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It also creates a seal that keeps dust off of your front element.

Just a note about this… I’ve noticed dust ending up on my front element occasionally despite having a filter. I have no idea how it got there.

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I’m of the school of thought that anything you could get away with as a newspaper photographer should be allowed… As long as the final result is still fundamentally the same picture that you originally took, I don’t see why you shouldn’t be allowed to do some basic spot treatment to make things a little prettier.

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Why spend $1000 on a solid piece of awesome glass only to screw up your images with a cheap filter?

And good filters are expensive…

If you can afford the $1k for awesome glass, you can afford a good quality filter. =D I personally consider things like carrying cases, filters, etc part of the cost of the gear rather than considering them add-ons. It’s not “This lens will cost $1k, the filter will cost $50, etc” it’s “this lens will cost me $1100.”

As for getting a fingerprint off your front element… Some lens cleaning fluid and a microfiber cloth should do you good. Make sure it’s actual lens cleaning fluid, as anything else may take your lens’ anti-reflective coating with it.

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The manager neglected to tell the band that I had photography access. So she told me I had to limit my shots and not make it obvious that I was taking a lot of pictures or they’d get mad and stop the show.

Uh…. That sounds really really sketchy. If the band has a no photography policy, the manager shouldn’t be giving people photo access in the first place. This is why if I wasn’t specifically asked to shoot I get permission from the band.

I don’t think she understood that DSLRs don’t automatically take good pictures. Especially low light action shots.

Cameras don’t take good shots, photographers do. =D With enough experience shooting in clubs you should be able to get a pretty decent shots/keeper ratio. In 50 shots I can usually get about 5 great shots and 25 pretty good ones.

Looks like a promotional poster for a Final Fantasy game. =D

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Band photography is the most fun when you’re specifically asked to do it by the band. No restrictions, even get on stage if you want. You gotta either go to a shitload of shows or be in a gigging band yourself to pull it off though.

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People get way too excited about plays in the numbers game. Oh boy, this camera has a bigger number on it, it must be better! It’s crap. I’d rather take a clean 8MP sensor with a wide dynamic range than a noisy 50 MP sensor that blows highlights. If you can make a clean 50MP sensor with good dynamic range all the better, but I really wish people would stop jumping all over it when the latest superficial advancement in the numbers game comes out and instead actually paid attention to the things that matter. Like, you know, how the pictures look. If the pictures look like crap I don’t care if I can zoom in on an eyelash in a head-to-toe shot, I’m going to go out and get a camera that takes good pictures.

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Rules are just formal ways of saying “This is what tends to look good.” In the end, it’s about what looks good, whether it follows the rules or not.

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It looks like the bulb is overexposed… Colors that are red with a hint of green tend to shift toward yellow when they overexpose because the red maxes out and has nowhere to go, but the green keeps going up.

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Does anything like it exist yet?

Fujinon makes two models aimed at broadcast video lenses. One for handheld cameras and one for large studio style cameras.

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They way I see the reviews of Canon & Nikon stating “still no in camera IS” leads me to believe that something may be in the works.

They’re probably just disappointed that Nikon and Canon went a different route with their IS than Pentax. Nikon and Canon are gigantic corporations, I highly doubt that they are ever going to come out and say “hang on! We’ve been doing IS the wrong way this whole time!”

My prediction is that if they do want to create a way to add IS to non-IS lenses, they will release an “IS adapter” that fits between lens and body like an extender. You will probably see a slight increase in focal length as a result.

The Peleng would benefit a great deal from IS in low light situations where longer shutter speeds are needed.

I just thought about this and realized that IS wouldn’t work on a fisheye anyway, at least not the sensor-shifting style. Think about it, how is the image transformed when you rotate the camera? Because of all the barrel distortion, different parts of the frame move in different ways. A simple sensor shift can’t compensate for that.

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Sure….But several of my lenses would GREATLY benefit from an IS body:

To name a few: 100mm f2.8 macro, Tokina 12-24mm, Peleng 8mm Fisheye, 500mm mirror & MP-E 65mm macro.

Canon puts their IS in their lenses, so the body doesn’t need it. It’s not gonna happen, ever. That would require a major change in design philosophy.

As for IS on a Macro, sorry, IS doesn’t work that way. IS can only correct shake that affects the pan and tilt of the camera. For most pictures this is fine. At macro ranges however, lateral shake, which IS does not correct because gyroscopes don’t detect it, is a major factor.

As for IS on the Peleng, dear god, how much do your hands shake? It’s a circular fisheye, it’s practically impossible.

Indeed, the next full frame camera from Canon will mimic the 40D, but if fps isn’t an issue, why splurge for that ?…..It’s really just HYPE…Yes ?..For all we know, the next Rebel will give us all that + 5fps.

Read the list of features some time, the 40D added far more than just FPS. Integrated sensor cleaning and highlight tone priority are the two big ones, along with better AF, a 14 bit A/D, and cleaner high ISOs.

The new rebel has been announced at 3.5 fps. Remember that we’re talking about an entry level SLR here. The people that buy Rebels either can’t afford anything better or are the type of people who don’t look further than the front of the box when comparing features, so superficial stats like the number of megapixels are what get upgraded first when Canon decides to make a new camera. Features that actual photographers care about go into the higher level cameras.

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I am really not a fan of that HDR treatment. It completely eliminates all local contrast and turns the entire frame into a gigantic mess of detail with no compositional cues to guide your eye through the picture. They make my eyeballs scream looking at them. Good HDR preserves local contrast. There should still be shadows and highlights.

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It’s only a matter of time before Canon & Nikon incorporate IS into their bodies.

Not really. Keeping IS in the lens allows the stabilization to be tuned for the characteristics of that particular lens.

The next full frame camera, I’m sure, will have the newer Digic III processor inside, and probably a few other bells…

It’ll probably be the same feature set as the 40D… Only in a fullframe.

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See, what did I tell you about that f/2.8? I knew you’d love it.

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Oh, and if money is truly no object, get a Hasselblad. The sensor’s about twice the area of full-frame 35mm. Of course the body alone will set you back $25k, but money’s no object, right?

But just remember above all that it’s not the gear, it’s the person driving. Hasselblad or Digital Rebel, your pictures will come out looking about the same.

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