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Continuous Light Photography (One Light)

The following photos were shot with...

100W Continuous Flourescent Light

40 x 60 Softbox

5D Mark II

Both 50mm Carl Zeiss 1.4 and 100mm Carl Zeiss 2.8

 

 

 

 

 

 

 

 

 

 

 

 

Pros

You see what you get

Not as distracting for model (strobing vs. continuous light) 

Cons

Must shoot with a very fast lens due to insufficient power from flourescent lights

Depth of Field is pretty shallow due to use of wide aperture

Very difficult for freeze subject, must as model to be still. 

1D Mark IV or 5D Mark III

Although this is not a thorough review, I would like to give everyone a fair opinion of my experience between the two cameras.  I had the chance to go up to Canon Headquarters in TST this afternoon and out of curiosity I decided to play with the 5D Mark III once again.  

 

 

Now what I am concerned with isn't the fancy HDR, or Rate It functions (useless), but rather the AF response and speed of the actual camera.  Of course as some of you guys may know, I have recently purchased a 1D Mark IV.  I decided to go with the 1D Mark IV over the 5D Mark III for several reasons.

1) Speed of the Camera (10/FPS)

2) Overall Built Quality and Feel of the Camera

3) Shutter Life (300k vs. 150K)

4) Uncertainty of the new 5D3 AF system

5) Better weather sealing than the 5D3 system

6) I wanted to go crop sensor because I was kind of sick and tired of the vignetting with wide lens at FF

7) PRICE, at $34900HKD, the 1D4 is a steal, where as the 5D3 at $27400HKD is a bit overpriced (especially if you think about the fact that you will need to buy a brand new grip with it at around 2500HKD).   

8) No Optional Grip Vs. Optional Grip.  The 5D2 grip was a pain in the ass.  Always had a problem with the grip loosening itself and thus loosing power to the camera and it never really felt right where the 1D4 had a built in battery grip, and the grip felt much better than the 5D2 grip (maybe this will improve with the 5D3, we'll have to wait and see. 

CONCLUSION

Well after trying the AF of the 5D Mark III for over 30 minutes, I do find it to be slightly faster than the AF on the 1D Mark IV.  Mind you though, I was comparing it with the 1D Mark IV at the canon showroom which is about 2 years old with a poorly conditioned battery (Battery power has a lot to do with AF speeds and also shutter speeds), while the 5D3 is obviously a installed with a brand new battery less than a week old.

SO WHICH IS THE BETTER CAMERA?

I would still say 1D Mark IV for stills photographer.  WHY?

Well mainly because the 1D was also meant for serious stills photographers of all kinds but since the last 5D (5D2), 5D is now more a videographer or indie filmmakers' camera.  So it's hard to say which is better.  Rather the question should be which is more suitable for your needs?

So does that mean I don't like the 5D Mark III?

No, not at all.  I think it is a great camera.  The shooting ISO at speeds up to 3200 is great for event photography and I think the AF improvement will make many event shooters go with the 5D3 (since 1D4 is only good up to about 1600iso).  The new fancy functions are plus and although I would probably hardly use them it's nice to have.  I still consider the 5D3 a prosumer camera and not a professional camera due to its built quality and slow shutter speed.  It claims 6FPS, but it is still slower than the 7D nevermind the 1D4.  I also felt the 1D4's battery strength is more meant for professional photographers.  5D3 can shoot about 600 RAW photographs with dual batteries (with the optional battery grip), while 1D4 can shoot 1500 RAW photos.  That's an amazing difference especially if you are on the road or in an intense situation where you don't want to find yourself fiddling to replace your batteries.  As well, as mentioned previously, I hate optional battery grips.  Unless canon changes the design for their optional battery grip with the 5D3, or else it's definitely not a comparison with 1D4's built in battery grip.

The Full Frame Vs. Cropped Sensor question? 

I never really understood why some photographers are so stubborn with Full Frame cameras?  In a way I just think its more an image than really something that provides better pictures.  True, with FF, this allows great pixel sizes and thus better light gathering ability since cropped sensors loose about a stop roughly.  But remember, with a cropped sensor you are also shooting at shorter focal lengths when compared to a FF camera.

EX. It should be made clear that the extra light gathering ability of large sensors assumes the same f-stop. This is not always possible in practice as maintaining the same angle of view means using a lens with a longer focal length, which tend to have smaller max apertures, e.g. when using a 200 f/2.0 on an APS-C body, you'll get a similar amount of light as using a 300 f/2.8 on full frame

Also one thing you must remember with cropped sensors because it tends to have smaller pixel sizes, that for print is a good thing.  Meaning that the pictures come out finer with higher detail.  As for ISO issues, I don't mind that their will be tend to have more noise at high ISO compared to a similar camera at FF.  I am a studio or portrait photographer and it's very rare that I hit ISO over 400.

As for some photographers stating that they can never get it right with a cropped sensor due to the change in focal length, well that is really a personal problem.  I can only speak for myself, but framing wise, I use my eyes and not numbers.  A lot of "professional photographers" use focal lengths to decide their framing, I don't.  I think this has to do with the fact that I am not a Prime Lens shooter.  It's like people always say you need to use a prime 85mm for portraiture but honestly if you look at some pros that are famous for portraiture, you will notice in their metadata that rarely do they shoot at 85?  In fact most shoot more towards 90mm-110mm range.  So I don't really get this must shoot at 35 or must shoot at 85 rule of thumb.  Just sounds like nonsense.  The only prime I use is really a 50mm and that's only for street photography/photo-journalism.

So to conclude, I don't find a difference using FF or APS-H, APS-C maybe but not with APS-H.  But mind you I am a studio portrait photographer and at the most at times a photo-journalist.  So for you sport shooters, macro shooters, product photographers... I can't really speak for you all.

I probably haven't covered everything, but you are more than free to contact me if you have any questions...

For more about sensor size and pixel size please visit this site...

http://photo.stackexchange.com/questions/15684/why-are-larger-sensors-better-at-low-light

This week has been a busy week for DSLR shooters in Hong Kong.  Just about everywhere you go, you can see someone with a DSLR dangling on their neck.  While I do not doubt some of these users have some of best high end lenses around, I question whether they have the right lens?

One experience that I often find myself in is hearing young photographers talk about how they must have a fast lens (as in wide aperture).  While it's true the wider the aperture, the better the chances you can grab a photo with decent exposure in any light environment, but not necessarily will that be the best setting for that particular photo.

One example of this is for Photo-Journalism.  Photo-Journalists rarely shoot in wide aperture.  Usually Photo-Journalist shoot at around F5.6.  This is because when shooting lifestyle portraiture it's usually not very clear cut as to single subject and background and usually the background is just as if not more important than the subject.  By shooting wide open at all times, the background is usually blurred out and all you get is  the focused subject neglecting its surrounding that may have played a key importance in the story telling of the photograph.

I am saddened by this because nowadays I feel most people use their cameras like a rebel with a machine gun.  Constant firing and very few hits.  

I urge our photographers of today and tomorrow.  To aim at for the exposure and not at the equipment.  You see famous photographers with high end equipment not because they are proud of having expensive equipment on hand but because the job requires it.  In fact most top photographers don't even own cameras (most of them are lent out to them for exposure).

The DSLR owners of Hong Kong have become more tech junkies then photographers.  Chasing after the latest camera or accessory.  I always use a little trick once in a while to ensure I am using most of my photography skill rather than my tech skill and that is to shoot with nothing but ISO100, with a lens not faster than F4, and use nothing but manual selection (yes even focus).  If you can still pictures you are crazy about then you are still on the right track, but if you find your photos just a bunch of meaningless exposures, then you really have to ask yourself whether it is your camera capturing your stunning pics or yourself.

 

 

 

 

 

 

Here's One Happy Camper!

Canon Eos 5D Mark 3 – First Review

24

A couple of days I got a mysterious call from Canon Belgium, asking me if I was available today and if so, could they come by with a case with secret content? I hoped it would be the long awaited 5D Mark 3 and by yesterday all rumors on Twitter and Facebook indicated that I could be right. And yes, this morning Canon officially announced the new camera. So I anxiously awaited the arrival of the Canon guys at The Barn. Erik from Shoot Magazine also joined us and after a brief introduction, we got to play with the camera for about an hour and a half. I asked you all what I should test on Twitter and Facebook and tried to address as much as possible of your input. So here’s what I think:

THE SHORT VERSION

It’s an amazing camera! I’m getting one


I’ve uploaded full res unprocessed versions of theses files (EXIF included) to this Flickr set. Feel free to download the full res files for personal use. If you’d like to use these images any other way, please ask my permission first.

DISCLAIMER

- It’s after 10pm and I had a really busy day. I don’t like to write when I’m tired but I know you are all waiting for this post. So please don’t mind typos and stuff. I will blog more in the coming days.
- The test was done on a pre-production sample with pre-production firmware. So thing can only get even better when the 5D mark3 hits the market.
- I have to base my review on JPEG-files as there’s no support for the RAW-files in Lightroom (or any other RAW-converter) yet.
- I’m not a scientist and don’t do lab tests. This is my point of view, the point of view of a professional photographer that needs an all-round camera.
- We were too exited and had too little time to do a very organized test. It was all a bit chaotic but great fun.
- My friend and pro model Sylviane kindly offered to be our model for the test. She’s so professional, she looked even great with 4 guys geeking out around her.

—–

HOW DOES IT FEEL?

It might sound stupid, but I think it’s important that a tool that you use all day, feels right in my hands. And the 5D mark 3 certainly does, even slightly better than it’s predecessor. It’s just a bit easier to hold and offers a bit more grip for sweaty hands. All the buttons and dials are in the right place and it didn’t take me long to figure out the menu system.

—–

AUTOFOCUS PERFORMANCE

Let’s face it, the autofocus on the 5D mk2 wasn’t very good (and I’m being gentle here). So a lot of people hoped it would be better in the new version. Well, good news, the new autofocus ROCKS!!!!! It has 61 AF sensors, of which 41 are cross-type sensors. I did my best to place Sylviane it very challenging AF situations but couldn’t get the 5D mk3’s AF to fail or even hunt. The focus was instant spot-on even in very low light with little contrast.
The AF-system is almost identical to that of the 1DX and that’s very impressive. I did a little bit of testing in continuous focus on a moving subject and it seems like the camera will handle that really well too.
The new autofocus system is already reason enough for me to upgrade.


I’ve uploaded full res unprocessed versions of theses files (EXIF included) to this Flickr set. Feel free to download the full res files for personal use. If you’d like to use these images any other way, please ask my permission first.

HIGH ISO

The 5D2 was already pretty good at high ISO, certainly if you consider the resolution. For reportage-style I usually found iso 3200 the top of the usable range. With the 5D Mark 3 I tried ISO 6400 and it looks perfectly usable, even 12.800 is perfectly fine. Even 25.600 looks acceptable for weddings and events. So I figure you win at least 2 to 3 stops of usable ISO range. I’m very happy Canon didn’t jeopardize high ISO performance by putting a ridiculous amount of megapixels on the sensor.


I’ve uploaded full res unprocessed versions of theses files (EXIF included) to this Flickr set. Feel free to download the full res files for personal use. If you’d like to use these images any other way, please ask my permission first.

OTHER IMPROVEMENTS THAT I LIKE

- I’m not shooting video with my DSLRs, so you should probably look elsewhere for more info about video. As far as I can see, there is no revolution in the video part but definitely an evolution with more options and better controls.

-  The on/off button is now positioned on the top of the camera, which is a more logical place

- There’s a lock-button on the mode dial to prevent accidental switching from for example Aperture Priority to Bulb.

- Dual card slot: You can now have a CF-card and/or an SD-card in the camera. To me this it makes me feel safer to have all files stored on two cards but you can only make the camera switch to the second card if the first one is full.

- Better Metering: I’m a manual shooter but I’m sure that there are a lot of people who can appreciate better light metering

- Six Frames/second: Not something I need very often but sometimes it certainly comes in handy.

- Less Noisy Shutter: The shutter is not as loud as the 5D mark2 and there are some options to make it even more silent.

- I’m sure there’s other things, but these are the most important (TO ME)

—–

DOWNSIDES

I haven’t found any negative points about the camera so far. Except maybe for the price. Here in Belgium, it will start hitting the shelves at around 3.500 EUR. That is definitely more expensive than it’s older brother. Off-course, I would have liked it to be cheaper but I’d rather have a higher price tag than a camera full of technical compromises to keep the price lower. The guys from Canon also told me that the 5D Mark 2 will stay in production for a while so there’s still a cheaper alternative.


I’ve uploaded full res unprocessed versions of theses files (EXIF included) to this Flickr set. Feel free to download the full res files for personal use. If you’d like to use these images any other way, please ask my permission first.

CONCLUSION

Canon has clearly listened to it’s user base and build upon the still great 5D mark 2. They have improved the good things and fixed the autofocus big time. My 5D mark 2 is nearing the end of it’s life after more than three years of hard use (or should I say ABUSE) and I will replace it soon with a 5D mark 3. I am very impressed with this camera.

—–

THERE’S MORE

The secret case from Canon contained lots of other amazing goodies like the 1DX, the G1X, the new 24-70, the 24mm IS, the 28mmIS, the WFT-E7 (new WiFi transmitter), the GP-E2 (new GPS receiver) and … the brand new Speedlite 600EX-RT and the Speedlite Transmitter ST-E3. I mainly focussed my testing time on the 5D mark 3 but I had a little play with some of the other toys too. I’ll blog about those in the next days.

The Great Debate!!!

Review: Phottix Atlas (433 Mhz) vs PocketWizard Plus II

Earlier this month, Phottix announced that the FCC (344Mhz) version of their PocketWizard-compatible Atlas wireless flash triggers would enter productionDays later LPA Design, the makers of the PocketWizard, hit Phottix with multiple allegations of patent infringement -  a move that effectively blocked the Hong Kong-based company from releasing the Atlas in the US market.

Given that the CE 433Mhz version of the Atlas has been widely available throughout Europe and Asia for months, its assumed that LPA Designs (PocketWizard) has gauged the initial market response and sees the Phottix Atlas as a real threat to it’s industry dominance and, more importantly, it’s profits.

While both companies and US photographers await the outcome of what it sure to be a lengthy legal battle, we sought answers to the big questions:

  • How similar is the Phottix Atlas to the industry-standard PocketWizard Plus II?
  • Does the Atlas pose a true threat to LPA Designs near-monopoly on professional flash triggers?

This review covers the features and real-world performance of the 433 Mhz (Europe/Australia/Asia) Phottix Atlas and draws direct comparisons to the industry standard PocketWizard Plus II wireless flash trigger

phottix-atlas-flash-trigger-review

About Phottix

If you haven’t heard of Phottix by now, it’s time to climb out from under that rock and start paying very close attention. The Hong Kong-based company offers a wide range of attractive camera and lighting accessories, from wireless flash triggers like the Phottix Atlas to wireless live-view LCDs and portable strobes. To date, the products we’ve seen from Phottix stand above the growing sea of budget wireless flash triggers with a surprising combination of unique features, solid build quality, professional performance and low cost.

In addition to the Phottix Atlas, you may recall the Phottix Strato 2.4GHz wireless flash triggers we reviewed, which featured one of the first instances of TTL pass-through capability for a wireless flash trigger.

The Phottix Atlas Wireless Flash Trigger

Phottix has made waves over the past few months by positioning the Atlas in direct competition with the ubiquitous PocketWizard Plus II flash trigger but for nearly $50 less per unit. Since it operates at the same frequency as the Plus II (433 Mhz in Europe/Australia/Asia and 344 Mhz in North and South America), the allure of the Phottix Atlas lies in it’s unstated ability to work seamlessly with existing PocketWizard units as well as studio equipment with built-in PocketWizard receivers like Profoto and Dynalite power packs and the popular the Sekonic L-358 light meter.

Hotshoe Heaven

The design of the Atlas differs notably from the PocketWizard Plus II with the addition of a hotshoe for attaching speedlights directly to the unit. This feature gives photographers the freedom to fire remote flashes without relying on cumbersome PC-sync cords. And the benefits don’t stop there…

Another huge advantage of the dedicated hotshoe is the ability of the Atlas to trigger speedlights that lack a PC-sync terminal such as the Nikon SB-600, Cannon 430EX II or the new Nikon SB-700. You can even put another brand of wireless flash trigger on the Atlas transmitter’s hotshoe to trigger another set of remote flashes in sync with the Atlas remotes.

phottix-atlas-review

The Atlas hotshoe is roughly centered on the unit which results in near perfect balance, even when used with heavy speedlights like the Canon 580EX II or Nikon SB-900 (shown here). The shoe itself is snug, well machined, and features a locking pin for Nikon speedlights. Unlike some other flash triggers, all of the unit’s control surfaces, including the two-stage status LED, remain easy accessible with a speedlight attached.

Phottix Atlas Features

  • Use as wireless flash, studio trigger or shutter release
  • Automatically switches to transmit or receive mode when attached to a camera or flash, and triggers flashes
  • A hot shoe port and PC Sync port for attaching flashes and strobes.
  • Sync Speed: Up to 1/250* sec.
  • 4-channel and fire “ALL” function
  • Shoot from 100+ meters away
  • Simultaneously trigger cameras, flashes, and studio strobes with a single remote
  • Equipped with a two-color status LED
  • Use two AA Batteries or DC power port

* On compatible cameras / flash

Inside The Box

phottix-atlas-flash-trigger-review

Inside the box for the Phottix Atlas is everything needed to start using the unit immediately, including a set of AA batteries. The kit contains a screw-lock PC-sync cord for connection to speedlight flashes, 3.5mm and 1/4″ mini plug connectors for studio strobes, and a lanyard loop for hanging.

Unlike the accessories that come with other budget flash triggers, the Atlas has no odd or proprietary connections. All of the included cords and plugs are industry standard and surprisingly high quality. The only thing missing from the lot is the 10-pin shutter-release cable needed to use the Atlas as a remote release.

This omission of the shutter release cable is only a little odd because the cheaper Phottix Atlas transmitter and receiver set comes standard with this accessory cable.

phottix-atlas-flash-trigger-review

Design

The layout and control surfaces of the Phottix Atlas are nearly identical to the PocketWizard Plus II with all of the core functions – the power switches, channel selectors, test buttons, and 3.5mm connections – in the same locations.

Where the units begin to differ is in the placement of the wireless remote sync (WRS), a feature that allows the units to quickly fire the camera and trigger remote flashes in sync with the opening of the shutter. PocketWizard handles this with a 3-stage switch on the face of the unit whereas Phottix uses an on/off toggle just above the power switch.

The Atlas and Plus II also differ in the placement of the 1/4″ screw mount that is used to attach the transceivers to lightstands and other accessories. The screw mount of the Plus II is located off-center, just to the right of the battery compartment. Since the PocketWizard Plus II is not load bearing in any way, the placement of the screw mount really doesn’t matter. The Atlas on the other hand needs to account for the balance of the unit when a heavy speedlight is attached to the hotshoe. Phottix has accomplished this by situating the screw mount on-axis with the hotshoe, creating a nice distribution of weight when used with an attached speedlight.

PocketWizard and Phottix took different approaches to their transceiver feet. Specifically, the Atlas features a sturdy metal foot and large locking wheel which make securing and removing the unit extremely easy, even with gloves on. After locking and unlocking the Atlas several times, manipulating the significantly smaller wheel and plastic foot of the Plus II feels unnecessarily difficult.

While the metal foot of the Atlas looks good on paper and feels good in practice, it might actually be a disadvantage in a certain worst-case-scenario. It’s rumored that one of the reasons the foot of thePocketWizard Plus II is made of – let’s face it – cheap feeling plastic is so that if the camera were dropped with the trigger attached, the PocketWizard would take the brunt of the damage and simply snap off, possibly leaving the camera’s hotshoe unharmed.

Note: Though we didn’t drop-test our Nikon D3 bodies, we did take a very detailed look inside the Atlas and the Plus II (see below) and concluded that a significant impact would probably still require a hotshoe replacement regardless of which trigger was attached.

The final notable design difference between the two units is the battery compartment. The battery cover of the Phottix Atlas slides open to reveal the battery diagram but lacks the serial number, bar code and electronic contacts found on the Plus II. The battery door to the Atlas is very stiff on the outset but loosens to a manageable degree after a few open/close actions.

Build Quality

The build quality of the Phottix Atlas is impressive and in some regards better than the PocketWizard Plus II. Both units feature heavy duty plastic and have a healthy heft when fitted with a pair of AA batteries. Neither unit suffers from creaking joints in the important areas.

Where the Atlas pulls ahead of the PocketWizard is in how precisely the case is manufactured. While it’s common to see small gaps between the casing and the internal components of the Plus II, the Atlas is a different story. On the 3 Phottix units we tested, we couldn’t find a hair’s breath of space between the Atlas casings and any of the jacks or toggles.

The various switches on both transmitters feature positive detents at each position and feel equally well made. For what it’s worth, we prefer the test button on the PocketWizard for it’s more positive feeling throw but favor the channel selector on the Atlas for its firmer, more noticeable stops.

The Phottix Atlas and PocketWizard Plus II Dissected

With the recent controversy surrounding these products, it was worth voiding a couple of warranties for a closer look – don’t try this at home. Despite being functionally identical devices, the Phottix Atlas andPocketWizard Plus II look quite different on the inside.

The jacks and switches all occupy the roughly the same amount of real estate, as does what is assumed to be the radio transmitter, but other 70% of the PCB is a different picture.

One point worth noting here is that the wired connections to the foot of the Phottix Atlas are exposed in the casing, while the Pocketwizard connections are not exposed in any vulnerable way.

Where as the PocketWizard PBC comes out of the casing entirely, Phottix has soldered the contacts for the hotshoe and the foot directly to the board. These connections are not user removable.

Connectivity

The Phottix Atlas comes with very high quality cables including a 3.5mm miniplug, a miniplug to PC-sync with locking threads, and a 3.5mm to 1/4″ miniplug adapter. Of these, the PocketWizard Plus II comes solely with a non-locking miniplug to PC-sync.

Both the Plus II and the Atlas can be used to trigger almost anything from speedlights to large strobes from maker like Dynalite or Profoto. Thanks to the onboard hotshoe, the Atlas is additionally well suited for speedlights that lack a PC-sync socket without the need for an expensive 3.5mm to hotshoe cable.

Operation

Operating both the PocketWizard Plus II and the Phottix Atlas is simple affair. To use these triggers, set one unit to transmit or WRS mode  and attach it to the camera’s hotshoe. Then, set one or more additional units to receive on the same channel, and attached them to the speedlights or strobes of your choice.

To use either transceiver with a speedlight that has a PC-sync port, connect the trigger to the speedlight using the included cable 3.5mm miniplug to PC-sync cable. Speedlights can also be mounted directly to the Atlas unit via the hotshoe. Turn on and manually set the power output of your speedlight or strobe, turn on the transceiver and you’re ready to roll.

Both the Atlas and Plus II can be used as remote shutter release with an optional 10-pin to 3.5mm miniplug cable. When the receiver is plugged into the 10-pin shutter release socket of your camera, the transmitter’s test button acts as the shutter release, complete with half-press AF capabilities.

The remote flashes can be triggered with the shutter release of a camera with an attached Atlas or Plus II, or by pressing the test button on the unit. Both the Atlas and the Plus II are compatible with the popularSekonic L-358 light meter with Sekonic RT-32 Radio Transmitter Module, respective to the FCC/CE versions of the transmitter.

Flash Sync

Both units pass the white wall test, syncing cleanly at their specified maximum focal plane sync speed of 1/250. For this test the units were connected directly to the hotshoe of a Nikon D3.

Phottix Atlas syncs cleanly at 1/250 when used with the Nikon D3

PocketWizard Plus II syncs cleanly at 1/250 when used on the Nikon D3

Tags ( Pocket Wizards Phottix )

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