RickDB

<p>Jamie, You have to shoot a series of 10 shots (may work with just 5, I've not experimented). Selecting the "Attempt to Automatically Align Source Images" when you load the files into the stack takes care of the movement of the stars. Since noise is random, the "Mean stack mode" looks at the value of each pixel in each of the aligned layers and takes the average value, thus the noise disappears - so the more shots, the better.<br /> I'm not an astrophotographer, but I did want my own starry sky for PS work. The other key thing is that you have PS5 <em>extended</em> - the "Mean stack mode" is not available in the regular PS5. You can see an example entitled "Milky Way, as seen from Planet Earth" in my Namibia folder. Cheers, RickDB</p>

<p>If you have the extended version of PS5 you make want to try this technique which I found to be remarkably effective. Take a series of duplicated RAW shots, say 10. Load all the files into your RAW converter and make adjustments as required to the middle exposure (ie 5th of 10). Once you have everything as it should be, click on "Select All" and then "Synchronize", and "OK" for all the default selected settings. Once the settings are applied to all the shots, click on "Done". Next open PS Extended and click on "File", "Scripts", "Load Files into stack.." - this brings up the "Load Layers" window, click "Browse" to find the files you have just processed in ACR. Load the files and activate both the "Attempt to Automatically Align Source Images" and "Create Smart Object after Loading Layers" options, and then click "OK". Your computer will then start some intensive calculations. The moving star field will be aligned and you will have a slightly skewed "Smart Object" image with the stars lined up. Now go to "Layers", "Smart Objects", "Stack Mode", "Mean" and then the layers will be combined essentially eliminating the random noise (amazingly effective!). Flatten the Smart Object, crop the asymmetric image and make further adjustments in PS. I found that the best sharpening was "Smart Sharpen" using the "motion Blur" to minimize the star trails.<br>

This technique worked well for a 24mm view (5D2), exposure was 30s @ f/4.0 at ISO 3200 - and the noise was essentially eliminated. Of course, for longer focal lengths you would need shorter exposures to control excessive star trails - then a tracking telescope would be the answer.</p>

<p>My ST-E2 Transmitter works a treat as AF focussing aid in low light with my 70-200 F/4.0L IS and 7D or 5D2.</p>

<p>Graffiti in Sete</p><div></div>

<p>Not my usual type of subject, but this graffiti on the highly textured shutters seemed too good to miss. Taken last week in Sete, France; 5D2 / 24-105L at 24mm 1/20s @ f/8.0 ISO 200.</p>

<p>Basilique St-Nazaire, Carcassonne. 3 years ago I tried to capture the same shot using a Canon 40D with 24mm TS-E lens and tripod - it required a 2 x 2 grid pano to capture the whole scene and the result was not as good as this single handheld shot taken with 5D2 + 17mmTS-E. Truly remarkable technical progress from the 5D2 sensor, 17mm TS-E lens and improved CS5 processing. 1/40s @ f/5.6 ISO 1600.</p><div></div>

<p>Spring has sprung in the Languedoc. 7D / 600 mm; 1/1250s @ f/8.0 ISO 400</p><div></div>

<p>Dawn light through icy window. 5D2 17mmTS-E, 1/500s @ F/8.0 ISO 200. Lens choice not the best but it was what was on the camera when I spotted the shot.</p><div></div>

<p>Shooting from a moving train is quite a challenge - not only is it almost impossible to hold the camera steady but the scene before your eyes is constantly changing, and unexpected trees and posts suddenly pop into the frame just as you release the shutter. Selecting a high ISO and moderate aperture results in high shutter speed which will freeze the motion - all you need now is a bit of luck.... 5D2 / 24-105mm at 24mm - 1/2500s at f/5.6, ISO 1600.</p><div></div>

<p>5D2 / 100 f/2.8; 1/250s @ f/5.6<br>

First time in snow - after two minutes she was decidedly unimpressed!</p><div></div>

<p>This sturdy iron cross made a fine substitute tripod to capture the landscape in the background.</p><div></div>

<p>This might work:<br /><a href="http://cgi.ebay.com/Canon-EOS-EF-28-70mm-f-3-5-4-5-II-lens-READ-PROBLEM-/140527696905?pt=Camera_Lenses&hash=item20b81a7c09">http://cgi.ebay.com/Canon-EOS-EF-28-70mm-f-3-5-4-5-II-lens-READ-PROBLEM-/140527696905?pt=Camera_Lenses&hash=item20b81a7c09</a><br>

edit: Sorry, no it won't - not f/2.8!</p>

<p>Hi Maury,<br>

For a photo safari trip I wrestled with this same issue. In the end I took both the 100-400 and 300 F/2.8 + 1.4x and 2x! From my experience, if I had to chose, I would definitely go for the 300mm + extenders. The picture quality was excellent, even with the extenders, and 300mm has excellent IS and is hand holdable with care. I took both a 5D2 and 7D and I used the 300mm with or without extenders for more than half the shots - of which 60% on the 7D and 40% with 5D2. I only used the 100-400mm for 13% of shots, almost all on the 7D. However, the 100-400 is very capable, more managable in a confined space and has the flexibility of a zoom.<br />I have quite a few example pics in my Namibia folder - lens details are included. Most of the birds, animals and many of the people shots were taken with the 300mm. Cheers, RickDB</p>

<p>I don't think you will be happy with the image quality from 100-400mm / 2x ext combination - so may be the 7D would be better bet, leaving some spare funds for better glass. The Canon 300mm F/2.8 IS with 1.4 and 2 x telextenders (not at the same time!) is an awesome combination with the 7D - this gives you 480, 672 and 960mm equivalents with the 7D, perfect for bird photography.</p>

<p>Arie, I'm not sure what you have proved with your hoarfrost test shots - if you sharpen the full RAW image to the same extent as the mRAW, it will probably be better. However, there is a definite difference in color between the two images - just look at the in focus branch, the mRAW is a little "cooler" to my eye. It would seem color data (not surprisingly) is altered too.</p>

<p>You might find this on-line article entitled "Back-Button Auto Focus Explained" of interest:<br>

<a href="http://usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2286">http://usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2286</a></p>

<p>Pretty Southern Belle (Battle of Olustee re-enactment)</p><div></div>

<p>Minature Zebo cattle, taken in Florida yesterday in the late afternoon sun. This 6,000 year old breed originated in India and fully grown are only 42" in height but perfectly proportioned.</p><div></div>

<p>To some extent it depends what type of safari you are on and what your interests are - the Canon 100-400 is versatile and well suited to general safari tours. On the other hand, if you are on a trip specifically for photographers then the better choice may be a prime telephoto lens with multipliers - on a recent photography safari I used my 100-400 for 17% of shots and 300mm f/2.8 with or without either a 1.4x or 2x telextender for more than 50% of my shots. If you are particularly interested in birds, then the 100-400 may be a bit too short. If I had to choose, I'd leave the 100-400 at home for a photography safari and take the 100-400 for a general safari. Consider renting for the prime. You will also need some sort of supplimentary support - I found the Puffin Pad worked extremely well, although it is not as compact as a bean bag. Tripods and even monopods are just too cumbersome for use in a jeep, but the former is essential when camped at the waterhole. Enjoy your trip and post some pics!</p>

<p>Cannon synchronized with Canon (after 40 attempts!)</p><div></div>

<p>For landscapes, the usual things like tripod, MLU (LV), cable release are essential - LV works really well for accurate focussing on both the 5D2 and 7D. I usually shoot in AP mode (or manual). One useful tip is to set the WB to daylight - it prevents the camera from over correcting for the strong reds and yellows of sunrise/set so that when you preview your shots on the LCD you have better impression of how it really looks. Of course, if you are shooting in RAW you can adjust in post. As for lenses, any thing goes. I've shot dunes in Namibia with anything from 400mm to 10mm. With the long lenses you can get some interesting perspectives, but you have to watch out for atmospheric thermals distorting the image (can make for interesting shots though!). Don't forget to think panoramics too.</p>

<p>Your Nikon friends may be right about the Zeiss 21mm f/2.8 - an awesome lens. Having said that I, if I had to choose between that and the 17mm TS-E, I think I would keep the 17mm TS-E. As for zooms, the 70-200mm/f4 L IS is fantastic.</p>

<p>It looks like some sort of "electronic" distortion. A couple of things you might check out before sending the camera for servicing: Do you have faulty CF card? ie does this distortion show up on more than one card? Could there a problem with the card reader - try downloading directly from the camera and via a card reader and see if there is any difference.</p>

<p>Selecting a focus range that you know you will be working within can speed up autofocussing - the camera doesn't have to 'hunt' for focus throughout the whole range of 3' to infinity.</p>

<p>In Istanbul I used my 24-105 for about 60% of shots, 17mm TS-E 30% (great for keeping those minarets vertical), and 70-300 DO 10%. Of the shots with the 70-300 few were over 200 mm. If I were you I would take the 70-200 and leave the 300mm f/2.8 at home. If you think you might need the extra length I would take the TCx1.4 (I also took a 5D2 with 40D backup).<br>

Other tips, tripods are not allowed in virtually all the mosques and museums but are essential for those cityscape dawn and dusk shots. Hagia Sofia is a must, but be sure to get there before opening time so you can get a few shots without too many visitors. See my Turkey folder for some examples.</p>