phil_shaw1

<p>You have opened up the aperture. The camera has responded by reducing the shutter speed to try and balance the exposure up to the maximum synch speed of the 5D which is 1/200. Unless you set high speed synch on the flash, the camera will not reduce the shutter speed further, therefore any shot that requires faster shutter speed to produce a balanced expose will be over exposed. Pilot error I'm afraid.</p>

<p>You have opened up the aperture. The camera has responded by reducing the shutter speed to try and balance the exposure up to the maximum synch speed of the 5D which is 1/200. Unless you set high speed synch on the flash, the camera will not reduce the shutter speed further, therefore any shot that requires faster shutter speed to produce a balanced expose will be over exposed. Pilot error I'm afraid.</p>

<p>If you are happy with the results of the images posted, then save your money and use the 70-200 + 2x combo. However, the 100-400 L will produce much higher quality images than the ones posted. I have no experience with the Tamrom 2x, but the Canon 2x has not produced good results for me on the rare occasion that I have used it with the 70-200/2.8 LIS. The 2x works OK on primes provided that you stop down to f11.<br>

Although not highly regarded in some circles, the 100-400L is a very versatile lens that is capable of producing very good results if you work at f8 and keep the zoom to around 370mm; it becomes softer at 400mm in my experience. It also works OK with the Canon 1.4x extender.<br>

Rather than renting a 100-400 for your trip, you might consider buying one second hand and then re-selling on your return if you have no further use for it. That way you will not loose any money. </p>

<p>This sounds very much like a case of the 580 EXII shutting down due to overheating. In my experience this is exacerbated if you use lithium batteries.</p>

<p>I think you will find that most people opt for the Wimberley bracket because of its convenience and flexibility in use. The RRS circular bracket doesn't break down for storage and fixes to the lensplate.</p>

<p>If you are using them in Strobist fashion (shooting manual flash off-camera with PW or other trigger) it doesn't matter which you use. Select either, or mix and match. I would probably use whatever gave me the shortest recycle time and/or greatest output.</p>

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<p>Getting closer, i.e., a large magnification, further reduces depth-of-field. Tight headshots with f/1.4 have razor-thin DOF, regardless of focal length. Getting closer is no workaround for the drawbacks of super-fast lenses and rather amplifies the focus/missed-sharpness issues.</p>

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<p>I agree.<br>

I would also go so far as to say that unless you are going to be shooting with flash, then both you and the client are likely to be pretty disappointed with the results.<br>

As for sizing for Powerpoint, Powerpoint will adjust the size of the image to fit the area available on the slide. I usually convert my files to jpgs and size them to 1200 x 800 px and then they can also be used for postcard sized prints as well.</p>

<p>As others have said, get a Think Tank roller bag (of sufficient capacity) for the airport, and get a LowePro or Tamrac backpack (of sufficient capacity) for carrying your gear in the field.</p>

<p>You should find all the answers to your questions<br></P>

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<A HREF="http://www.cambridgeincolour.com/tutorials/tilt-shift-lenses2.htm">

http://www.cambridgeincolour.com/tutorials/tilt-shift-lenses2.htm</A>

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<p>I have the same problem. If you find an answer to this, I would much appreciate the info.</p>

<p>I had unresolved focusing issues with my 1D3 for 18 months. Unable to get Canon to exchange it or make it work to the focusing standard of my 1Ds2, I finally traded it in for a Nikon D3. The Nikon D3 is what the Canon 1D3 should have been.<br>

I certainly would not advise anyone to consider a used 1D3.<br>

You do not say what it is that you are wanting to shoot. You may also want to consider the range of lenses offered by the major manufacturers and what best suits your photography and budget.</p>

<p>I think it depends on how much you want to spend and how much equipment you are prepared to carry around with you. Based on your comments that you don't want to carry too many lenses around with you and that you are not considering the 400/f5.6 because it does not have IS, the choice becomes very simple - the 100-400/f4.5-5.6L IS. Many people use this lens on safari holidays; it is very versatile and is slightly lighter in weight than the 70-200/f2.8L IS.</p>

<p>In February the migration will be in Tanzania, in the southern part of the Serengeti. This is the time and place where many of the animals give birth. For this reason it is the time that is most favoured by professional wildlife photographers and it is also peak season in terms of cost.</p>

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<p>It also says that I can enable and disable "Auto power off" with C.Fn-01. My manual does not say that I can set the duration of the time period. Maybe it's a function of available battery power.</p>

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<p><br /> If you disable the "Auto power off" function, the Flash goes into hibernation after one hour, instead of 15 minutes. I'm not aware of any way to extend this, which is real source of anoyance to me.</p>

<p>Provided that you do not intend to leave or sell any of the items in Poland, then there should be no issues at all. Lots of people travel with camera equipment of this value all the time. If you are the main/official photographer at the wedding, you might consider a second/backup speedlite.<br>

Just an added thought. The only place where I have had any problem is in Canada, where they seem to think that if you have anything more that a camera phone, you are likely to be taking away potential earnings from Canadian photographers.</p>

<p>I mainly used my 70-200mm f2.8 IS when photographing gorillas in Rwanda and Uganda and even then I was shooting at 3200 ISO. I think you may find the 70-200 f4 too slow. For the safari portion of your trip I would recommend something longer. For guidance, about 75-80 percent of my safari images are shot with a 600/f4 (full frame body) and often with a 1.4 extender attached. The remaining 25 percent are mainly shot with a 300/f2.8. I doubt very much whether you will be able to hire lenses in any of the countries you intend to visit. You would be better off buying and then selling on your return if you no longer had need of them. Lenses tend to keep their value quite well.</p>

<p>The 1Ds3 records an image that is 5616 x 3744 pixels. If you print this without resampling then, using some common print resolutions, the resulting print sizes are:<br /> 360 ppi = 15 inches x 10 inches approximately;<br /> 300 ppi = 18 inches x 12 inches approximately;<br /> 240 ppi = 23 inches x 15 inches approximately;<br /> 180 ppi = 31 inches x 21 inches approximately.<br /> Of course if you resample the image upwards, you can print at whatever size you want, but there is no additional information content. For very large prints you will probably get the best results by using Genuine Fractals to resize the image as this uses a different approach to the pixel-based resampling that occurs in Photoshop.</p>

<p>You need to set C.Fn 04 to the default value 0 - power off after 60 minutes. Sounds like you must have it set to 1 - power off after 10 minutes.</p>

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<p>I dont know what the Digic guts do vs others, but I do see the Sony with 24mp clocking in the mid 30's as well as a number of the Nikon cams. The 5D M2 is where Canon picks up its feet...not even the 1Ds or 1D Mark3...Even the 50D is much faster writing. Whats up with that? and the buffer?!</p>

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<p>I think you need to check that all things are equal here. The 1D3 and the 1Ds3 are 14-bit native format files. You select 14-bit files on the the other cameras referred to and the rate slows down considerably.</p>

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<p>UDMA is only compatible with the latest generation of camera bodies, so you will not see any benefits from these cards on your 1Ds.<br>

Also, the write speed is going to be determined by the data channels on the imaging chip, so I don't think you are going to have any success in finding anyone to improve this.</p>

<p>Long lenses are generally used either for sport or wildlife. In both of these applications shutter speed is usually at a premium and loosing 1-2 stops by fitting a polarizer is rarely an option.<br>

Having said that, I do admit to owning a Canon drop-in polarizer for my 600/f4, which also fits my 500/f4 and 300/f2.8. I have never used it in the 8 years that I've owned the 600, and I have probably only wished that I had it with me on a couple of occasions during that time.<br>

It is also not true that you cannot produce the effects of a polarizer in software. In most instances you can. Darkening skys, if that is what you want it for, is very straightforward and rather cliched, in my opinion. Increasing color saturation is also easily accomplished by software, and certainly not worth loosing two stops of light for by using a polarizer. Haze reduction can also be accomplished very simply in post-processing of digital images, so again, I can see no advantage in loosing two stops of light, unless, perhaps you are shooting film. Reducing reflections is perhaps the only time when using a polarizing filter has some advantages but in this case the application is usually landscape, rather than sport or wildlife, and therefore different lenses are being employed.<br>

The only times that I wished I had the polarizing filter for the 600 with me were when photographing salmon and sea otters in the water. In both cases however, it is doubtful that the shot with the polizer would have been any more successful due to the loss of shutter speed.</p>

<p>Luca, you could do any of the cities, but many are not particularly photogenic. London has so much more to offer photographically than the others.<br>

If you want to photograph countryside and rural locations, then it can probably only be done conveniently with a car, particularly if you want to be out early or late. Another way would be to join a photographic tour/workshop.</p>

<p>If you are not driving, then stick with London. You could easily spend 6 days photographing the sights around central London. Check out LondonPhotoWorkshops website for some inspiration.</p>

<p>A few folks using the D3 are experiencing CF card problems, but I have not heard of or experienced CF card problems with the D300.</p>

<p>You only get 19 selectable AF points on the 1D3/1Ds3 and the way that Canon allows you to navigate between them is rather eccentric to say the least. Also, unless you are shooting only with lenses that are f2.8, or wider, you do not get the benefit of all 19 cross-type AF sensors on the 1D models anyway, you only get the centre AF-point as a vertical line sensitive sensor.<br>

I have both the 1Ds3 and the 5D2 and unless you are photographing fast moving subjects at close range, and using lenses with short focusing travel distances, I don't think you are going to have any problems with the AF-system of the 5D2. Like the original 5D, the extreme right and left AF-sensors seem to work best in brighter light rather than in subdued lighting, but in these conditions you should be working with the central sensor anyway.</p>