IPS monitors for photo editing

Three IPS Panel Monitors: a Viewsonic, an HP DreamColor, and an Eizo with hood and colorimeter.

Is the monitor really that important?

The quick answer: YES, absolutely.

IF YOU CAN’T SEE THE COLOR AND TONAL DIFFERENCES on your monitor, then you can’t make good post-processing decisions and adjustments to your digital negatives. It’s that simple. You can’t adjust your curves to give your print smooth tonal transitions or to distinguish subtle shadow detail if Continue reading »

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The Canon 5D Mark II for Video

Which is the best Canon SLR for Video Use? How do they differ?

[For non-video related comparisons of these cameras, please see my previous articles : 5D Mark II vs. the 7D and the 7D vs the T2i.]

Currently, the Canon EOS 5D Mark II is unrivaled in the world of SLRs for professional quality video production.  For those of you who watch the FOX medical drama “HOUSE”, you may be interested to learn that the recent season finale (May 2010) was shot entirely with Canon 5D Mark IIs. The 5D’s closest competitors, though, are also Canon SLRs, and less expensive ones at that.  These are the Canon EOS 7D and the Canon T2i / 550D.  There are a few fundamental differences between these cameras and the 5D which may make them more attractive to some film makers, while others may be deterred. I’ll quickly discuss these differences below. As always, additional information and further questions  are welcome! Continue reading »

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Which 70-200 Lens Should I Buy? A Quick Guide

Canon 70-200 Lenses f2.8 f4

Canon's 70-200 lenses, and a Sigma thrown in for good measure. Not to scale.

With the release of Canon’s latest offering, the EF 70-200 f2.8 USM IS II, Canon has at least 5 pro-quality lenses in the same focal length range. If you include the original EF 80-200 f2.8 from the 1990s (now discontinued, but still available used), the count is up to 6. And then there are the offerings from Sigma, Tamron, Tokina, and the other third parties. Tokina’s lens in this range, now over 8 years old, has fallen out of favor, and I’ll leave it out of this comparison. Tamron’s offering is very impressive optically, but does not currently have image stabilization. Sigma has recently announced the addition of a new, image stabilized version of their very popular lens (and we can hope for some minor improvements to image quality that is already very good). Continue reading »

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Who will benefit from paying for the Canon 7D?

Canon 7d vs Canon Rebel T2i 550D

[If you're interested in the VIDEO features of the Canon 5D Mark II, 7D, and T2i / 550D, you may also find this article helpful: Canon SLRs for Video - JMG]

This week’s introduction of the new Canon 550D / Rebel T2i raises some interesting questions.  This is a camera that clearly out-classes the Canon 50D in many regards, and has many of the features of the Canon EOS 7D, but at less than half the price (Currently $799 at Amazon.com). Will professional or semi-professional photographers be satisfied using the T2i instead of the 7D? What types of photographers will get any practical benefit from paying double for the Canon 7D?

Let’s get this out of the way first. If you’re at least a semi-pro, you’ll want to opt for the 550D designation over the “Rebel”, if it’s available. What photographer over the age of 15 wants a camera with “Rebel” in red letters across the front? Just kidding.

More seriously, though, let me do a quick side-by-side comparison of their features. If you’d like to see the whole table at once, just click use the drop-down menu at the top-left of the table: Continue reading »

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Canon Announces New Model of Iconic Lens : 70-200 f2.8 IS II USM

New Canon 70-200 2.8 IS II USM

The New Canon 70-200 2.8 IS II USM

[UPDATE: Now that this lens is available and has been tested, I've published a comparison between this AMAZING lens and several others in the same focal range. You can find it here: Canon 70-200 lens comparison ]

Today, Canon announced the release of their updated model of the 70-200 f2.8, a workhorse for photojournalists and and other photographers who enjoy its wide apertures, snappy auto-focus, and (usually) crisp optics. Don’t get your credit cards out yet… it won’t be shipping until at least April, according to Canon USA. Read the rest of the article for a quick summary of the key differences. Continue reading »

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Canon 7D vs Nikon D300s

Canon 7D vs Nikon D300s

A few weeks ago, I compared the Canon 7D to the Canon 5D Mark II, suggesting that they’re both excellent cameras, but suited to different types of work. However, there is another camera that appears to be intended for the same target market as the Canon 7D, with many similar functions and a very similar price (within $100). That camera is the Nikon D300s, which was released a few months before the 7D. Again, I can say that they’re both excellent cameras, and the deciding factor for purchasing one will undoubtedly be which of the features are most important to your photographic style.

But the cameras are not created equal. Let me begin with a side by side comparison of their most prominent features. Continue reading »

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And why the 16 Megapixel 1D may produce better images than the 18 Megapixel Canon 7D

Canon EOS 1D Mark IV : The Camera for Action Photographers

Canon EOS 1D Mark IV : The Camera for Action Photographers

Yesterday, Canon officially announced the newest member of the 1D series: the Mark IV. It’s a machine that is clearly built for speed, now boasting 10 frames per second (enabled by dual Digic 4 processors), a new high sensitivity auto-focus system, and even higher ISO settings for better shutter speeds in lower light. All of this is coupled with a brand new, 1.3x crop factor, 16 Megapixel CMOS sensor.

What’s that? Only 16 Megapixels? But wasn’t the 7D just released with an 18 Megapixel sensor? I’ve already seen posts around the internet along these lines, questioning the reasoning behind this new sensor, so let me briefly explain why it might be a good idea. Continue reading »

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The Canon 7D and 5D Mark II: Resolution Comparison

I’ve had a chance to make a cursory comparison between some full resolution photos taken by the new Canon 7D and a Canon 5D Mark II, and the results have not been exactly what I expected. Before I go on to describe the results, let me mention that the 7D in question is a pre-production model, and results may improve (where theoretically possible) by the time that they ship. I’d also like to thank Steve Eastwood at Modelmayhem for providing the images.

As I mentioned in my previous discussion of these two cameras, the overall pixel count difference is minimal in terms of final print size, but because the 5D Mark II has a full frame sensor, it has a much lower receptor density (about 156 receptors per millimeter) compared to the 7D (about 233). Even though it may seem that higher resolution on the sensor would lead to sharper photos, we should not expect this to be the case in practice because even our best lenses offer a lower resolution than the 7D sensor, and therefore the sensor’s extra resolution will not be capturing extra detail.

Figure A: Canon 7D - 100% Crop

Figure A: Canon 7D - 100% Crop

Figure B : Canon 5D Mark II - 100% Crop, ISO 3200

Figure B : Canon 5D Mark II - 100% Crop, ISO 3200

If this concept is hard to grasp, consider this scenario: suppose that you have a fixed focal length lens (say, a 100mm) on your 5D and you set up an object on a table in your studio so that, with your camera on a tripod 10 feet away, it fills the whole frame.  Now suppose that you put the lens on a 7D and place the camera on the same tripod. Of course, the object won’t fill the frame any more, it will be cropped. In order to fill the frame the same way (or as close as possible), you’ll have to back up a few feet.  After backing up a few feet, you’re now using less of the image that would be produced by the lens on a full frame camera to create the same photo, which also means that you’re magnifying the lens’s flaws.

Figures A and B are from a little less than 1/4 of the distance across the frame horizontally. This means that on the full frame sensor of the 5D, this is getting near the edge of the frame, which we’d expect to be a bit less sharp. On the 7D, this is using a more central part of the lens, so any lack of sharpness is less likely to be related to optical problems with the lens.

As you can see, however, the 5D is still sharper, though not by a tremendous amount. The difference is most noticeable in the “www” text below the logo box. Since the two images were shot at 3200, noise is also a factor.

Digital Noise

Figures A and B display a significant amount of digital noise, but in each case, no more noise than a CCD equipped camera would have produced at ISO 800 a few years ago. The question, however, is whether there is a difference between the cameras. Continue reading »

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Which is right for you, the Canon 7D or the 5D MarkII?

Which is right for you, the Canon 7D or the 5D MarkII?

The Differences That Matter

The first difference worth mentioning, of course, is the price tag…. about $900 difference, if the current prices listed are any indication (7D at about $1599 at B&H or Amazon and the 5D Mark II at about $2499 at B&H or Amazon). [Note: Canon is currently offering rebates on both] Since we’re looking at a couple of cameras that have the build quality for professional use, with magnesium alloy bodies, full HD video capabilities, top notch processors, and some of the most advanced CMOS sensors around, we can expect professional quality results from either camera. In fact, comparing the columns of features for the two cameras reveals that the vast majority of them are identical.  Something must justify the price difference, though.

Most obviously is the CMOS sensor difference, the 5Dii being a 21M pixel, full frame sensor, and the 7D being an APS-C size holding about 18Megapixels. The 7D has dual Digic4 processors, whereas the 5Dii has only one. Probably as a result of this, the new arrival boasts burst speeds about twice as fast as the 5D. There are many other minor differences (and perhaps a few significant ones), but I think that these are the most important to consider up front. Continue reading »

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Sunpak 622 Pro System with zoom head: Front View

Sunpak 622 Pro System with zoom head: Front View

Sunpak Auto 622 Pro System : General Features

A manual for this unit can be downloaded from cameramanuals.org, here: Sunpak 622 (pdf manual).

This handle-mount flash dates back to the late 1980s, when it was a very pricey unit… in the range of $600 (and those are 1980s dollars). It still sells at places like B&H for $200 without a head. This is clearly intended for professional shooters that require plenty of power and longevity, such as wedding photographers or sports photographers. I recently purchased my unit for $50 from a guy who claimed that he bought it in 1987 shortly before being busted for cocaine dealing and spending several years in jail… but they can be found on Ebay or Craigslist for well under $100 pretty regularly.

Despite its intended market, the unit does feel a little bit cheap in parts. Although the handle and battery bracket feel good, the zoom head (the only one that I own) feels a little too light. That said, my particular head dates to 1987 and still works perfectly, so perhaps the impression is misleading.

There are several heads available for this unit: a zoom head (manual), a standard, a wide, a bare bulb, an INFRARED head and a ring-light, making it very versatile. I’m keeping my eye out for the light ring head on Ebay… it looks like it would be fun to play with. It can be triggered via a PC sync cord or via a dedicated module that attaches to the camera hotshoe. With the proper module, TTL shooting would be possible, but as far as I know, there are no modules made for modern digital cameras. Mine has a module for a Nikon F3, though I have not tested it. I have not yet found documentation that provides the triggering voltage, so I have no intention of trying it on-camera.

The unit is big. While the reflector area of my Nikon and Canon flashes measure approximately 3.5 x 7 cm, the reflector on the 622 measures 6.5 x 10 cm, over 3 times the area! I’ve seen the guide number for this model (the Auto Pro as opposed to the Super Pro) listed as 160ft at ISO 100, which is impressive, but guide numbers can be misleading. To get a better idea of how this translated into actual shooting power, I set up a light stand about 10 feet from a wall and used my Gossen flash meter to test the output of 3 different flashes: a 300 ws monolight, the Sunpak 622, and the Canon 430EZ (GN 140). The Sunpak and the Canon were both zoomed to their widest setting and the monolight had only a standard 7″ reflector, and all were on full power.

The results were as follows over 3 test readings:

  • Monolight: f11 .9 , f16, f16
  • Sunpak 622: f8 .3, f8 .5, f8 .3
  • Canon 430EZ: f5.6 , f5.6, f4  .9

I apologize for the unusual f-stop designations; my meter displays the exposure as the full stop number plus 10ths, so 5.6 .5, for example is simply a half stop above 5.6 (ie, f 6.7). As you can see, the  Sunpak provides somwhere near a stop and a half more light than the Canon, but about a stop and a half less than the monolight.

Sunpak 622

Sunpak 622

The Sunpak 622 can be powered several different ways. Most typically it is powered by its own mounted battery pack, which holds 4 C-size batteries (the CL-3 NiCad pack can still be purchased for it, too). With alkaline batteries, the refresh rate at full power is a sloooow 13 seconds, but with the NiCad pack, it drops to 3 seconds! This pack mounts in front of the handle, and can be detached for quick replacement with a fully charged pack. Alternately, it has a power jack to connect to a 510v battery pack (refresh rate: 1 second), or it can take an adapter (Sunpak AD-26) and be plugged directly into wall current. I’ve been running mine off of alkaline batteries, but will get some 5000 or 9000 mAh NiMh batteries to see how it affects the charge time.

[Update : I've finally purchased some Size C, 5000mah NiMH batteries and a charger. I've only had them for a day now, but it seems impossible to run them dead! They recycle the flash on full power at just a hair under 3 seconds.]

Strobist Advantages

This is a really wonderful strobe for off-camera flash.  As I’ve mentioned, it has quite a bit of power, but it’s also well controlled; it’s power levels range from full all the way down to 1/128th. The heads swivel in all directions, and there’s a tripod/lightstand screw mount on the base of the flash (and another on the bracket, if you’re using it mounted to the handle). It has full manual control. There’s a pc sync jack. It supports an external power pack. You could use it as a ring light. The batteries last a long time. They’re cheap!

Another interesting possibility is that the bracket could also support a second strobe instead of a camera, so if you’re in a situation in which you really need to overpower the sun, you’d have some extra power.

Strobist Drawbacks

Sunpak Auto 622 Pro-System Controls

Sunpak Auto 622 Pro-System Controls

There are two main drawbacks to this unit. While the power can be an advantage, the size can be a problem…. it’s not going to just slide into a fanny pack like a Nikon SB-900 would. Along with the size is the weight. With alkaline batteries, it’s over two pounds.

The second issue is that the controls are not especially easy to read. The displays are obviously all physical rather than digital readouts, and even with the backlight, they can be hard to read because of their small size. I imagine that this will be more of a problem the older you are.

One thing that has come to my attention is that at full power, the duration of this flash is 1/500th of  a second [I've since seen this published as 1/1000th not sure which is correct]. This means that if you’re using this flash to stop action, you’ll need to use it at 1/2 power at least, but 1/4 or 1/8th would be better.

The Verdict

Further testing is still required, but I’m giving this unit a tentative thumbs up. I love the power and flexability, and it’s still pretty light for the power that I get out of it. I’ll update this review as I have more experience using it.

Sunpak 622 : For scale, the battery pack with the silver/grey stripe on the front of the handle contains 4 size-C batteries.

Sunpak 622 : For scale, the battery pack with the silver/grey stripe on the front of the handle contains 4 size-C batteries.

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