor is made free to get IR rays as embeded in the Light, now a specific Filter for IR Photography has to be placed on the Lens; this works on the contrary than the inner filters commonly installed on DSRLs. The Filter on the Lens, stops large amount of visible Light BUT the InfraRed rays, which are instead allowed to pass through.<div></div>

The only brand making flash-equipments able as to radio communicate, as to keep E-TTL metering, is Q-Flash:

 

http://www.qtm.com/QFlash/?res_set=yes&res=1280&resh=800

 

You can not yet arrange an E-TTL multiplte set-up by mixing wireless radio-Qflashes with Canon Speedlites. Quantum works out a rather expensive investment, but if You often shoot weddings, this solution also could be worth.

SB800 can prevent its pre-flash from firing and then, it can take place inside a Studio-Flashers set-up; e.g. SB800 as on-Camera triggering unit in full Manual setting.

 

Not sure for SB600, if it goes Manual-mode through the Camera only, maybe it persists emitting pre-flash; if so, it as triggering unit would fire the slave Strobes prematurely.

I think to understand, You would like to keep large Aperture in bright environment, too; where I do not find fast enough shutter-speeds able to stop the light. Make a research for ND Neutral Density Filter as well as Polarizing Filter.

 

They consist of dark-ish glass; they screw in front of the Lens and stop/absorb part of the light. A ND2 Filter absorbs 1 Stop, likewise turning from 1/1000 to 1/2000; a ND4 absorbs 2 Stops and a ND8 cut down 3 Stops.

 

In other words, seen by the Aperture side: instead of turnind from f/4 to f/11, You mount a ND8 and keep f/4, still achieving the same exposure.

Natural incoming Light only; and long-Exposure. Not needing high ISO, then.

 

Thanks to a several minuts long-Exposure, You can made a second attempt with an hand-held home-light moving and aimed all around towards the arms.

Continuos-Light -or- Flash a source ?

So, shooting at f/3.5 t='60 under the situations You figured out, We get the Subject right exposed and a far away Background as -1 and 1/2 ev underexposed.

 

In practice, keeping f/2.8 is still a good well-balanced choice: Subject +1/2 ev overexposed and Background -1 ev underexposed. Both shots to be taken as "braketing", if possible.

 

Still agreeing with "Chuck Norcutt" to all His considerations else, let's yet go ahead with the reasonament assuming the Guide Number 17 You reported is right as one obtained by metering or testing.

 

But wait! What if We aim not to overtake the f/2.8 capability of the Lens? Lighting has to be dimmed, now.

 

The existing Light 8 EV can translate from f/2.8 1/30 to f/2 1/60;

 

The Flasher at full-power (GN 17) delivers good for f/2.8 just syncing the shutter at X-Sync or slower; if Your Flasher could be manually dialed down, at 1/2 power (GN becomes 12) the said Subject is right exposed with f/2.

 

So now We have f/2 + f/2 = f/2.8 (two equal amountings of actual-Light summing like in my first sample). So doing, at f/2.8 1/60 with Flasher at 1/2, We avoid any overexposure on the Subject and still keeping the Background -1 ev only as underexposed.

 

For the records: GN becomes an-half when the unit is dialed at 1/4; GN 8 with Yours.

 

RRRRRIIGGHT ? And clear, I hope.

 

Wishes from Ligurian Sea.

Well, buy common inexpensive hot-shoe Flashers having Manual-mode and output manually adjustable on the Flasher's body itself; like:

 

Vivitar 285

 

Sunpak auto 433D / Sumpak 383

 

Canon 430EZ / Canon 540EZ

 

Nikon SB20 / Nikon SB24 / SB28

 

(many others ...)

 

Don't care if they have different dedication than Your Camera Brand, if any: since You will use them in Manual-mode as Studio-Lights, all them turn the same.

By the way, do You have HSS (High Speeds Sync) set ON in the Flasher? Assure it is turned OFF.

 

Did You tried by setting for rear-sync in the Camera's menù, as well?