lawrence_li

<p>I would still be happy and the reason is this: When I bought the lens initially, say for $1,000, I'm saying to myself that I value this lens (and what it can do) more than I value my $1,000. Otherwise, I wouldn't have bought it.</p>

<p>If the lens then drops to $900 tomorrow, sure I felt like I could have gotten a better deal, but it does not change the fact that I still value the lens more than I value $1,000! So I still got my deal. Unless, if I was in the business of buying and selling lenses, in which case I would have to be sensitive to how others value the same lens. </p>

<p>I'd definitely recommend reading Predictably Irrational by Dan Ariely.</p>

<p>Shot of the bride getting her nails done:<br>

XTi, Canon 17-55 f2.8, 55mm, f2.8, ISO400</p><div></div>

<p>The thing about getting below 17 or 16mm is that the style of the pictures is dramatically different - It's not just about getting all you can get into a frame. Another use is for dramatic size effects: You can get what seems to be a normally small subject/object and make it look really really big compared to everything else. As such, I would suggest you borrow a lens with this wide of a focal length first to see if you like it or want this type of lens.</p>

<p>It would also help to understand what you find is limiting on your current kit lens to help recommend a new one. Is it the variable aperture? Low IQ? Low AF speed? Kit lenses are decent for most pictures and they are (in general) relatively light compared to fixed aperture zooms. Depending on your answers, might you consider a 24mm, 28mm or 35mm prime instead?<br>

That said, I can vouch for the Tokina 11-16 f2.8. The larger aperture is also helpful for photos in lowlight situations such as museums or buildings.</p>

<p>Frank, you must be a politician, or a newsman, not to understand kettle and pot.<br>

I agree with Jeff's point. At the end of the day, there's no perfect camera equipment, there's always some limitation at some point. It's always a game of dollar spent vs what you can work with and want to achieve.</p>

<p>ND filters stand for neutral density - which means they don't change the color of your pictures only reducing the light hitting your sensor. Any decent non-ebay cheap ND filter will give you that ability without affecting your image quality.</p>

<p>The only time this really becomes an issue is when using a 10-stop ND filter, they do have color casts to them. A 2 or 3-stop ND filter will not. Some flare? Maybe if you shoot straight into the sun.</p>

<p>If you understood this then you you will come to the conclusion that the statement below is just limited or plain wrong:</p>

<p>"ND filters [are an] image degrading attachment".</p>

<p>An ND filter is a cheap option ($30 for a 77mm 2-stop B+W) so that:<br /> 1. You don't have to run out and consider a HSS flash when you don't really need to be shooting that fast.<br /> 2. Allows you the use of the full power of the flash</p>

<p>By advocating ND filters, I just wanted to point out that there are more than one way to skin a cat. And sometimes, we need all the tricks we can get.</p>

<p>In summary, as an outdoor only flash (ie: no need to rotate anywhere fancy) I would get the highest power you feel comfortable spending. (For one subject, you can get close with the flash, what about 2 or more people in your shot?) But like Scott pointed out, a 430EXII has nice integrated controls within the camera. The choice is yours at the end of the day. Only you can decide how and when you will use your flash. </p>

<p>Cheers.</p>

<p>Yes, a 430EXII is not a bad choice at all, I use one on my XTI.</p>

<p><br /> If outdoors, you don't have much to bounce a flash off of, and a direct flash even with some diffuser on the front won't really have a huge diffusing effect. The only way to get pleasing and natural (like a flash wasn't even used) is using off camera flash with umbrellas, beauty dishes, softboxes, etc. This is a whole other ball game and depends how much $$$ you want to spend.</p>

<p><br /> However, for posed shots outdoor (if the subject isn't running around) I find that a reflector works wonders. Best if you can get an assistant, aka the voice activated reflector, or you'll have to get a reflector holder and stand. A Chinese reflector is <$30 for a 43" one.</p>

<p><br /> As for the question for HSS, you only need this for high shutter speeds. And strictly speaking, the high shutter speed is only needed for moving subjects. For wide open apertures, use ND filters to reduce your shutter speed. The only consideration you have to make is can the flash beat the power of the sun? If yes then slap as many ND filters or CPL as necessary to bring that shutter speed below your max x-sync.</p>

<p>PS: There is a great episode on Adorama TV explaining the use of flashes and reflectors in bright sunlight. It's on youtube as well. Can't remember the episode number though.<br>

<br /> Have fun!<br /> -Lawrence</p>

<p>Up on Burnaby Mountain here in sunny BC. First shots with my new toy, 17-55 f2.8 IS USM. F/8, 1/50, iso100, Rebel XTi.</p><div></div>

<p>IANAL, but actually copyright of the photographs in Canada and UK are, by default, owned by the person who commissioned them, not the photographer. You are however, allowed to modify this default using a contract. <br>

http://en.wikipedia.org/wiki/Canadian_copyright_law#Photographs<br />http://www.lr.mdx.ac.uk/copyright/index.htm<br>

Even if you sign over a copyright, that only gives them the right to reproduce the images but does not allow them to modify your work. Doing so could potentially damage your reputation and I would make them aware of this fact.<br>

Cheers.</p>

<p>Hi Kate,<br>

I got the Canon 28 f/1.8 USM for the exact reason you did. Indoor, no-flash photography. The 1.8 is great, the USM focuses fast and the pix come out sharp on my XTi and it's almost a standard 50mm equivalent.</p>

<p>Got mine second hand at around $500. It's on my camera most of the time.</p>

<p> </p>

<p>Hi Naveen,<br>

The 50mm f/1.8 will be a tad too long for indoor photography unless all you want are headshot portraits. And it's a pretty good portrait lens at that. If you want fast focus on fast action, I wouldn't rely too heavily on it but for $100, it can't be beat. That said, the kit lens might be a decent option as well, especially if you do group photos. (I can rarely get away with anything less than f/4 for the depth of field, it's hard to line up everybody exactly on the plane of focus!)<br>

The 430EX II is a good choice but after learning with it, I wish I had gotten the 580EX II instead. This flash is more powerful but more importantly, the head swivels both ways 180 degrees which is useful when you are bouncing your flash. But of course the 580 is more expensive and heavier.<br>

If you're ordering any of these things from places like B&H, look for a Rosco gel filter sample. It's about $1 or $2 and you might as well get it without paying for more shipping. You'll use it later after you get used to bouncing flash indoors :)<br>

Happy shooting!</p>

<p>As a direct response to the original question, price is the easiest thing that people try to differentiate their product. But it's also one of the most useless. Why? Because everybody can lower prices, that's easy, it's not an advantage. </p>

<p>But how come Walmart is so successful? Because they are not only cheap, but they offer everything in one store and because they managed to offer it to small towns where their excellent logistics let's them reap profits where others cannot. Those are Walmart's real advantages, the price is just what the consumers sees, but not every consumer will like Walmart's style and the cheapness of the product. What are the real advantages that you have to offer to your client?</p>

<p>Let's look at this from a customer's perspective. In general, it does not matter how good you think your product is, it does not matter how good you think your photos are, it does not matter how good your photo equipment is, the only thing that matters is, the customer's PERCEPTION of your product's value.</p>

<p>Perception is a fickle thing, each person feels differently about the exact same thing, it's emotional and sometimes irrational. That's why business people like to separate out their customers based on something called market segments. Segmentation can be based on price, base on customer's culture, whether the customers are informed consumers or not, based on age, based on style, race, sex, etc etc.</p>

<p>You cannot hope to ever target your product and services to every bloke on the street. What you would end up is a washed out message, a kind of jack of all trades, master of none and ends up being swept aside. What you need to decide is, based on the market segments, which ones should I go after? Which ones am I in right now? Do I want to market myself to another segment? Do I have the skills and know-how to get those segments? Does it make financial sense for me to go after those segments? How can I market myself to those segments? Once you've decided, then you know where you can excel and let every other photographer make their living in some other segment. You can't be the master of every segment.</p>

<p>As an aside, next time when you're watching advertising on the TV, ask yourself what the company tried to convey and which target segment they're trying to go after. You might be surprised to find even large companies like Coca-Cola don't try to market to everyone.</p>

<p>PS: Marketing is not the same as advertising, but this is another matter altogether.</p>

<p>I use M mode anytime flash is the main light source. Canon has this annoying habit of always trying to expose my background "properly." In M mode, I choose depth of field (using aperture) and I choose the ambient level (using ISO and shutter.) The flash on E-TTL does its best to light my subject properly. <br>

Now, there are some variations depending whether I need to stop action, it might come down to a combo of shutter speeds and flash but the basic formula remains the same: M mode is crucial.</p>

<p>Hi Michael,<br>

You can also check out the 28mm f/1.8 USM. I have this on a crop XTi body and I love it. I do mostly landscapes and people. Half body shots and group shots are nice with it even in low light. Focus is fast because of the USM but the price is a little bit heftier. (For portraits I usually only use my 50mm f/1.8 right now.)<br>

But just to throw another wrench in your choice, there's a 100 f/2.8 IS Macro lens too if the 135 is a bit long... Not sure how the bokeh compares but there is the IS so you can handhold it at slower speeds and let you get into macro photography if you're interested.<br>

PS: I too am debating the tele range, primes or one of the 4 flavors of 70-200...</p>

<p>Tokina 11-16 works past 15mm on my EOS Elan 2 body. Works wonderfully on my XTi normally.<br>

Enjoy.</p>

<blockquote>

<p>I have the EFS-18/135 and the 70/200L and when used at ƒ8 and printed to 13" x 19" I don't think anyone could tell the difference.</p>

</blockquote>

<p>The point here is that if you are using the lens at f/8, outdoors bright sunlight and huge DoF then yeah, either lens would work. Instead the point of this expensive L lens can be used fully wide open and has superb and consistent IQ across the entire image combined with flawless focusing that will work every single time. If you're always stepping down then there's no point in buying a fixed large aperture zoom lens. Save yourself the money (and your neck!) and buy your other half something nice.</p>

<p>Hi Shawn, <br /> Canon flash system is designed completely different from Nikon's and here it is: When in any semi-automatic mode (Av, Tv) the camera will always always try to make the background the "right" exposure level. As a result, if you don't like the background or ambient exposure level, you're going to have to use manual mode to get the right background lighting. Since you're on digital, this is easy, take a few test shots with your camera at some desired shutter/aperture and iso setting and see what you get. Keep in mind that aperture and iso are the two main factor affecting the max output of your speedlight. (Shutter does not play a role until you exceed the max X-sync rating of your camera body.) There is no "right" exposure level for the background, it's done entirely to taste.</p>

<p>Once you have the right background exposure, it's time to let the flash do it's thing via ETTL and light up the foreground to what the camera thinks it's right. If the camera starts blowing out features that you would like to keep, use flash exposure compensation (not exposure compensation) to dial it down or up as the situation requires. You can access FEC via the speedlight or the camera body.</p>

<p>Finally, please take a look at Neil van Niekerk's website for excellent tips on flash photography.</p>

<p>PS: Depending on the exposure mode, the camera might have even tried to light the entire scene. Check your speedlight and see if you saw the green light turn on. If it doesn't and the flash takes long to recharge, it means the camera wanted more power than the speedlight can put out. And if features of your subject are already blown out, then the camera is trying to exposure for the wrong thing and/or you're at the wrong flash compensation.</p>

<p>See if you can guess what camera I used to take this picture below. Basically at the end of the day it's how you put that camera and lens to work. This shot could have been taken by any camera, from the XTi and up to the 5D mkII and you probably wouldn't know the difference unless I printed them wall sized and had them parked next to each other. <br /> The question at the end of the day is what are you using the camera for and can you use all the features of your particular system and is that system limiting your ability to make those pictures? Ie, not enough cross AF for fast action photos? Not enough high-ISO for low light work? etc etc. And you will only find the answers for yourself after you click that shutter lots and lots of time while taking pictures that really excites you. <br /> Don't forget that a reviewer for any one camera is viewing it through their experience and what they want and need out of a system. Those needs may or may not line up with yours and you need to take what they say with a grain of salt. Just go out and enjoy your shoot!<br /> (By the way, the shot was taken with a 28mm f/1.8 USM and a $20 EOS Elan 2 on Fuji 200 from the local supermarket. Post processed of course.)</p><div></div>

<p>Canon USA has the XTi rated for X-sync at 1/200.<br>

http://www.usa.canon.com/consumer/controller?act=ModelInfoAct&tabact=ModelTechSpecsTabAct&fcategoryid=139&modelid=14256</p>

 

<p>I've used it successfully on an Elan II at 15mm and up. Here's a sample shot. I don't think you will hit the mirror because if you look on the back end of the Tokina, the rear lens element is actually recessed inside.</p><div></div>

<p>Well it sounds like you have contradicting goals:<br>

1) Flexibility in range<br>

2) Low light<br>

3) $300 budget</p>

<p>I dont' think you can get all 3 of those at the same time. At best your suggestions would only give you 1 and 3. The other two aren't going to get you that much better off because the aperture are the same, so you would get the same low light performance. What are you shooting? Moving objects or still objects? If it's still objects and lowlight then any of the above suggested IS would be the answer. (although you might want to ask yourself if the low end is wide enough on a cropped body.)<br>

If your subjects move then you really have to go with a prime lens at this budget. A 24mm f/2.8 or 85mm f/1.8. These are pricey but again, you'll have to decide what you want to shoot at versus what you can afford and what you want to carry. </p>

<p>PS: ISO 1600 is very useable on an XTi after Noise Ninja and if you're not doing wall sized prints.</p>

<p>I considered this lens versus getting a Tokina 11-16 f/2.8 and ended up getting the Tok. My primary reason was because of the fixed aperture at 2.8 and end up sacrifice a few more mm of higher FL. I haven't shot a Canon 10-22 but I was fairly surprised by the Tokina. Being a third-party vendor, it has very good build quality. Although the focus ring isn't USM or anything fancy, it does have a clutch mechanism that prevents you from doing the dreadful grinding noise as you accidentally turn the wrong ring.<br /> The lens is awesome, pictures turn out great and here's the little secret:<br /> <strong>This lens works on FF at 15mm and up. </strong> I shot several pictures on my Elan 2 film camera. I thought the effects on UWA was awesome on my XTi, but on a FF at 15mm was even better :) (11mm on XTi is only 17.6mm equivalent.)<br>

<img src="http://photos-g.ak.fbcdn.net/hphotos-ak-snc1/hs217.snc1/8434_147519451880_619766880_3004012_3882677_n.jpg" alt="" /></p>

<p>Just a few comments from my experience. Firstly, I started off with an XTi kit with the same 18-55 (non-IS) and I bought the 18-200 IS from Sigma for around $400ish CAD. As already mentioned the 18-200 isn't a great lens in terms of IQ, focus speed or lowlight work. But it is an awesome jack of all trade, master of none lens that allowed me to explore my newfound hobby and let me decide what kind of photography I wanted to pursue. When I'm out and about, I keep this lens on my XTi all the time. (Well that might be because I can't afford any other lenses either hehehe)<br /> Now, I've tried my friend's 24-70 f/2.8 L, very nice lens but on a crop body, I miss having the versatility of the wider range especially in indoor situations. The price is also a little turn off.<br>

<br /> Basically you have to prioritize what you want more and spend your money that way (yes it's a sad truth):<br /> 1. If you want to shoot your kids farther away, 200mm might not be good enough especially when they're way up there on the stage. While a 100-400 L lens would be awesome, I think a 70-300 f/4-5.6 IS USM ($530) would be my pick. You'll just have to up the ISO to keep the shutter speed up for your moving kids.</p>

<p>2. Get a fast prime like 24mm f/2.8 ($300) or 28mm f/1.8 USM ($450) for indoor work. I think you've already found the 50mm to be way too long in doors. I have a Tokina 11-16 f/2.8 but that kind of range doesn't make for very flattering single person portraits ;)</p>

<p>18mm is equivalent to about 27mm on your camera. It is wide angle but not ultra-wide. My 18-200 OS lens from Sigma is almost always on my camera and I find that this works very well for most shots. (Landscapes, people, architecture etc.)<br>

<br /> But if you are looking for a truly weird perspective that can only be obtained by an ultra-wide lens, then you'll need to get lower. I recently got a Tokina 11-16 f/2.8. The range of zoom is very small but the effect of the ultra-wide angle is fantastic: it can really emphasize your subject. But you have to be careful when using this lens since it captures so much that you have to make sure you compose the picture perfectly.<br>

<br /> I shoot Canon XTi.</p>

<p>Okay here are a few quick points:<br /> 1. I can certainly understand their concern about flickr. Try another website like Google Picasa where people given the link can view it. That way it's not completely open to the internet.<br>

<br /> 2. You should try to explain to them about your stance on copyright. In the case of the birthday party, I think you are not going to mind that the parents reproduce the images because they are a gift from you. Rather I think you should explain to them that as a professional photographer, every image you make is representative of your skills and aptitude. Therefore, any potential modifications done to those images would reflected badly on your reputation. This is one of the less known part of copyright and few people understand the full ramifications unless you explain it politely and calmly to them.<br>

<br /> 3. Next time, get contracts in writing =)</p>

<p> </p>