alex_dannenbaum

<p>As a general guideline, when shopping for used Canon EF lenses on Craigslist, I usually assume a 20% discount from the online price for a new lens. Most sellers seem to price their lenses near this reference point. High quality L lenses don't generally deviate much below the 20% rule, but lower quality and kit lenses seem to vary more in their price. <br>

I would agree with Mark, that since the 100-400 is selling for $1610 new on B&H, the asking price used shoud be closer to $1300. When buying used Canon EF lenses two other factors I keep in mind are the regular discounts for new lenses that Canon offers twice a year (in the summer and winter holiday season). Craiglist sellers, aren't generally sensistive to these price variations, but I will usually try and negotiate a better price if a new version of the lens is currently on sale. I also ask a seller for the Canon date code on the back of the lens. If the lens is fairly old, I will expect a lower price or look elsewhere. </p>

<p>I currently own an EF 70-200mm F/4. I am interested in purchasing a longer lens for sports and wildlife photography. The lens that most interests me is the EF 100-400mm F4.5-5.6. Most of the sport shots I take are kite surfing. I shoot a lot on windy days from the beach. This means that my equipment can be exposed to a blowing sand. (My tripod accumulates a fair amount of grit, and requires period cleaning.) <br>

I have been told that the push-pull telephoto is vulnerable to dust, etc. Should I consider other lenses or are my fears unfounded? Are there other lenses, you would recommend to use under these conditions? Has there been any talk of Canon upgrading this lens with a weather sealed version?</p>

<p> </p>

<p>My vote is for the lens, for all the reasons listed above. These assumptions, however, assume the 30D body keeps shooting like a champ. You should also consider the usable life of the camera/shutter in your calculations. As a wildlife shooter, you are probably often shooting in burst mode. If you use your camera a lot, then you may be getting up there in shutter actuations. I am not sure what the expectation of the shutter life on the 30D is, but I would guess it is somewhere between 75-100K. If you are approaching that range, you might want to consider upgrading to the 7D or preparing yourself for a shutter replacement (approx $300) in the near future. <br>

It would be a shame to purchase the lens, then a month later have your shutter die. </p>

<p>Thank you for your comment. This is pretty simple, but the table phrasing really threw me off. Your comments made sense. I spent a couple of hours today, applying your approach to test images. I think I have the hang of it now. </p>

 

<p>I am still learning the fundamentals of my Canon 50D. As you will see I am getting confused by the manual and references to using to the AF points for exposure. <br>

When I am trying to set my exposure to areas other than the center of the screen, I understand that the best technique is to have the exposure mode in (preferrably) partial or spot mode, meter the subject at the center of the scene then recompose the scene while holding down the shutter in the halfway position then take the shot. - at least I hope that is right. <br>

Now, I am trying to figure how to use the AE lock as described on page 103 of the manual. It has got me confused. The table at the bottom of the page indicates that in Manual Focus, when locking the exposure, the AE is applied at the AF point for Evaluative metering. Which AF point? ... the center or other selected points? I am also confused because Evaluative metering is so spread out, and not a single point like "spot metering". (ie. shouldn't spot metering be the technique employed for selecting an AF point?)<br>

Additional related questions:</p>

<ul>

<li>I had always assumed that the AF points were just that, locations of Automatic Focus, when the lens is set to automatic focus vs. manual. I did not think they had anything to do with Automatic Exposure (AE) am I wrong? </li>

<li>Is the AE lock the only time that the AF point is employed for exposure, or is it done whenever an AF point is identified? </li>

<li>Aren't all exposures in the 50D "automatic", but can be ajdusted using Exposure Compensation. Is there such a thing as a manual exposure?</li>

<li>When both compensating the exposure and locking the exposure, which is done first? (Do you compensate then lock? or lock then compensate?)</li>

</ul>

<p>Please help and aleviate my confusion. <br>

Thanx</p>

<p> </p>

<p>I would like to purchase a light meter that would be good for someone new to light meters. I guess I need something simple that I can learn on. Can someone recomend a good starter light meter? <br>

I am going to a Photo Swap meet tomorrow so, if there is an older model that you could recommend (in addition to newer ones) your advice would be welcomed. </p>

<p>Alex</p>

<p>Same model, same lens, same vertical grip, same batteries, and yes same problem of uncontrollable shutter firing with error message 99. Quite a coincidence. (Had approx 75K actuations). Sent it off to Canon last year who diagnosed it as a shutter failure and offered to repair for around $300. <br>

Here is their link: <a href="https://www.usa.canon.com/consumer/controller?act=OnlineRepairBookingAct&fcategoryid=215&modelid=10464">https://www.usa.canon.com/consumer/controller?act=OnlineRepairBookingAct&fcategoryid=215&modelid=10464</a><br>

I elected not to repair it and used the available cash towards the purchase a new 50D. I am still considering repairing it myself (it would be an education). For about $50 you can purchase a replacement shutter online and follow the instructions. <br>

<a href="http://blue.netnation.com/sim/projects/camera/canon_eos-20d_shutter_replacement/">http://blue.netnation.com/sim/projects/camera/canon_eos-20d_shutter_replacement/</a><br>

Good luck. </p>

 

<p>Nice promotional website, though I know nothing about the products. <br>

After studying the Aputure website, I particularly like the Gigtube. It is a relatively unique and innovative product. At $189 price also is favorable. B&H currently offers a similar product (Zigview) at nearly twice the price. From what I can see the Zigivew has some more options including interval timing and motion sensing and capabilty to extend viewing up to 10meters vs. Gigtube which is only 2m. <br>

Featurewise, it looks like the Gigtube is a relatively simple product offered at a competitive price. The Zigview is well suited for wildlife photography. The Gigtube looks like it would be a good alternative to a Right Angle Finder C, and a potentially useful tool in some special circumstances like photo-journalism & extreme sports. As you originally asked, I hope others with some experience with this line of products emerge and weigh in on Aputure. It also would be nice to see a formal comparision between Aputure products and their competitors. </p>

 

<p>Previous contributers on this subject are right on target. <br>

Not to overlook the focusing issue, (which could be a contributer to the problem) some points to keep in mind: <br>

When shooting during the "magic hours" ambient light is diminshed and requires extended shutter opening as well as higher ISOs. Smaller apetures used in many landscape shots to increase DOF also limit light through the lens. Finally, ND and polarizing filters further reduce light to the lens. As a result, longer exposures are necessary. A significant amount of blur under these conditions, can be due to motion blur. If you are not already, be sure to use a good tripod, a tight head and cable release in taking your landscape photos. <br>

One thing that has struck me (since being obtaining my 50D last year) is how easy motion blur can creep into a landscape shot. To observe this phenomena, set your Live View to 10x magnification then ever so slightly tap the tripod or camera. It actually takes a couple of seconds for the shaking to stop. (Shaking that is otherwise imprectible at normal magnification, yet contributing to subtle motion blur and apparant focusing problem in the final product.<br>

Another point of note referenced by the previous contributer is setting the focus point in a landscape shot. This is generally a two step process of selecting a focus point about 1/3 way into the image (often selecting a foreground subject) and secondly choosing a small apeture of at least f/8 or above. This process, effectively extends your Depth of Field throughout the entire image all the way to infinity (including your horizon). It is preferable to focus manually, (AF is less accurate) using your Live View at full magnification to confirm your focus. </p>

<p> </p>

<p>I used to own a 28-135mm 3.5-5.6 IS USM. I have also borrowed a friends 70-200 2.8 IS L. Thought I really thought the 28-135 was a very good lens and a great value, yet there was really no comparison in my mind to the 70-200 2.8 IS L. They weren't even in the same league. Most obvious to me was super fast snap of the AF. Also the DOF and subsequent bokeh was another big stong point for the 70-200. Build qualty was obviously far better as well. I also thought the 70-200 did a better job of capturing realistic color. <br>

That aside, if you are going to make a really fair comparison, you should do it like the pros do. (I have done this a couple of times.) Select a simple subject. Set up your camera on a tripod and take a series of pictures using one lens at a variety of shutter speeds, apeture settings, and ISO. Then switch lenses and repeat the procedure. Then select a different subject under different lighting conditions and try again. Then compare images. Look closely for variations. If you are still convinced that the 28-135 is better than get it and use the extra cash for photo safari. </p>

<p>As a further comment, I am beginning to think that it may be a wise move to set up my camera/tripod in a good location where birds, etc. congregate with my trusty 70-200 f/4, and shoot from 5 yds away, than spend several thousand $$$ for a very long lens so I can get a similar shot from 50 yds away. A little smartz and some patience can go a long way. If I can run this kind of experiment on the cheap, it would be fun. </p>

<p>I own a 50D and a Canon Timer Remote Controller TC-80N3 which has worked quite well. Now I would like to get a wireless remote control primarly to use for photographing birds and other wildlife from a distance. (I prop my camera in a good location then hide 50 yds away firing off shots.) I know next to nothing about wireless remotes. When I go to B&H the Canon LC-5 runs around $370. If I look on eBay there are some cheap systems made by Yongnuo(?) <strong>YN-126 f</strong>or about $30. They seem to offer similar features, or maybe I am missing something. <br>

Obviously the Yongnuo sounds too good to be true, so I am naturally sceptical. Does the Yongruo actually work? I am sure the Canon is far better quality, but can I get away with the cheaper Youngnuo. What will the Canon do that the Yongrnuo can't? Are there other non-Canon models I should consider?</p>

 

<p>Thanks guys. It is a sad fact that digital cameras become technologically obsolete almost as fast a computers. That makes it hard to justify the cost of repairing them. Certainly a working 20D is better as a second camera or no camera at all. <br>

Great bunch of suggestions on how to proceed. I am torn between the Canon Loyalty Program, (will contact them, then see what they offer); the do-it-yourself repair; and Sarah's great suggestion of using the body & damaged lens as part of a photographic prank. <br>

All sound like better options than letting it sit in my closet till I finally thow it away. </p>

<p>I have a Canon 20D which I bought back in July, 2004. After nearly 5 years and 75K estimated actuations, the shutter froze up. I sent it to Canon and of course they offered to rebuild it for about $350. I decided against rebuilding old technology and went out and purchased a 50D instead. <br>

I still have the non-working 20D gathering dust in my closet. For that matter, I have a Canon S1IS that also doesn't work. <br>

My question is what is the smart thing to do with thiese cameras? Is it worth the investment to repair? Does they have any value? ... Can I resell one or both (if so what is they worth?) Donate them? Send them to the Home for Old Canons? Or should I just have fun and take them apart to see how they work, then toss em away when I get bored. <br>

What do people do with their old non-working Canon cameras?</p>

<p> </p>

<p>You pose an interesting question, and I am interested in hearing other responses. In your efforts to reduce noise, I would like to add, that there are two additional factors you have control over worth consideration:</p>

<ul>

<li>Your apeture setting: Is your choice of F7.1 necessary, could 5.6 acheive a similar look and allow you to lower your ISO and/or shorten your shutter speed? Given your distance from the subject I doubt DOF would be much of an issue. </li>

</ul>

 

<ul>

<li>Timing of shot: Could this same shot have been taken at another time (with more ambient light) and allow you to create a nearly similar effect with more options in your ISO, & shutter speed? For example, taking nitetime shots like this 1 hr. after sunset vs. 3 hrs. I recall reading somewhere that this is a technique employed by many professional photographers to get the best nightime lighting options (and minimize unnecessary noise). </li>

</ul>

<p>You pose an interesting question, and I am interested in hearing other responses. In your efforts to reduce noise, I would like to add, that there are two additional factors you have control over worth consideration:</p>

<ul>

<li>Your apeture setting: Is your choice of F7.1 necessary, could 5.6 acheive a similar look and allow you to lower your ISO and/or shorten your shutter speed? Given your distance from the subject I doubt DOF would be much of an issue. </li>

</ul>

 

<ul>

<li>Timing of shot: Could this same shot have been taken at another time (with more ambient light) and allow you to create a nearly similar effect with more options in your ISO, & shutter speed? For example, taking nitetime shots like this 1 hr. after sunset vs. 3 hrs. I recall reading somewhere that this is a technique employed by many professional photographers to get the best nightime lighting options (and minimize unnecessary noise). </li>

</ul>

<p>There is a direct coorelation between lens focal length and distance to the subject. The farther you are from your subject the longer the lens focal length you require to get the same frame filling shot. Therefore, if your subjects are at a fairly consistent distance from you, a prime lens makes sense. This is generally true with studio & portrait shots (your 50mm) , and macro photography (your 100mm). However, in the event that the distance to your subject varies, (and you cannot move easily to adjust the distance) a zoom lens is the correct choice for you. Since birds and other wildlife generally are not cooperative when it comes to subject distance, a long telephoto zoom makes sense. As said earlier, telephoto zoom lens quality has improved greatly in the past few years and now rivals that of primes. So pull yourself out of the "primes only" rut and experiment a little. <br>

I would tend to agree with the previous contributer who said that a 70-200 is too short for most birds. If your subjects are less than a foot in height and more than 10 yds away, you will most definitely want more than 200mm. You will frequently find yourself digitally cropping shots and therefore degrading that beautiful image quality and thus defeating the purpose of a superior (and expensive) zoom lens. I own a EF 70-200 F4 and am often frustrated that my wildlife subject is either too small or too far away to get the best possible shot with my lens. It is possible to get some good shots, but you really have to exhibit extreme patience and stalk your subject or sit in behind a blind to get close enough to most birds with a 200mm lens. I know a friend who has a hummingbird feeder outside her window and sits about 8 ft inside the open window and gets some super shots shooting through the window at 200mm, but, as you see, you have to improvise. You really need a 300 or better still 400mm focal length on the high end of zoom range to shoot most birds in the wild. <br>

So, obviously when working on a budget you need to find the best combination of focal length and AF speed. <br>

Ok, what zoom lens? I won't answer that question, because I really don't know, but I will state that your range of choices will increase dramatically if you consider lenses other than Canon alone. (Am I committing heresy here?). There are several acceptable lenses made by companies other than Canon. (Sigma and Tamron, etc). <br>

Sigma: <a href="http://www.dpchallenge.com/lens.php?LENS_ID=559">http://www.dpchallenge.com/lens.php?LENS_ID=559</a><br>

<a href="http://www.dpchallenge.com/lens.php?LENS_ID=559">http://www.dpchallenge.com/lens.php?LENS_ID=559</a> <br>

Tamron: <a href="http://www.dpchallenge.com/lens.php?LENS_ID=796">http://www.dpchallenge.com/lens.php?LENS_ID=796</a><br>

As a side note, as part of my evaluation of any lens I will look at the end product. One way to go about this is to go to www. dpchallenge (this is a contest site) and look at the photos under Equipment/Lenses (for a specific lens). This gives an idea what your best shots with this lens might look like. It also demonstrates what type of shots people use this particular lens. <br>

(Since WA alternatives have been raised already...) If you are considering any landscape or architectural shots, I suggest at some point you consider a wide angle. I would highly recommend the EF-S 10-22mm f/3.4-4.5. This lens is really superior in quality yet is fairly modest in price (maybe $100 more than the 70-200mm F4). It is my favorite lens (and the only one of mine that is not an L lens - now does that make any sense?). As an "S" lens it will only work on APS-C Digital SLR cameras, but yours certainly qualifies. <br>

Good luck!</p>

<p> </p>

<p>When facing a difficult question, I say go back to basics. I mean by that consider exactly how you will be using the lens. What kind of pictures will you be taking? How far away is your subject?<br>

I have start off by saying I own a 50D and a 70-200mm f/4 lens. I could not be happier with the package. I believe that the 70-200 is the better lens, for all the technical reasons many of previous posts pointed out it's strenghts. However there is a price to be paid...that price comes in the form of space and weight. <br>

The 70-200 will take up more space in your backpack (assuming you are carrying your 4 lenses around with you). It will also weigh a good bit more. In the camera shop this may not seem like a lot of difference, however if you are walking around all day with the camera/heavy lens around your neck or in your pack, you will feel the difference. <br>

What kind of shots requiring a telephoto would you like to take: Sports/Action, Wildlife, Photo Journailst, Travel, Family Events? Try and imagine yourself doing whatever you will be doing with the camera/lens package. If it involves lugging around a heavier lens for an extended time, you may want to go for the lighter of two. <br>

You mentioned you are not a fan of tripods. I solve that problem by using a compact light monopod for long days out. This allows me to prop the camera lens weightless, while I am waiting for the perfect shot, and also affords me some of the benefits of a tripod when necessary. However, if lugging around an additional piece of equipment does not appeal to you, then I guess the monopod is out. Another way to address the weight issue, is to either limit what lenes you carry with you, or simply keep fewer lenses and use the money you save to invest in quality. <br>

The 100mm extended reach on the 75-300 is significant. I hate having to digitially extend the range of a shot in post processing and degrade the quality. That defeats the purpose of having a better quality lens. I seem to do it a enough for my shots that after a few years I am definitely looking an upgrade myself to the 100-400mm. <br>

If being light and free is critical then go with the EF 75-300 f/4-5.6 III. If 200mm is adequate and quality of image is most important and you are willing to pay the price, ($ as well as wt.) then I say go fo rthe 70-200mm. </p>

 

<p>In my experience the best time to shoot something like trailing car lights and a sunset is near the end civil twilight. Why? Because shooting the car lights will require a long exposure of a couple of seconds. If you shoot towards the sunset anytime earlier, for that long a time, your shot will be overexposed. You will need to wait, till the color in the clouds is just about to fade for the perfect shot. I would set up by sunset, and start shooting trial shots 15 minutes later, and keep shooting until all the ambient light has left the sky. (about 1/2 hr later). <br>

Alternatively, you could use a graduated neutral density filter to reduce the sky light, which would allow you to shoot a bit earlier and add more of a balanced lighting to the shot. <br>

Good luck. </p>

<div></div>

<p>I have owned both lenses. I sold off the 24-70 and kept the 24-105. Why? It was not because I thought that the 24-105 was the better lens. In my opinion, the 24-70 took better images. The reason I unloaded the 24-70 was based on my shooting style. I was looking for an excellent all-purpose lens. I mostly do event (not wedding) photography. The 24-70 was both heavy and (this is purely subjective) felt more vulnerable to damage. Since I can be both hard on camera equipment and often operate in enviornments where equipment could get josled, I took the safe road and stuck with the 24-105. I have not been dissapointed with my choice. I get excellent images. <br>

If I were working in a studio, doing portraits, etc. I would have gladly stuck with the 24-70, for a number of reasons, mostly addressed in previously comments. However, since I am out and about, on the road, and often find myself in the situations where I can only carry one lens with me, I have found the 24-105 the perfect all-purpose, "walk-around" lens. </p>