New EF 70-300mm f/4-5, 6 IS II USM lens

Does anyone know if the manual control of AF on this goal is not yet published will require pressing the shutter halfway?

You are referring to the process required for the STM lenses?

It shouldn't because it's a USM lens.

Tags: Canon Camera

Similar Questions

  • How to get decent macro shot with my T3i + EF 70-300mm f/4-5. 6 IS USM

    Someone here can direct me to a good tutorial on getting the macro shots decent with my objective T3i + EF 70-300mm f/4-5. 6 IS USM?  I'm pretty good in online searches, but I can't find are reviews and unboxings .  Even the manual I found isn't really give instructions re: macro, even if the lens itself says '1.5m/4.9ft MACRO' right on it.

    Thank you very much in advance for any help!
    Deb

    To use the lens for close-up photography, zoom focal length max (300mm for example) and run the tune-up to the minimum focus distance.  The distance of the development of saddle is close enough consider it is a zoom 70-300mm lens... but it's nowhere near as close as a dedicated macro lens to true.

    You can get close... There are two ways to do this.

    (1) you can use a near plan diopter.  So that the lens you want the Canon telephoto lens 500 d (specifically you want the version with diameter of 58 mm threads to attach to the front of the lens 70-300 mm).  It's about $85.  It is a goal to two elements (which is good better than any diopter close-up of part 3).

    (2) you can use "extension tubes".  An extension tube is (believe it or not) exactly what the name says... it is a hollow tube... and it extends the distance between the lens and the camera body.  You attach to the camera (such as a lens) and then set the goal to draw instead of the body.  This positions the lens away from the plan of the image inside the unit and, therefore, range full tune-up of the camerea is shifted more near the camera (focusing more close distance was 1.5 meter without extension tube, but will be reduced to 42 centimeters just with the attached Canon 25 mm extension tube).  It allows not only the camea to focus at a distance closer, it also increases the size of the image) extension Tubes don't have any glass in there - they are completely hollow.  The body of the tube a pine e-mail to transmit signals through so that the camera body and the lens will always be able to communicate.

    The Canon 25mm extension tube is about $140.  Kenko is another popular brand (their tubes are delivered as a 'game' of three different lengths).

    Whether you use tubes extension or close-up diopters, Cannon suggests that you should manually focus the lens.

    When you arrive at very close distance of focus, depth of field can become quite shallow.  If shallow you can't get as much of your subject in focus as you want.  Use the Hard-Core (a) macro photographers a tripod (because after precisely focusing...) "If your body moves a few millimeters, it may completely lift the subject outside the home).  If you do not want to make sure that you do not move (and the best way to do that is usually to use a stationary object to hold the camera - as a tirpod.)

    They can also use a technique called "focus stacking."  The development of stacking is to take several pictures.  You take a picture, tweaking the development by a few millimetres and take another shot and repeat until you have enough plans to stack the subject of front-to-back with all the positions of different orientation.  The images are then merged using software (Photoshop will do, but there are third-party products that are dedicated to the development of stacking as well.)

    I did it by wrapping a piece of tape around the ring to focus on my goal.  I then focus point of closest focus and use a marker to mark this point (on the Strip).  Then I focus on the point most distant from the focus I care and mark this spot on the Strip as well.  Now I take a series of photos... each, then slightly focus a little bit at a time, take another picture, and repeat until I got enough to get the closest points to the farthest, I scored on that tape.

    More difficult Basic macro photographers will sometimes use what is called a rail development.  It is a track that Mount you on the tripod and then set the camera to a carrier rolling on "rail".  Rail has fine adjustment that allow to move the camera with control.  You run the rail back (furthest point), then focus your goal for the closet focusing point on your topic.  Rather than turn the ring on the lens... you use the buttons on the focus rail - which physically moves the camera forward.

  • EF 75-300mm f/4-5. 6 III USM

    Do I need a tripod to take action shots with this lens for my camera T3I?

    Probably not. More details would help, but action requires high shutter speeds and generally good panning skills.

  • Canon, in the face of fast moving subjects 18-55 kit lens?

    Hi everyone, I'm new here.

    I was doing one shoot the other day on very fast subjects that changed a lot of direction (dogs). Got some good shots but the vast majority were evil out of the home, which was a real shame. I want to know if it's the lens, the body or my technique that does not reach me.

    I'm relatively new to photography, so maybe it's that my settings are wrong or my technique is bad. I'm using the lens wide open, not mode live view with servo AF on a 600 d body. Usually when I focus I pan just the camera turn to follow the subject, sometimes pressing down when I want to shoot.

    I plan the upgrade to the 17-55 f2.8 because it is sharp wide open and has a constant and fast opening and USM and full-time manual focus with a correct focus ring.

    Thank you.

    Your problems are probably due to a combination of factors. IMO, auto focus performance is determined by three things...

    1. camera AF capabilities. Your 600 d has 9 AF points system. Only one of these points - the center one - is the "best" type of cross that is more responsive and follows the movement better. When shooting moving subjects with your camera, it would be useful to limit yourself to using only the central point. (Note: other Canon cameras have more advanced systems of the AF.) T4i, T5i, 60 d, 50 d and 40 d has 9 AF points that looks like, but all nine points are the cross-type sesnors 'better '. The 7 d and 70 d AF 19 points, with all of the nineteen cut type. 5DIII and 1DX 61 points AF with up to 41 Cup type, depending on the lens used.)

    Some cameras are also optimized for performance development. For example, the models of the series 1 d and 7 d have a separate chip driving AF... While most (maybe all?) other models share the tasks of AF by the same processor that handles images.

    2 capacity autofocus lens: Yes, a reader of "USM" (Ultrasonic Motor) objective as the EF-S 17 - 55 / 2.8 would be an improvement on your kit lens. It is faster, less hunting and is quieter than a 'micro' such as is used in the cheaper kit lens. (Note: there is a version a bit more of the 18-55mm with drive focus "STM" or "Stepper motor", which is better than the micro motor version, but still not as fast as USM.) STM lenses are running silent and particularly well suited for video.)

    A larger aperture, like the 17-55 / 2.8 (as opposed to your 18-55/3.5-5.6), offers more light to the camera AF sensors, allowing for faster and better follow-up.

    No, forget all the EF 50/1.8... Of course, he got more openness, but it uses a micro motor and is widely known to be developed slower, less accurate and likely to hunt more than a USM lens. If you want a quick and of course focusing in short and medium telephoto, look to the EF 50/1.4, 85/1.8, 100/2 or L-135/2 lenses. These all use USM drive and are much faster and more accurate than the EF 50/1.8. They have also one or two larger max aperture stop that even the 17-55 / 2.8 (or any other zoom lens), provide more light for the camera to work with. Using a f2.8 lens or "faster" will give optimal performance on your camera, with the centre of focus.

    A few drinks simply are not designed to be developed fast, even if they have more large openings and USM focus. Macro lenses, for example, have to move their focus group a long, long way to go from infinity to 1:1 magnification tends to be slower. In addition, very large aperture lenses such as the 85 / 1.2 L are generally slower... Design. Very large aperture lenses and macro focus on precision, to deal with the shallow depth of the effects on the ground, rather than speed.

    Other objectives are designed to the very fast development. All 70-200, the 100-400 and all the first 300mm lenses and more, are quite fast focusing. Extreme telephotos such as 500 and 600 mm can be difficult to get and keep on target, however.

    Some third-party lenses also make use of similar to Canon's USM development drive, to help the performance of the update. Sigma HSM and Tamron lenses USD are examples.

    3. skills of the user is the third key factor making the update performance... that is, your technique.

    You mention servos 'AF '...  Just to clarify, yourcamera has three focus modes: one-shot, HAVE Focus and AI Servo... There is no "Servo AF. The correct mode to use with moving subjects is AI Servo. Perhaps what you are already doing. In any case, One Shot is almost only used with stationary subjects (there are techniques of 'pre-focus' where it can be used with moving subjects, but those who are rarely used). I Focus is not really a foucs mode at all... It is supposed to decide for you, if the subject is moving, then change to use the correct mode. I have not tested on a recent, but older model where I tried, I found a slight delay that causes a lot of discussion missed shots. He also simply chose the wrong mode sometimes. It might be interesting to note that Canon more pro-oriented models have same AI Focus... they offer only One Shot or AI Servo.

    So, make sure that you are using AI Servo to maximize performance when shooting moving subjects.

    You also use a slow shutter speed. I inflate the ISO and try to use 1/500 or faster shutter speeds. 1/320 or 1/400 is very marginal, trying to stop the movement of the subject with something as fast as the dogs in action. In fact, more you are close to the subject, shutter speed more fast you will really need to freeze movement.

    Cannon also noted that the 18MP models are a little prone to blur shake camera - probably because of the high density of pixels on the sensor sites - and recommends keeping shutter speeds upwards to be sure to get a sharp shot, even with IS lenses. There was a white paper on this subject, on the Canon website. I don't know if it is still available online.

    You should be able to get nice images, specific to ISO 1600... a complete stop of two higher and you to use much faster shutter speed. However, if the indoor shooting it may be areas that are not as well informed and are hard to get a sharp shot.

    You can shoot RAW files, so that you can more fully control noise reduction and factors in post-processing exposure when using high ISO.

    A popular technique among photographers of sports/action is back button to the point. See this article online, on this subject: http://www.learn.usa.canon.com/resources/articles/2011/backbutton_af_article.shtml

    BBF separates the function of the development of the trigger. You use rather your thumb on one of the rear camera buttons to start and stop the development. Many users feel that this allows more safe and followed acquistion with moving subjects. You can configure your camera for BBF and give it a try. It is possible for action/sport/HAVE Servo shooting, it's actually usable once, too... I used it enough only for a few years now.

    With the help of BBF, I start AF well before that I want to take the picture, then focus on the maintenance of the area to focus on the right of the subject where I want the lens to focus continuing to follow and maintain the emphasis... then take pictures along the way. I use the Center Focus point alone, much of the time. This could lead to too centered images, so I try to fit a little loose from time to time, allowing cropping to make that fewer centered images. I sometimes use other than the Center AF point... but who wouldn't recommend with action shot on a camera that does not have the type sensors crossed to peripheral issues, such as your 600 d.

    I use a pair of 7Ds and a number of USM lenses fast development of shoot a lot of sports. With a few years of practice under my belt, on avearage I nail focus on 95 to 98 on 100 shots using this type of gear with the above techniques. I turned to 4000 images at an event recent and marked about 30 people like "rejected" to missed focus problems (and I bet at least half of those who are my fault... not the machine). There may be a few others that are marginally acceptable (i.e., can make an 8 x 10 beautiful print, but seem not good any more greater than). Yet, even if there are 80 or 120 spleen focus, it is only 2 or 3%... much better than only 10% in short.

    I would say that qualities of objective performance and user techniques generally count more than the camera well, or at least can largely compensate for any camera shortcomings. I got results almost as good 50 d and 30 d before it (which were similar to your 600 d AF system) and even with 10 days earlier ("lower" than your AF system). Although I'm a bit away, I didn't like good luck shooting moving subjects using 5 d Mark II (I mostly just use it for stationary subjects)... the 5 d Mark III has a much better AF system and follows the movement much better.

    I hope this helps!

    ***********
    Alan Myers

    San Jose, California, USA.
    «Market softly and carry a great lens.»
    MATERIAL: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
    FLICKR & REPROGRAPHY

  • Satellite A110-275: movies on DVD - R do not work

    Hi everyone I had a problem.

    A couple of weeks, I installed Vista on my laptop, to find every time that I burned a DVD movie, it would not properly play in my DVD player. So I thought it was a problem of Vista compatibility. So I reinstalled Windows XP to find this film now jumping when burned under Windows XP.

    I was told to change my media, so I still have no chance of jumps always.

    This is were I get confused, I was beginning to think that I have a problem with my DVD - RW, but if I burn to a DVD + RW Games movies fine burning on CD - R for music high etc all play very well it just seem to be my I can not burn to DVD - R. Now, I have been using this media for so long, I forgot how long it was to tell the truth.

    Any help what so ever on this would be appreciated with gratitude that I get desperate I'm even ready to give a little money if they can solve this problem I have a lot of holiday video that I need to get my hard drive.

    Last I know my holidays have been authorized and compressed in DVD format very well because he will play very well on a DVD - RW

    Also my DVD player is fine as I've tried movies in 2 other players

    Thanks for any help

    Hello

    > I'm even ready to give a little money if they can solve this problem

    : D I put t want your money it's better that you will be buying a new drive ;)

    Hmm, maybe there is something wrong with the lens of the drive.
    If the lens is unable to correctly calibrate the reader cannot read or write media.

    Try to gently clean the lens maybe it helps.

  • Feature print reader finger on Tecra M5

    I own TECRA M5, I bought a month ago. Today, I rebooted the computer and tried to connect by using the fingerprint reader, it does not work, after 5, 6 attempts he read my finger, but gave the msg, finger read is too short.

    I restarted computer again once, the same thing happened, but after several tries, he worked. Why Ca? s don't read is not my finger? Normally not only not happened and he read finger of the first shot but above problem mentioned, I met 3 times.
    Any suggestions? Problem with nine Tecra is irritating.

    Hello

    Check the version of your fingerprint software. On the Toshiba site is version 5.4.0
    If your app is installed is a bit more if you install a new on the site.
    Also please make sure that the lens of the fingerprint is clean and that the appliance scans properly.

  • Reviews for poles, please?

    Extender EF 2 x III - or the EF 1.4 x III.  Same price.  Other than the obvious, why one over the other?  The optics are equal?

    Thank you!

    And of course, it's the right answer...

    "I would recommend the 1.4 X if you can only afford a..

    I'm sure you probably know, but Canon Extenders only work woth with some Canon lenses... »

    In general the Extenders are a bad idea.  You give a lot for little.  There are a few glasses of 'L' that tolerates an Extender well enough.  Most of the lenses don't. The Canon EF 70-200mm f/2.8 L II USM lens and the Canon Extender EF 1. 4 X II work well together.  I have this combo so I can recommend it.  It also works well with the Canon EF 300mm f / 4L IS USM lens.  Once a combo yet personal, I can recommend it.  As a general rule they are not and you should avoid lenses that are slower than f4 with Extender. And f2.8 it's even better.  And yet once again, IMHO, avoid the x 2 in total.

    Then you enter the really great TV like the Canon EF 500mm f / 4L IS II USM lens.  Although the 1. 4 x works well with it, it brings some more difficult terms more come.  700 mm FL, it can be quite a challenge to use.  I only have the combo but I rented it.

  • the goal even after repair

    I recently bought a refurbished rebel t5 with the kit lens 18-55mm, as well as the 10-18 mm IS and 55-250 IS lens. Everything has been fine with all my equipment except for the 18-55 mm lens. When the rotation of the lens to zoom in or out, there was a notieable rubbing or grinding noise and there were a few sticking points where the goal was not spin smoothly. I took in a Canon customer service center and they we sent for repair. I am the home goal today and everything is exactly the same thing when I sent it. Same grinding noise, even the sticking points. The service details, bak I say "your product has been examinded and it was found that the party was out of position, causing noises occur. The part of the description says "Focusing ASSY YG2-2353-000 part number".

    I have also two older lenses that I had with the original Canon EOS rebel, I have a 18-55 and 75-300. So none of my other 4 lenses have this problem, but I don't know how many questions it's really. This could potentially damage the lens over time? Or is that what I should really worry? It isn't really the effect on my shot, but I don't want to be slowly causing damage every time that I have to zoom in or out. Since he was sent back to me like that after repair, should I just assume that it is not a big deal, because the repair obiously Center don't think it was if they sent back like that?

    Thanks for any comments,

    Matt

    Matt,

    I don't have this particular goal, but I've been involved with a lot of people what to do. «It is not really effect my shooting,...» ", seems to be like that.  The lens can jump gear fairly easily. You can reset it by deleting and expanding the focus and zoom all the way, both ways.  You can hear a few clicks.  Be gentle.  It's really not a good candidate for the repair, if it is under warranty.

    Using it, he can't last forever or not. If not, buy the new improved version. The Canon EF - S 18-55mm f/3.5-5.6 IS lens STM or elsewhere, far, the best choice for Canon EF - S 17-55mm f/2.8 IS USM Lens.

  • I need lenses for Canon 6 d

    Hello

    I just bought my 6 d with EF 24-105mm f / 4L IS USM lens. I'm new in the world of photography canon so I'm still confused about what lenses should I own suits my needs. I need especially my goal to take pictures at my gym where I teach karate classes, the room is about 50 * 50 feet, I am planing to take pictures for the students, while peferoming karate moves so I want to take pictures for the whole team that for sure needs a wide-angle lens but I know not the focal length I need and if it has zoom the goal or not. Addinng to this use I need as well to take pictures for my new born baby and occations of my other child such as birthdays, school events...

    Thank you in advance

    I might consider getting the EF 50 mm f1/.4 USM.

    I imagine that you will use this to capture images of students performing moves - they are 'on the move '.

    During motion capture, you can (a) use a shutter speed faster to 'freeze' the action, or (b) use a slightly slower shutter speed to allow the image implies a sense of motion blur (and sometimes, it's actually a more compelling.)

    Photograph of Interior with faster shutter speeds is delicate, because usually the light is weak (Fortunately the 6 d has a high ISO range.)  But it helps to have a goal which collects naturally much more light.

    Your 24-105mm lens has a maximum ratio of focal f/4.  The report describes the number of times the diameter of the free opening in the lens (opening) can be divided into the focal length.  This means that to, say, 100mm... the aperture of the lens is able to dilate and 25mm wide and 25mm is divided into 100mm exactly four times, it is a lens ' f/4' (the aperture blades may contract smaller... the value printed on the lens always describe the report using the largest possible opening size.)

    A 50mm f/1.4 lens collects literally EIGHT times more light.  This means that he can use a shutter speed to eight times faster than the 24-105mm... or it can use a lower ISO setting (to reduce the 'noise' in the image).

    I am also considering a lens based on subject framing.  You can use the calculator 'dimensions of field' on this Web site: http://www.tawbaware.com/maxlyons/calc.htm

    So imagine that you want to capture a student doing a kick in which you believe, you will need a framework at least 10' high.  You can use the calculator to determine what focal length of a given distance, you'll need to capture that.  If I plug a 50mm lens, guess I'll be 20' away from the student, and then I can plug these two values.  There is a third value, which is the "focal length multiplier" (also known as the "crop factor").  Your 6 d is a "full frame" camera, which means that the factor of cropping (or multiplier) is always exactly '1' (if you had a camera with a sensor size of APS - C... a little... then your crop factor sensor would be 1.6).

    If I access the '50' for the focal length of the lens, '1' to multiply the focal length and '20' to my distance to the subject and click the "compute" button, it tells me that the physical framework of the distance dimensions is 9' 7.2 "high (in the vertical direction) and 14' 4.8" wide in the horizontal direction.  It is a comfortable (close enough to 10') frame to frame the subject and perhaps also their target.

    I could try other lenses too...  I could plug in 85mm as the focal length, but I try to change the distances to get a similar framing and I discovered that at 85mm, I really need about 35 feet away (instead of 20' far away.)

    You can imagine how go to higher focal lengths will be able to get to a point where you run lack of space in your room 50' because if your subject is in the middle of the room, you have about 25' and your back is against the wall, trying to get this shot.  That's why... I think that 50mm is probably a good lens (again this is based on the assumption that you want to capture a vertical height of approximately 10'.)

    A bit of caution... When you use a lens with a report f / d below, the depth of field (an imaginary Beach distances to your intended focus distance over which subjects seem to be in acceptable focus) becomes narrower.

    With a 50mm using f/1.4 lens and a lens focused at a distance of 20', the 'depth of field' is a little over 4' thick... distance of 18.1 ' through 22.3 ' will appear to be reasonably acceptable point.

    Compare that to f/4 (using the same focal length and 20' 50 mm) and the depth of field is 12.7 ' thick... distance of 15.5 ' through 28.2 ' are in acceptable focus.

    You can see that, while the report f / f/1.4 d collect eight times more light, it happens to a compromise in the depth of field (btw, a lot of people really LIKE the blurred background and do their best to get the effect).

    If your subject distance changes, then you'll want to use the mode of development of "AI Servo" (instead of the mode of development of the default camera 'One Shot') which causes the camera constantly reevaluate and tweak attention than your distance to the subject changes (in 'One Shot' mode it will carry only until she Achieves a lock... and then stops focusing even if your subject is moving and distance) is no longer valid.)

    Flash: You ask about flash, but I thought I would offer this because it's something I would probably consider doing in this situation.

    It becomes a bit complicated because of the 'synchro-flash max' speed (on the 6 d speed is 1/180th second shutter speed)  This is not fast enough to 'freeze' the action if this action is at a relatively high speed.

    The camera uses two "curtains" (doors) that slide on the sensor.  When taking a picture, you open to start the show... a moment later, the second, are closed.  The doors have a maximum speed of physics that they can move to open or close.  On your camera, a shutter speed of 1/180th second or slower allows a door to open COMPLETELY, then the flash (Exhibitor the entire sensor to light) and then close the second door.  A speed faster than 1/180th requires that the second door already begin before the end of the first opening of the closing door.  So to create pictures of high speed, the first door left open but the second door begins suite - expose really just a "slot" of light that sweeps the sensor.  This allows your camera to use shutter speeds that are faster that the doors can actually move.  If a flash fire when there is only a slit exposed, while part of the sensor exposed by this crack Gets the benefit of the light.

    It deals with issues like a flash that support the mode "sync high speed ' with enough power for multiple light chips needed when using high-speed sync.   This means pulse flash quickly because the shutter works so well that each part of the sensor has Flash.  But as the flash needs to perform several bursts, then single burst may trigger the 'full' power because the flash has book enogh power for all the necessary pieces.  It is useful to have a powerful flash in particular (as Canon 600EX-RT).

    You can also use mode "sync second curtain" If you normally involves movement... when using a flash, the first door opens, then flash fires... and wait for the camera on the amount of time needed for your show time... and THEN close the second door.  But if something is moving, it means you get a bright subject (in flash) and then the ambient light continues to bring a bit of light on your subject that continues to shift.  This dimmer light on the moving subject creates a ghost trail... but the trail is "in front" of your subject, rather than 'behind' your topic - following, so it seems a little strange.

    "Second curtain" mode involves the camera to delay the release of the flash, just before the second door closes.  This puts this drag ghost 'behind' your topic.

    BTW, this second option (which implies the query using a flash on mode "on the 2nd curtain sync" while using a slow shutter speed deliberately) also helps the camera much better capture the background exposure of the room (we call this technique "dragging the shutter" because we deliberately use a slower than necessary shutter speed when using a flash).

  • Lens STM on the 60 d?

    Very new to DSLR Canon, have a new 60 d body and he would buy STM 18-55 lens but camera store guy says that it does not work with the 60 d. What goals are correct for the camera. I want to start with 18-55, until I'm finding things. I've worked with big cameras HD docs, but I have not touched a SLR or DSLR for years.

    Hi, jaymack!

    The Canon EOS 60 d is compatible with all EF-S Canon EF lenses.  This means that the camera will indeed use the lens EF-S 18-55mm f/3.5-5.6 STM IS lens, right out of the box.

    We hope this helps!

  • Canon 18-200mm zoom lens

    I'm new here.  I have a Canon T3i.  Two kit lenses came with it in a bundle... 18-55mm, 55-250mm.  I am considering getting the Canon 18-200mm.  Would be the Canon 18-200mm is a good choice to replace the two lenses, or are there better choices to replace them with and keep the 18-200mm too?

    I wouldn't buy one for several reasons.  The one above all, it is more difficult to zoom, when the zoom range becomes very extreme.  18-200 is a 11 x scope and very ambitious to say the least. Not only in mind but in build quality, too. It will be in the same level of quality that the two glasses, the only advantage is to have just a lens so you.  Is that what you need? The superior advantage of a digital SLR is the possibility of having the right lens for the good work.  This implies usually several different lenses.  So you will be defeated this concept a little!

    I'd rather see you get a different level of lens for example IS the Canon EF-S 17-55mm f/2.8 USM Lens.  Directly by replacing your 18-55mm kit lens. Of course, it is in the case where you have does not work for you. But this approach is better built, better optics and a little more quickly the objective that can be very useful.  Don't get me wrong the Canon EF-S 17-55mm f/2.8 IS USM lens is a very good lens and offers a constant aperture.  A great plus in my book.

    Unfortunately these lens upgrades are expensive and replacing the 55-250mm is going to be even more.

  • EF 100-400mm f/4.5-5.6L IS USM

    Just bought an EF 100-400mm f/4.5-5.6L IS USM lens.  Is there anyone in this community of Canon that can offer backs or things on this goal.  Any information would be helpful.  Thank you.

    I'll assume you mean the version to push, but in general this applies to it & new. Use mode 1 IS for stationary subjects & mode 2 for panning. Use the limiter switch to speed the AF response on things that are further away & do NOT forget to re set during the filming of things inside the extreme limit of range switch controls. If you have not used a long lens before maintain high shutter speeds until you develop the right technique.

    If this is the version to push does too tighten the ring that locks / apply the voltage to the Canon zoom.

  • Images may appear blurry even when f stop is at F22

    I bought the Canon SL1 with the standard 18-55mm IS. I am having some problems with the update. I can't attach the picture of this post to show you... But here's a description: the lower part looks a little blurry; in fact, the rest of the photo is too (but especially if I have much zoom in several times I found it). Image stabilization is enabled. Italy snow photo is F22, 80 (hand-held) ISO 100 speed. With this F stop, I expect 100% objective. It was not windy. Even when I use a tripod and the speed is faster (125 +) I have this problem to varying degrees. This could be the cause? I would appreciate any thoughts! I realize without seeing photos, you may not be able to help me, but thought I'd try! Thank you and happy holidays, Annie

    amatula wrote:

    Thank you! It's all very useful.

    I just found how to post pictures. Here are two. Note: both I used an older Sunpack UV filter. Both were at hand.
    The parameters were:

    Barn: ISO 200 F16 125 manual

    Other ISO 100 F22 80 manual snow scene mode (wind was not blowing, but note that the snow on the bottom of the picture appears blurred)

    Dosage for the two - Center weighed

    Picture style: standard

    Large/fine image quality

    I have other photos without the filter that have the same problem with sharpness not total throughout the picture.

    With all the pictures, I have the camera set to 18 mm

    I think buy the 2.8 lens or a 1.8 but just want to be sure I can photograph this first goal successfully.

    Yet once, I really appreciate the help - I don't remember these problems with my old Nikon film SLR; Therefore, a new learning experience for me!

    Annie

    Buying a lens f/1.8 or f/2.8 will do nothing to help your images because the question is that you are using too small of an opening (too high f/number).

    Something from a film camera to a digital camera APS - C, you need to understand is that all openings you are using shift by one f-stop. So f/16 on your digital Rebel will give you the same depth of field to use f/22 on a film camera. And it goes the same for diffraction f/22 on your rebel gives you the same amount of diffraction to use f/32 on your film camera.

    Diffraction sets in at the beginning when you use an APS - C sesnor. An optimal sharpness with your lens at 18mm is at f/5.6 and stop after that diffraction more impact on the photo and becomes less sharp your image. So it becomes a balancing act between the maximum sharpness and an adequate depth of field.

    Angles more wide lenses have a very large depth of field. I would suggest to 18mm, you try to use f/8. Still, this gives a very large depth of field to about 4 ft to infinity and reduce diffraction as a factor in the sharpness of your image.

    You can also try to use the picture style 'Landscape', because it gives a bit more sharpening.

    Edit: I also would try to support the distance of your update until you get more comfortable with the performance of your new equipment. (e.g. support 5 shots with emphasis varying between 5 feet and 1/3 of the way in the photo) Unlike with film it costs you nothing but time.

  • After t2i

    Hello. First time here. I have a t2i, I like to use. I'm ready to go. The 5 d is expensive. I was thinking 6 d or 7dmkII, but do not know which way to go. I use the t2i for everything, nothing specific. Would welcome any input. Thanks in advance, tony

    The 6 d with the 24-105 f/4 L combo kit is only $1 999.00. Be sure to get the f/4 the goal, not the new cheaper variable aperture no - L.

    For a second longer lens, the 70-200 mm f/4 IS is only $600 and it is a big white. For $1,100, you can get one with IS.

    A bright fast Prime is a fantastic thing to have, both for his ability to draw an 8 x to faster shutter in the same way that a f/4 lens could, and it also gives you a fantastic shallow depth of field shooting wide open. A 35mm Sigma f/1.4 is a fantastic versatile lens. Or a Canon 85mm f/1.8 is ideal for portraits.

  • InputStream/transfer/file upload file size limitation?

    I try to use http 'POST' to download a large file whose size is about 30 MB.

    I cut it in small pice like 1 Mb. And try to send them on httpconnection.

    Both Simulator and real phone do not work, I got OutOfMemory error.

    Also I tried to use the browser to download, still does not.

    Y at - it no limitation of size for file transfer via http?

    Thank you.

    LAN

    Moreover, myFileStream.read use InputStream.read method.

    myHttp.open(theServer);        myHttp.setRequestMethod("POST");        myHttp.setRequestProperty("Content-Type","multipart/form-data; boundary=" + BOUNDARYKEY);        myHttp.openOutputStream();
    
            myHttp.write(getPostFormHeader());        if (myFileStream != null){            int fileSize = (int) myFileStream.fileSize();            if (fileSize <= 0)                System.out.println("Invalid file size!");
    
                int off = 0;            int len = 0;            int i;            byte[] myBuf = new byte[BUF_SIZE];            for (i=0; ; i++) {                if ( (fileSize - off) < BUF_SIZE)                     len = fileSize - off;                else                     len = BUF_SIZE;                if (len <= 0)                    break;                myFileStream.read(myBuf, 0, len);                myHttp.write(myBuf);                off += len;            }            }        myHttp.write(ENDMESSAGE.getBytes());        myHttp.flush();        return myHttp.getResponseStream();
    

    Hi dream,

    For a load of 30 MB to succeed the phone, he'll need 30 MB successfully create the PUBLICATION on the server information, it is then the main cause of the "OutOfMemory" error, the problem behind this error is that the "Ras" on Http/sConnection command deletes not really the send buffer file Info. So independently using pieces of 1 KB or 1 MB buffer memory is still going to fill and eventually cause an OutOfMemory exception. One of the two way around this is to split the file into smaller files; Send to each of them through his OWN POST and then rebuild Server; A nice way to fix this is to divide the file in archive zip/rar/segments and then simply "extract" the new server-side.

    If you are interested by this unfortunately and costly route, you can find the article relevant here this article refers to the download instead of download, but the same logic applies.

    The second option is to use a datagram Socket connection / (rinse them properly) and get them to do the HTTP traffic for you.

    Concerning

Maybe you are looking for

  • Patch recovery

    Hi everyone, some time ago I accidentally deleted the patch 'Bright Vocal"from the library of vocal effects in logic. I figured out how to get it back, but I can't understand how it back into my library of effects. He is currently on my desktop as Br

  • The response of Mac is too slow

    The response of Mac is too slow, I have to reset DRAM, RAM, or memory NVRAM? Or y at - it another way to solve this problem?

  • iPhone 5 ios 9.2.1 storage issues

    Since I upgraded my iPhone 5 IOS 9.2.1 I keep getting problems of storage "storage is almost full or full storage. delete videos and photos to create a space. I deleted all my pictures and music and still get the same problem of "complete storage."

  • Password e1000

    I forgot.  How do I either find it out, or reset the E1000, so I can create a new one?  (Connection now works very well.) The button reset for 30 seconds and the conmnection appears on the right again. Thank you very much!

  • Who should be subjected to the App world, Simulator or device?

    Hello I use the SDK of webworks for BB10 command-line to package and sign my apps. I found 2 subfolders named "Simulator" and "peripheral" generated. My first question is what should I submit the .bar file in the subfolder "peripheral" in appworld? I