A Well Thought Out, Quality Product: A Canon TC80N3 Timer Remote Control Review
by Editors on March 22, 2009
In addition to the shutter release, other programmable features include a self timer, interval timer, long exposure setting, and exposure count. These settings may be used in any combination making the possibilities virtually limitless. For example, time lapse photography may use a combination of the interval timer and the exposure count. Plus when desired, the self timer can be used to delay the first shot. Alternatively, just using the self timer will permit the photographer to set up the hot and comfortably settle into the shot. The self timer, long exposure, and interval timer settings are limited to 99 hours, 59 minutes, and 59 seconds. The exposure count can be set for up to 99 shots.
The settings can be entered at any time without worry of inadvertent alterations. Pressing the light button until the hold indicator is displayed will deactivate all but the light button or prevents the stop/start button from being deactivated once an operation has been started. An indicator in the display panel lets the user know when the CR2032 battery power starts to get low. If the battery is fine, there is no indicator on the screen. A storage place is included on the back for your camera’s RC socket cover. The remote connects to the camera simply by pressing the plug into the camera’s socket. To disconnect, pinch the plug on the side and pull out.
I’ve owned my remote since 2004 and the battery is still going strong. I’m not sure how long the battery is supposed to last, but complaints about not being able to turn the remote off seem unwarranted. The versatility and usefulness of this device makes this a must have for me.
The only down side I can see is the short cord from between the remote and the camera. At 34 inches, the remote must stay closely tethered to the camera. This may be fine for most uses, but can be a limitation for others.
It is clear to me that this is a well thought out, quality product by Canon. If you are looking for a versatile timer remote and can live with the short chord, don’t hesitate to purchase the Canon TC80N3.
PROS:
A simple shutter release
Includes self timer, interval timer, long exposure, and exposure count programmable options
CONS:
Thirtyfour inch cable
DOF: Depth of Field, what is it?
by Editors on March 18, 2009
How do you know which lens will give you the most control over DOF and the smallest DOF if you don’t have a DOF field calculator with you? Much like in my article on Bokeh the lens focal length divided by the wider the aperture opens divided by the minimum focus distance and hence closer you are to the subject the more possible control you have over DOF and the thinner a slice of DOF you can get. So this means most longer focal length lenses and all macro lenses give you a lot of DOF control.
The focal length to maximum aperture is easily obtained by simply dividing the focal length by aperture. For instance, the ratio of a Canon 85mm F/1.2 II L lens which is an extreme DOF lens when shot wide open would be 85 divided by 1.2 giving you a ratio of 70.8. On the other extreme is the Canon 15mm F/2.8 fisheye. This lens produces the most DOF but at the same time gives you almost no control over it. Dividing 15 by 2.8 only gives you 5.3 when shot wide open meaning everything is in focus. The higher the number the more control over DOF that lens can produce. Lenses with a ratio of 100 such as the Canon 200mm F/2 IS L lens are capable of producing an extremely narrow DOF.
A lens can be stopped down giving a whole range of numbers and a whole range of DOF but for the purposes of this comparison we are hunting for the minimum DOF area of a lens so you always run the fastest aperture and the longest focal length in your equation if it’s a zoom. But what about the minimum focus distance you say? Haven’t forgotten you. Let’s take the 200mm F/2 lens 200 divided by 2 with ratio of 100. Now lets say that lens has a minimum focus distance of 10 feet. 200 divided by 2 for a 100 then divide by the minimum focus distance of 10 and we get a 10. Now if we have this same lens the 200mm F/2 and it only had a minimum focus distance of 15 the numbers would be 200 divided by 2 for 100 divided by 15 for a number of only 6.6 which would be more then double the DOF area. In these equations the higher the ending number the more control and narrower you can make your DOF. Just remember this equation and you can run a comparison against any group of lenses. Focal length by minimum F stop by minimum focus distance (200mm / F/2 / 10 = 10).
Enough talk let’s see some examples of what we are talking about.
Portraits, oh yes, how I love them and how DOF plays an important part. See the lady in red photo below and how she stands out in the photo. She’s in the center of the very small DOF area. By focusing on her with an 85mm lens set to an F stop of F/1.4 you get a shallow DOF. As you get further from this shallow DOF area items such as some of the bubbles, the little girl smiling and then even further away the background start blending away into a pleasing blurred background since they are not in the DOF area.
Product placement: Place your subject in a thin DOF area such as the ladies rings and the goblet in the photo below and you call attention to them while areas not in the DOF area are blurred away.
Super thin DOF, want to go extreme? Look at the necklace photo below. The extremely thin DOF has one single strand of jewelry in focus. Focusing is critical when taking a photo such as this. This very thin DOF was produced at 85mm and an aperture of F/1.2 and a focusing distance of only 4 feet.
What about maximum DOF? Yes that can be uesfull as well such as a landscape photo where everything must be in focus (see photo below). In this case a 32mm lens focal lenght combined with an appeture of F/9 means the DOF covers the entire photo.
Conclusion: Depth of Field or DOF is one of the best ways to emphasize your subject. Go out, experiment with different settings and see what DOF can do for you.
The Canon EF 70-200mm f/2.8L IS USM is an awesome tack sharp lens!
by Editors on March 17, 2009
L lenses typically have more features and are manufactured with high quality materials and a higher level of dust and moisture resistance compared to the standard lens line-up. This rugged pro quality lens is built for serious photographers with high demands of their equipment. Twenty three elements in eighteen groups are encased in a sturdy metal casing. Four Super UD-glass elements largely eliminate the secondary spectrum reducing residual chromatic aberration. An improved 8-blade circular aperture offers more pleasing bokeh for out of focus backgrounds. The Canon EF 70-200mm lens has a minimal focusing distance of 4.3 ft/1.3 m. The front thread accepts 77mm filters, I recommend getting a good quality UV haze filter to protect the front lens element from scratches. A switch permits for auto or manual focus and another switch will shift the lens from 1.4m/4.6ft to infinity or 2.5m/8.2ft to infinity. Plus this lens is compatible with both the 1.4x II and 2X II telephoto extenders.
This lens looks out of place, being white, but this helps it stay cool when shooting out in the sun. Some photographers are concerned the unusual color attracts thieves’ attention. From my experience, my 40D with any lens attracts attention. In addition, I most likely have a camera bag and either a tripod or monopod with me to attract even more attention. I personally feel a thief looking for something to steal is taking less concerned with the cost of the item, and are more concerned with the ease of taking something they can unload. I try to make things difficult for potential thieves and have my equipment insured as a back-up.
The dual IS system has two modes for those interested in panning shots. Mode 1 is for stationary subjects stabilizing both up/down and left/right movement. Mode two is for moving subjects or panning, stabilizing only up/down movement. While Canon recommends not using the IS function on a tripod; I have successfully used this feature on my monopod many times. The IS attempts to eliminate camera shake when shooting from a moving vehicle or in low light situations. While there are limitations to what the IS can do, it can provide a few extra stops in darker areas. Just keep in mind, the IS attempts to eliminate camera movement, not the movement of the subject being photographed.
This lens includes the tripod mount, ET-86 lens hood, and the LZ1324 zippered soft storage case. The tripod mount is the best option to use when mounting to a tripod, helping to maintain balance. Mounting the camera creates an unbalanced set up which may topple over. The lens hood potentially reduces lens flare and offers limited protect for the front element.
The 70-200mm IS provides incredible clarity and sharpness. Compared to the Canon 100-400, images tend to be a little more saturated as well. In addition focusing is quick and quiet. The dual IS plus f/2.8 add more functionality, making this lens more versatile than the Canon 100-400.
Being an L series lens, the 70-200mm IS is expensive and weighs about 3.24 lbs or 1,470 g. About 8 inches in length, this lens sits way out in front of the camera too. This is true with the 100-400mm lens to, but if you are not familiar with this type of lens it may be a bit of a workout at first.
The EF 100-400mm f4.5-5.6L IS USM telephoto zoom lens is my lens of choice for sports photography. I find the push/pull focusing of the 100-400mm lens to be a benefit that the 70-200mm cannot replace. However, the clarity and sharpness of the 70-200mm IS lens is more refined. The f/2.8L combined with the IS makes this lens a good option for low light situations. Plus image quality loss is minimal when using the 1.4x II telephoto extender. This lenses features add creative versatility used as a walkabout lens, for landscapes, or travel photography. The Canon EF 70-200mm IS lens comes at a price, but it is worth every cent.
PROS:
Incredible clarity and sharpness
Quiet and quick auto-focus
Features add creative versatility
Dual IS system
CONS:
Heavy and bulky
Expensive
Bokeh: What is it, what does it do for you?
by Editors on March 16, 2009
How do you know if a lens will produce more Bokeh? The longer the lens focal length divided by the wider the aperture opens divided by the minimum focus distance and hence closer you are to the subject tells the whole story. The focal length to maximum aperture is easily obtained by simply dividing the focal length by aperture. For instance, the ratio of a Canon 85mm F/1.2 II L lens when shot wide open would be 85 divided by 1.2 giving you a ratio of 70.8.
On the other extreme is the Canon 15mm F/2.8 fisheye. This lens produces no Bokeh, dividing 15 by 2.8 only gives you 5.3 when shot wide open (see photo below). As you can see there is no Bokeh!
Example of no Bokeh Canon 15mm Fisheye
Now of course a lens can be stopped down giving a whole range of numbers but for the purposes of this comparison we are hunting for maximum Bokeh effect of a lens so you always run the fastest aperture and the longest focal length in your equation if it’s a zoom.
But what about the minimum focus distance you say? Haven’t forgotten you. Let’s take the 200mm F/2 lens 200 divided by 2 with ratio of 100. Now lets say that lens has a minimum focus distance of 10 feet. 200 divided by 2 for a 100 then divide by the minimum focus distance of 10 and we get a 10. Now if we have this same lens the 200mm F/2 and it only had a minimum focus distance of 15 the numbers would be 200 divided by 2 for 100 divided by 15 for a number of only 6.6 which would be less then half the Bokeh.
In these equations the higher the ending number the more Bokeh you get. Just remember this equation and you can run a comparison against any group of lenses. Focal length by minimum F stop by minimum focus distance (200mm / F/2 / 10 = 10). What about sensor size you say? Simple divide the final number by how much your sensor is cropped. Example (200mm / F/2 / 10 / 1.6 = 6.25). Why you ask does a full framed sensor have more Bokeh isn’t it the same lens? Yes, but in order to frame the subject the same exact amount on a cropped sensor you have to back up more vs the full framed sensor. Remember the higher the minimum focus distance the less Bokeh.
Speaking of zooms let’s take a familiar lens range such as the Canon 24-70 F/2.8 L zoom. At 70mm and 2.8 we get a ratio of only 25 and then at 24mm it’s even lower 24 divided by 2.8 is only 8.5. Of course if you get close enough to your subject you can get some Bokeh but it’s nothing like the 85mm F/1.2. If you only have a ratio number of 8.5 sometimes you end up with a distracting background in the Bokeh like in the photo below of a beautiful bride taken with the Canon 24-70mm F/2.8 L lens at 70mm which ends up being distracting because the cars behind her are not ouf of focus enough (see photo below).
Example of Distracting Bokeh
Why not use a longer lens you ask? Well you can for some subjects and a 70-200 F/2.8 zoom at 200mm would be much better with a ratio of 71 which is very similar to the 85mm F/1.2 at 70.8. And an even longer focal length would produce even more. But when shooting a portrait it’s nice to be able to talk to your model without screaming or using a megaphone. A 600mm F/4 lens with a ratio of 150 will produce a solid wall of Bokeh at it’s minimum focus distance but you would be so far away from your model for a full portrait you would need to talk on the phone to direct her.
Enough talk of theory, what do photos we are talking about above look like?
The opening photo taken at F/1.4 a near minimum focus distance with a 85mm F/1.2 is an example of fantastic Bokeh with the background blurred to the point it looks like a very pleasing painting.
No Bokeh! Yes, absolutely! A 15mm Fisheye at F/2.8 is only 5.3 in ratio and when stopped down to F/4 like in the photo below it’s almost impossible to get any Bokeh at all with a ratio number of only 3.7.
Bad Bokeh? Yes, there is such a thing. Some lenses like the Canon 100-400 IS L Zooms and some other zooms can at times produce distracting or bad Bokeh when stopped down to say F/8 at a focal length of 135mm. Tree limbs can leave crazy outlines. On the other hand open the 100-400 up to F/5.6 and shoot at 400mm and you will produce a wall of Bokeh.
I hope this information has sparked your interest in Bokeh. In the future I am going to talk about depth of field or DOF and just how hard it can be to be your entire subject in focus when you are trying to get the minimum DOF.
Below is another good example of great Bokeh!
Thinktank Digital Holster 50!
by Editors on March 13, 2009
I love the protection of a camera bag, but I had trouble getting my camera out when I needed it. thinktank Digital Holster to the rescue! I found out that not only is the Digital 50 large enough for my Canon 5D Mark II and Canon 100-400 IS L zoom lens. It’s large enough that I can store it in the bag with the hood on and lens cap off ready to draw at a moments notice when that rare Roseate Spoonbill flew by. No more missed shots!!! But at the same time I have the protection a bag provides keeping: dust, pollen, water, etc off my camera and lens when I wasn’t actually shooting. There’s nothing like trying to eat something greasy and messy or trying to use the bathroom while holding two expensive cameras and lens systems with one hand and doing your business with the other. Just doesn’t work too well at least not without a good bag. Not only that the cool end expansion feature allows you to quickly go from carrying a Canon 50D and Canon 70-200mm F/2.8 IS L lens combo ready to shoot then put that up and get your Canon Rebel XTi with Canon 135mm F/2 II L lens into the very same bag. Or if you are feeling really rich you could buy two thinktank bags and carry two systems at once, say a professional setup like a Canon 1Ds Mark III with a Canon EF 28-300mm f/3.5-5.6 L IS USM zoom lens in one bag and a Nikon D3x with Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens in the other. You would think that a bag this good had been thought of before. But it seems like most bags were thought up by someone who makes bags for a living and not shooting photos. Thank GOD the thinktank people actually thought about how real photographers actually use their camera systems and designed a bag around those needs.
Me and my dual Holsters:
Versatile:
Versatility: Yeah baby, that’s the name of the game with the Digital Holster 50. Wear it chest high with just the standard shoulder strap around your neck or with the optional waist band strap to hold it in place. Or pull up on the Velcro belt release wrap it around your pants belt and wear it like a six gun holster. One, two even three or four bags are possible at a time although I usually feel most comfortable to wear just two to balance each side out.
Features:
The included business card window in the top flap both identifies this bag as yours and keeps extra cards handy to give to potential new customers. A side bag provides a handy place to keep the standard rain bag handy for those sudden downpours. An inner flap divider comes standard allowing you to store a small lens or accessory say an extender in the bottom area while having a shorter lens camera combo up top. The provided inside storage area allows you to store the inner flap divider when not in use but it’s still handy when you need it. The inside of the upper flap door includes a compartment with see through cover to remind you where you put your spare batteries and memory cards etc. The extreme duty straps with high strength quick release with swivel on each end allow you to both carry any weight load and easily and quickly release one end when needed. A padded shoulder protection cover keeps the strap from digging into your shoulder during those long carries to your quarry. The extra long adjustment provided with the strap allows the holster to be worn high around the chest allowing you to also keep the camera strap around your neck and just close the flap over the camera or you can lengthen it to allow it to ride as low as you want. Speaking of top flaps the heavy duty YKK zipper allows you to open the cover from either direction in case you happen to see Angelina Jolie pop up out of her Lamborghini. Last but not least is a true life time warranty. If you purchase a thinktank bag and ever have a problem due to defects in material or workmanship they will fix, correct or replace it.
Popdown and popup:
Dimensions:
Inner Height: 11.25 – 14.25” Body: 7.25 x 6″
Pros:
Included rain bag
Slim design hugs the body
Always ready to shoot design
Configurable compartment divider
Heavy duty build meant for the professional photographer
Versatile pop-down feature allows many different lenses and configurations.
Poped up and down side by side with rain bag:
Cons:
Would be nice if it had side bag attachments like the Tamrac Pro-Zoom Pak system.
Hum…. I’m thinking…
Conclusion:
I carry mine everywhere I go and couldn’t live without it. Zoo, Renaissance Festival, air show, safari, model shoot, you name it, it’s ready. If you are a professional photographer or simply need a great bag and need your camera ready to shoot then you can’t go wrong with the thinktank Digital Holster 50. If you need a smaller version they make 5 different sizes, check them out at http://www.thinktankphoto.com/ttp_products.html
The very Versatile Manfrotto 701HDV Video Head
by Editors on March 5, 2009
This is a personal review of the Bogen – Manfrotto 701HDV video head. Like I’ve said before I enjoy using Manfrotto products and this one is simply awesome. The 701HDV head is primarily meant for video use as it can not rotate from landscape to portrait orientation. But, if you are shooting stills in landscape mode or your lens has a rotatable tripod ring it can also be used as an extremely good standard tripod head for still photography. Primarily purchased for my Canon 5D Mark II for video use I’m finding it has several features that really endure it to all around use like the sliding head mount which I will talk about later. Internal fluid cartridges make for a very smooth pan and tilt function which is a must have when shooting videos. I had tried using several other regular head designs I already owned such as the Manfrotto 322RC2 Horizontal Grip Action Ball Head and Manfrotto 488RC2 Midi Ball Head and all resulted in a very jerky movement during video filming and playback when any movement is required. The smoothness while not needed for still photography is very critical when filming video especially in High Definition mode with a longer lens where it can be almost non-useable if the panning and titling are not absolutely smooth. The other surprising thing about this head I never thought about is the sliding head mount. This allows you to find the perfect center of gravity (CG) for any lens. By simply sliding your lens and camera to the perfect CG the camera does not start tilting upwards or downwards with the lock screws loosened. Although I have found the Canon 24-70 F/2.8 L lens to be my best all around video camera lens with the 5D Mark II, sometimes I need a longer reach. The sliding head mount is especially useful with a larger lens such as the Canon 100-400 IS L Zoom is attached (see photo below). With a perfect CG you can leave the lock screws loosened and respond instantly to any movements of your video subject. Double locking mechanisms also give a peace of mind that your very expensive camera system will not accidentally fall to the ground. Another thing I never thought about is the adjustable tilt / pan handle that allows you to adjust the relationship between the camera and handle, every handy!
Manfrotto 701 HDV Video Head with Canon 100-400 IS L lens and Canon 40D:
Specifications:
Made in Italy the Bogen – Manfrotto 701HDV video head is made of quality aluminum and feels like a very professional piece. A maximum weight loading allowance of 8.82 pounds allows you to use a large lens and camera combo. With a tilting range of -60/+90 degrees and a panning range of a full 360 degrees I find this head more then adequate for all video and most still photography uses. The slider plate has a full range of 2.2 inches (58mm) allowing a generous range of CG adjustments. The dual mount 1/4″ – -20 and 3/8″ thread types give you flexibility also allowing you to mount a standard Manfrotto 323 Quick release system. This allows you to quickly attach and remove your still camera from this type head and still retain the neat sliding head feature. A mini-bubble level allows quick reference to make sure your videos are level. Adjustable handle ensures the perfect relation between the handle and camera.
Still capture of B-17 Bomber video Canon 5D Mark II and Canon 17-40 F/4 L Lens:
Pros:
Slider plate
Very Smooth
Adjustable handle
Mini leveler bubble
Double latching system
Cons:
No tilt for portrait mode
Can be a little bit heavy
Accessories:
Manfrotto 323 Quick release system allows you to quickly release and attach your standard still camera.
I love using this head with the Bogen – Manfrotto 055CX3 Carbon Fiber Tripod. The carbon fiber allows maximum stability and vibration dampening to make those perfect High Definition videos.
Conclusion:
The Manfrotto 701HDV video head is an awesome all around head very useful for still photography but a real requirement for videos! I highly recommend it.
Tripod mounted sunset storm shot:
Manfrotto 055CX3 Carbon Fiber Tripod
by Editors on March 3, 2009
A personal review of the Bogen – Manfrotto 055CX3 Carbon Fiber Tripod. I’ve always enjoyed Manfrotto products and this one is no exception. It’s extremely versatile and has positive locking features. I purchased this tripod and head for use primarily with my Canon 5D Mark II for video and still capture and for astronomical photography with my Canon 40D and macro shots with my Canon Rebel XTi at work. In all the photos I have a Manfrotto 701HDV video head mounted. Stay tuned to SLRGeek for a future article dealing with this head. Made in Italy the Manfrotto 055CX3 has a very high professional production build quality. The three legs have three sections each made of 100% carbon fiber and the top plate and center column are made of aluminum with die-cast parts made of magnesium. The carbon fiber’s density of 1.75g/cm3 results in a very significant weight savings vs a regular aluminum tripod leg’s 2.7 g/cm3. The magnesium component’s lower density of 1.74g/cm3 vs aluminum 2.70g/cm3 also results in weight reduction for the cast components. In addition the center column allows the head to be mounted above or below the center support for height flexibility. Latches at the top of each led allow the legs to be released out to greater angles for more stability and / or a lower stance.
Despite the light weight it’s extremely stable when setup with your expensive and heavy camera / lens combo with a maximum weight load limit of 17 pounds or 7.23 kilograms. For those who feel the need for extra height it reaches a maximum height of 69.7 inches or 1770mm. I find these specifications as more then adequate for my needs.
Want to get one of those cool night shots with car tail lights running through the photo (red streak in photo below)? A good tripod does this and more!
Accessories:
The Manfrotto 055CX3 also comes with a handy tool mounted on one leg ready to tighten any loose leg latch bolts. A cable release guide is included on the top plate to keep the release down and out of the way. A quick release pin on the bottom of the center column allows the column to be quickly removed.
My Canon 100-400 IS L lens mounted to the Manfrotto tripod and Canon 40D ready for a moon shot:
The resulting moon shot with critical sharpness thanks to the carbon fiber tripod!
Carbon Fiber Advantages:
Carbon fiber tubes are made with vastly different quality depending on manufacturer. Production process and the amount of carbon material can create a difference in the strength and dampening abilities of the tubes. Manfrotto tripods have maximum quality since they use 100% carbon fiber and a special production process (pull winding technology to maximize reliability, performance and resistance to vibrations and loads).
Carbon Fiber vs Aluminum in use:
You only have to go back to your old aluminum tripod once to realize how much of a difference the carbon fiber makes. I had been using a 2 second timer to get most of my tripod mounted photos with my Canon Rebel XTi macro photos and I found this just wasn’t cutting it. The aluminum tripod would still be vibrating slightly after pushing the shutter release. Also vibrations in the clean room would go up through the legs of the tripod causing a slight blurring of the longer shutter speeds. After releasing the shutter with the camera mounted to a carbon fiber tripod the vibration cessation is almost instant! Of course I have to mention the approximate 35% reduction in weight when carrying a tripod any distance. Once you haul a heavy tripod up several miles of trail to get that perfect landscape photo every ounce of weight reduction is highly appreciated.
A sky and landscape shot using my tripod:
Pros:
Vastly superior dampening
Much less flexing under load
Lighter weight, about 30% under a similar sized non-carbon fiber tripod
Resistance to temperature changes, they don’t feel as hot or cold to the bare hands when handled
Cons:
Cost
Can result in a little more top heaviness due to the light weight below
Conclusion:
For those who want the perfect critical sharpness in their photos a stable well made vibration dampening tripod is a must. The Bogen – Manfrotto 055CX3 Carbon Fiber Tripod fulfills this need and then some! I highly recommend it.
Looking Window and my Canon EF 17-40 F/4 L lens (Part IV)
by Editors on March 1, 2009
Get the entire width of the hangar with just one shot!
Or get the full width of the lagoon!
Auto Focus:
I never cease to be amazed at USM auto focusing, so accurate, so quiet, so fast, so useful with the auto-focus manual focus override without having to turn off the auto focus. I shoot both wild life and weddings both of which require at times the camera be as quiet as possible up to the moment you shoot.
Full frame wide angle:
A good lens on my 40D becomes a wide angle monster on my Canon 5D Mark II. How much difference between a photo identically framed on a cropped sensor camera like the 40D and the full framed 5D Mark II? See interior photos of my daughters Honda Fit below.
17mm on Canon 40D
17mm on Canon 5D Mark II, see what you’re missing?
Soft wide open at F/4 it sharpens up noticeably by F/4.5 and becomes a super wide angle take it all in landscape and interior super sharp monster when stopped down to F/9 on a Canon 5D Mark II. I always carry it with me since I never know when I might see a wide angle shot! You have to work harder to have the you are there feeling when viewing the photos on my iMac as much as the Canon 85mm F/1.2 II L or Canon 100-400 IS L lenses. I keep hoping that Canon will make a wide angle zoom that matches the performance of my Canon 100-400 IS L zoom lens. The 24-70 F/2.8 seems pretty similar in performance as the 17-40 but it’s a little sharper and it’s faster and has more reach. I normally prefer the 17-40 F/4 L over the 24-70 because its wider on the 5D Mark II unless I am shooting weddings and need the speed and reach.
Why not the Canon 16-35 F/2.8?
Because in all the tests I have seen in comparison the 16-35 is: not as sharp, costs $750 more, weighs 140g more, is 14.8mm longer then the 17-40. If you are shooting hand held in the dark and or shooting weddings then the Canon 16-35 F/2.8 may be more the lens for you. In the case of weddings soft is in and the F/2.8 speed is needed for low light hand held. But I usually use a wide angle lens on a tripod for static subjects and there the 17-40 rules!
Auto Vignetting peripheral illumination control:
Auto Lens Vignetting correction works with this lens both in camera with JPEG’s and in RAW using peripheral Illumination control in Canon Digital Photo Professional (DPP) on the new Canon 50D and Canon 5D Mark II etc.). No more vignetting when shooting wide open!!! When shooting Raw open the file(s) in DPP and click on NR/Lens Lens Aberration Correction / Tune and click on Peripheral illumination. You can adjust the amount under Peripheral Illumination if you don’t like the amount automatically suggested.
How to look through the window:
Always shoot in raw and carefully take your best shot. Go aperture mode and set your F stop to F/9. Use a tripod, mirror lockup and timer or remote release if you can and ISO 50. If you can’t go hand held set your 5D Mark II to auto ISO and stop down to at least F/4.5 and squeeze off several shots of whatever you are shooting. This lens is softer wide open at F/4 and 40mm go wider 24 to 17mm if possible.
Always process your raw photos using Canon’s Digital Photo Professional (DPP). Adjust images to your liking as this lens tends to be soft at the standard settings. Photos taken with this lens respond really well to changes in DPP. Select one, several or all of your images and click on TOOLs and yank the sharpness slider hard over to the right to 8 or 10 if needed. And if that’s not sharp enough click on RGB in the tools menu and slide it sharper as well. Not all photos will need this but you will be shocked how much better a soft photo can look if you do this. This lens produces great color and contrast but if you don’t have enough click on the RAW tab in tools and slide the Saturation over to 3 or even 4 or what ever makes you happy. Just viewing the images on-line? Try saving them to the size of your monitor screen 17inch for a 17 inch screen etc. and 72dpi only. Of course for printing you will want to make it 200 or even 300 DPI and as big as you need to print for your dimensions. Save as a 16 Bit Tiff if you want to print large.
Pros:
Nice lens bag included
Auto Lens Vignetting correction
Quiet and fast USM auto focus
Super high quality L Lens build
Easy to install included lens hood
Buttery smooth zoom and manual focus rings
Great landscape lens that’s super sharp at F/ 9and 17mm
Great right out of the camera contrast, beautiful rich color images
Good walk around lens on a 1.6 cropped sensor camera (Canon 40D/50D), ultra wide monster lens used on a full frame sensor camera I E Canon 5D Mark II.
Cons:
Softer on the narrow end 40mm
Only F4, wish it was F2.8 or even F3.5
Lens Hood is bulky and hard to store
Narrow 17-40 zoom range: 17-70 would have been nicer
Soft wide open in the corners, sharpens a lot just stopping down to F/4.5
Could be sharper on the corners on the narrow end 24mm to 40mm and wide open
Conclusion:
If you want THE sharpest wide angle Canon L lens to use on both cropped and ultra wide for full sized sensor Canon EOS camera bodies this is it. The dual purpose capabilities both as a normal walk around zoom (27mm to 64mm) on cropped sensor 1.6 ratio cameras and ultra wide zoom (17mm to 40mm) on full size sensors make it a very versatile lens indeed!.
The Canon EF 24-105mm f/4 L IS USM Lens: An excellent walkabout lens
by Editors on February 28, 2009
Composed of a pair of gyro sensors to detect vertical and horizontal motion and a microprocessor, the IS system compensates camera movement by shifting special lens elements in parallel with the perceived movement. Canon recommended the IS be turned off wh en shooting on a tripod. However I have successfully used the IS on my Bogen 3231 monopod with legs. A monopod is not nearly as stable as a tripod, with or without the legs. Using the IS, it’s possible to obtain sharp pictures three stops below where you normally could. This is a huge advantage in dim light or places where flash is prohibited. Just keep in mind, the IS attempts to eliminate camera movement, not subject movement.
Despite the similarities, these are very different lenses. The Canon EF 28-135mm has a wider focal range with a variable f/3.5-5.6 aperture. The Canon EF 24-105mm L, on the other hand, has a tighter focal range, a constant f/4 aperture, and produces sharper and clearer images. When it comes to Canon lenses, L lenses should outperform similar standard lenses.
L lenses are produced with much higher standards. This L lens is manufactured with a sturdy dust and moisture resistant construction. Eighteen elements in thirteen groups including one Super-UD glass element and three aspherical lenses to minimize chromatic aberration and distortion.
The compact Canon EF 24-105mm IS f/4L lens measures 5 inches long, weighs 1.5 lbs/670 kg, and accepts 77mm filters. It’s a good practice to get a quality UV haze filter to protect the front lens element as Canon recommends. The f/stop ranges from 4 – 22. The closest focusing distance is 18 in/45 cm. In addition, and the pulse control diaphragm (EMD) ensures precise aperture control.
The distance scale ring sits below the focus ring. Turning the distance scale ring all the way to the left sets the lens for low magnification close-up photography. Turning it to the right sets t he lens for infinity compensating for changes in temperature as necessary. The distance scale includes figures in red as an infrared index to use when shooting black and white infrared film.
The Canon EF 24-105mm IS f/4L includes a 1 Year US Warranty, the front & rear lens caps, the LP1219 soft pouch, and the EW-83H lens hood. The hood will decrease chances of lens flare and increase metering accuracy. If you use filters, Canon recommends against stacking.
Having used the Canon EF 24-105mm IS f/4L the difference in weight and length is hardly noticeable. The shorter focal distance is not missed, and I have a constant f/4 throughout the foca l scale unlike the Canon EF 28-135mm with a 5.6-36 on the long focal range. The images using the Canon EF 24-105mm IS f/4L is sharper and clearer than those using the Canon EF 28-135mm.
If the Canon EF 24-105mm f/4.0L IS lens’ price is not a problem, this is the lens to get. Otherwise purchase and enjoy the 28-135mm IS lens. The great thing about Canon lenses is they tend to hold their value. Later if you decide to upgrade from the 28-135mm, sell it on a popular auction site like I did.
PROS:
Compact L standard IS zoom
Excellent walkabout lens
Versatile multipurpose lens
CONS:
A price typically found on L lenses
RadioPopper vs Pocket Wizard: The Battle for High Speed Sync
by Editors on February 28, 2009
Why is this important?
Shutter speed is the one and only factor that will solely affect ambient light in flash photography. Since flash duration time occurs in a range from 1/1000s – 1/10,000s — that is literally an instant! Therefore, adjusting your shutter speed will never really be a factor in determining your flash exposure (This is why Guide Numbers never mention shutter speeds (read Flash Photography and pwning the inverse square law for more information)). In contrast, all other exposure factors; aperture, ISO, and flash power, all touch on flash exposure. Furthermore, flash power, similar to shutter speed, is the only factor that solely affects (you guessed it) your flash exposure (oh, and flash to subject distance).
So shutter affects ambient light, so what?
Imagine those beautiful sunny days where the sky is blue and vibrant — rich and full of color. If you’re going retain any of that richness, you’d want a high shutter speed. Using what we know about the “sunny 16″ rule (set aperture to ƒ/16 and shutter speed (reciprocal seconds) to ISO), we can set our exposure variables to ƒ/16 | 1/100s | ISO 100. If we’re strobin’ it up outside with a Canon 5D2, we can max out at 1/200s, which means we would adjust our aperture to ƒ/11. That’s right. Say it out loud — Ef-eleven (my thoughts exactly).
The downside
As just mentioned “Ef-eleven” completely messes with our ability to use shallow depth of field, not to mention our speed lights are having to work their arse off to get through that tiny little aperture (I can hear the lights screaming now “Gah! Ef Eleven! I curse you!”). Not to mention, true landscape photographers would simply love to underexpose that deep rich sky by half a stop, which would put us somewhere back around ƒ/13 or so since changing our shutter is no longer an option as we’re maxed out at 1/200s. Wouldn’t it be great to shoot at ƒ/2 at 1/8000s? What’s a photographer to do?
Ladies and Gentlemen, the RadioPopper
If you haven’t heard about it yet, RadioPopper announced their new generation of radio transmitters, the RadioPopper PX. And if you’re as excited as they are, you’re jumping for joy at the ability to sync at 1/8000s! Yes, wirelessly via radio signal (not that line-of-site Nikon CLS crap (I kid)). You can buy one right now for $180 USD available to US and Canadian markets.
We interrupt this program with a special announcement from Pocket Wizard
Just when you thought things were heating up, Pocket Wizard introduces the Flex-TT5 and Mini TT1. A system (currently only for Canon) that can also achieve 1/8000s. Details can be found on the Pocket Wizard Flex product page.
Ok, let’s look at the real details here
RadioPopper
So clearly these guys did something right. But what are they really doing? As it turns out, they’re jumping on board with the current E-TTL and CLS systems that Canon, Nikon, and every other system is already doing to achieve high speed sync, and transforming those signals into a reliable radio signal. Yes, clever, but kind of a hack. What the video ever so slightly “glosses” over is that you need an existing commander unit, be it a Canon ST-E2, or a Nikon SU-800…. although technically speaking, any of the Canon EX speedlights, or Nikon SB’s will work as long as they’re mounted to your camera. But what’s the point of that? You just bought a shiny new speed light, you want it “off the camera” — even the pro’s should be slightly disappointed by this. In the end, the only justification for actually springing for one of these is if you already own an existing IR commander unit. If you do, get the Poppers without thinking twice.
Pocket Wizard
These little gems are great. I personally own quite a few of their previous generation Plus ii tranceivers, and they’re fantastic. But the hoopla is all about the new Flex TT5′s with the high speed sync. The downside is that they are proprietary to camera brand. They are first shipping for Canon, and then later in Q2 of 2009, they will be available for Nikon. And then many other manufacturer’s are essentially SOL. The brilliant part, however, is that they mount to your camera’s hotshoe and interpret the data on the spot without doing any magic IR listening like the Poppers. So no need to get a commander unit, the PW IS the commander. The other great thing is that they are compatible with their older siblings (the PW2, MultiMAX, and other built-in PW receiver hardware). This means we can keep our existing setup, and simply add-on. Nevertheless, the downside is in fact the proprietariness (is that a word?) of them. This means that I can’t share my Nikon Pocket Wizard with my wife (who shoots with a Canon 5D Mark ii), or vice versa (which will be the more likely in our situation). Furthermore (on a good note), we can still use them as receivers (since the Flex TT5′s are still “trans”ceivers). If you are in a situation where you are swapping between Nikon and Canon brands in your setup, you definitely don’t want the Mini TT1 since it is a transmitter only.
And so life goes on
Unfortunately there still no perfect solution for high speed sync without either springing for extra commander units, or buying into a specific brand. But let’s not be grim, both of these setups are great interim solutions. I’m personally going to stick with Pocket Wizard because I have a vested interest in Pocket Wizard as-is. If you’re starting fresh, and you’re looking for a high speed sync setup, examine your options and pick what is right for you. Cheers.