Nikon D300 wins - this time...

Every year around winter time, I sit back and take stock of my photography gear. Literally. I do a kind of a stock-take, making a list of what I have, and what I use (or more importantly - don't use). I do this for a couple of reasons. First, I'm a bit of a gear horde and love to collect all sorts of cameras and systems I discover throughout the year. And second, I have a very small office space in which to keep all this gear. So an annual stock-take (and clear out) is part of my photography routine.

I decided this time around that I was going to sell off some of my film gear I wasn't using. Especially the 35mm stuff. When I shoot film (and I regularly do), I prefer to shoot my medium format Bronica over 35mm. So a lot of 35mm film equipment was sitting around not being used. Decision number one; sell some 35mm film gear.

Having done that, I then began to ponder over the digital gear I'm currently using (which I also seem to do every year). I don't shoot professionally any more, apart form the occasional wedding for friends. So my gear 'needs' (not wants) have changed over the years. In the last two posts, I've written about the Olympus Pen EP3, and how I still prefer to use a dedicated camera system for photos. But I also suggested that this was a very close thing, and that my iPhone could very easily replace the Pen in the near future. Especially if I can get some money together to upgrade to an iPhone 6s Plus or maybe even iPhone 7.

Anyone who has ever followed any of my ramblings on this blog will also know that I'm not wedded to any particular system. Quite the opposite. As a photography educator, I actually like the fact that I use almost all the systems. So that when I have someone turn up on a workshop with a specific issue, I can usually help them navigate menus and buttons particular to their camera. It does, however, mean that I'm changing systems a lot.

So with some money from the sale of film bodies, I began to ponder over my current Canon digital gear. I love the ergonomics and handling of my Canon 50D, and the Sigma 17-50mm f2.8 is a stellar lens, especially for the price. I have even been buying up a few little bits and pieces over the last few months to add to the kit (some spare batteries and an intervalometer). But I have always been a little unsure about the 15MP sensor that Canon used in the 50D.

Canon released the 50D towards the end of 2008, when the megapixel wars were in full swing. Many of the camera lines were being 'updated' simply with a slightly higher resolution sensor, and companies pushed the limits of the technology so they could be the first to release cameras with more megapixels. With the 15.1MP sensor in the 50D, I think Canon pushed it too far too soon. It's known as a fairly 'noisy' sensor, exhibiting some noise even at ISO 100.

Of course noise is somewhat subjective. Photographer's tolerance levels to noise in an image will vary widely. I actually have a fairly large tolerance for noise in an image. I still shoot film after all. But I do think that Canon pushed the 15.1MP sensor out before it was ready. I may be wrong, but I think the 50D and 500D are the only cameras that use the 15.1MP sensor? That probably says a lot right there!?

So if the Canon 50D isn't for me, then what is? What do I need as a predominantly landscape-based photographer (with the occassional wedding thrown in)? A quick google search for 'best' landscape cameras all came back with the same specification - full frame. This is born out by most of the Youtube landscape photographers I follow. The common theme is either a Canon 5D Mk4 or Nikon D850 (or Sony A7III). All full-frame cameras. And all horrendously expensive! Not only in terms of bodies, but also lenses. That Canon 'L' glass might be nice, but it sure ain't cheap! So that would be a 'no' for going full frame then - right?

Hang on - don't dismiss full frame so quickly just because of price. Full frame has been around for quite a while now, and maybe the bargain of the decade is the Canon 5D Mk1 - the original full frame classic. OK, it's only 12.8 megapixels, as opposed to the 5D Mk4's eye-watering 30.4 megapixels. But I've argued dozens of times on this blog that 12 megapixels is the 'sweet spot' for sensor size IMHO. And the 5D's 12MP's are on a full-frame sensor! So for someone like me, who hardly ever crops their images, 12MP is seriously more than enough. Seriously.

The other good news with the 5D Mk1 is that enough time has passed since its introduction (2005) that it is now an absolute bargain on the secondhand market for a full frame camera. Bodies in good condition can be had for around $450NZ and sometimes even cheaper. That's a fairly achievable entry point for full frame camera goodness! So I started looking around for a 5D body, and even put in a couple of bids on Trademe (NZ's answer to eBay).

Never one to shy away from a complete system change (as mentioned earlier), at the same time as I was looking at Canon 5D bodies on the used market, I also looked in to other options at roughly the same price. The Fuji system has always interested me, so I looked at a couple of XT-1's. Sony has also intrigued with the A7's, but unfortunately even the A7 original goes for more than I was willing to pay. And that's when I saw it. A low-ball auction price for a used, but not abused, Nikon D300.

Me and the Nikon D300 / Canon 5D association go way back. We have history together. Unresolved history.

Long story short, back in 2010 I was using a Nikon D300 system after my Canon 5D (that I was still paying off but was out of warranty) died on me. The information in the viewfinder stopped working and was going to require an electrical circuit board replacement. Wedding season was fast approaching - I had a few weddings already booked - and I needed a new camera. I started my digital journey with the Nikon D70 and had even shot my first wedding season with it. So when I needed a new camera to replace my 5D I decided to try Nikon again, with the D300. I loved that camera, but eventually did manage to get the Canon 5D fixed, so I had a tough decision to make (which I wrote about here).

Long story short (again), I went with the Canon 5D. But it was a decision I rather regretted. Fast-forward eight years, and it looks like it's a decision I can reverse this time around. Having initially convinced myself that I 'needed' a Canon 5D full frame for landscape photography, it was the D300 that was calling the loudest. And that price! It was almost insanely low. So I ended up bidding on the D300, thinking it would go much higher than my bid. But it didn't. I won it for $176.00NZ - body only - with just shy of 30,000 shutter actuations (the D300's shutter is rated for 150,000)! That's just crazy talk!

The D300 is a joy to use, and hits my 12 megapixel sweet spot perfectly (at 12.3MP). No, it's not full frame, but I'm not anti APS-C sensors. In fact, I prefer the 1.5x crop of the Nikon sensors over the 1.6x of the Canon. It's just that teeny bit wider. ISO range is comparable to the 5D, as is noise even though it's a smaller sensor.

Of course it hasn't arrived yet, so I'll have to reserve judgment on overall condition til then. But it has only had one owner in its 11 years, so on average he's only taken around 2700 images per year with the camera. That's not heavy use in anyone's language.

Since it was sold body-only, and since it was such a bargain (we'll see), I also had enough money from my film camera sales to buy a general, all-purpose lens. I went straight back to Trademe to find one of my favourite lenses of all time - the Nikkor AF-S DX 18-70mm f3.5-4.5 IF ED!

This is the lens that first came out with the D70. I guess you could call it a D70 'kit' lens? But this ain't no kit lens in the traditional run-of-the-mill 18-55mm kit lens cheapo plastic sense of the definition. This 18-70mm is a cut above. Both optically and in build quality. It has a metal mount, weather sealing, an excellent focal range (27-105mm equivalent), and is fairly 'fast' at f3.5-4.5. It has ED glass, silent and quick internal focusing, and excellent image quality (albeit with a little vignetting apparent wide open at the 18mm end). It ain't perfect, but I love this lens. I snapped one up as soon as I found a decent 'Buy Now' price ($150NZ with free shipping).

Now that I had decided to dive back into the Nikon system, it was full steam ahead with selling my Canon 50D gear. As I write this I have already sold a few items and have just a few more to go. This has facilitated my second (and third) lens purchase(s). Next on the list of 'must-haves' after the Nikkor 18-70mm was a fast prime - the Nikkor 50mm f1.8D. Nikon's version of the nifty fifty (although better built than Canon's version of this lens).

The 50mm prime is often the first lens purchase for someone looking to improve their images on a budget. The fast f1.8 aperture is ideal for low-light, and gives buttery-smooth background bokeh. A great cheap portrait option on APS-C cameras, since the 50mm focal length crops to a mid-telephoto 75mm f1.8 field of view. It may not get a lot of use, but since it's so small and light, it's no big deal to carry it with you on the off chance you may need a small, fast prime lens.

I've said this before, and I'll say it again - I'm not a big telephoto shooter. As a landscape photographer, wide-angle is more important to me (initially at least). So of course my third (and final) lens purchase (for a while at least) needed to be a wide angle landscape lens.

Enter the Tokina SD 11-16mm f2.8 IF DX AT-X Pro. On an APS-C camera like the D300 (which the lens was designed for) it equates to about a 16-24mm full-frame lens. Plenty wide enough. And fast for a wide angle with a constant f2.8 aperture. Looks to me like a perfect astro lens, and I can't wait!

I've been wanting to do some astro photography for a very long time, but have never had the right lens for it. I get the feeling that this has now changed! Tokina even advertises this lens on its website as an astro lens. Wide, fast and sharp! And that's according to the reviews I've read online. I'm a big fan of Tokina lenses on Nikon cameras. They are all very well built, with excellent image quality, and they often produce lenses that sit outside the 'normal' focal ranges of all the other brands. I think I recall reading somewhere that Tokina was started by two ex Nikon engineers who left Nikon because they weren't being allowed to design unusual focal length zooms. That's a story for another time maybe? A review of the 11-16mm f2.8 Tokina will definitely follow once I've had time to play with it.

So there you have it. My switch back - this time around - to the Nikon D300. It should be here any day now. I'll let you know what I think of the actual body once I have it in my hot little hands. Exciting!

Traveling to Christchurch - Landscapes on the Road

My wife and I have been traveling to Christchurch regularly over the last two months (overnight trips every fortnight) for medical appointments, and have been enjoying playing 'tourist'. We both spent our 20s and early 30s living in Christchurch, so know it very well. But having lived on the West Coast for the last 18 years, we've been 'rediscovering' areas that we havn't been to in a good long while.

I don't 'do' selfies, but when in Rome (as they say), if you're going to play tourist you may as well act like them. So with iPhone in hand, we posed for a very rare selfie in the recently re-opened Christchurch Arts Centre (closed after the Christhchurch earthquakes). The front-facing camera on the iPhone 6 isn't the greatest camera in the world, but you get the idea, and it's only for posting on the web anyway. Fortunately, I've also been bringing my Canon 50D with me as well.

It's mid-winter here in New Zealand (as I write this), and on our last trip 'over the hill' (as we locals call it) - the Southern Alps were spectacular. Dusted with a layering of snow and lit by beautiful winter light.

Southern Alps towards Arthur's Pass. Canon 50D with Sigma 17-50mm f2.8. F8 @ 1/400th, ISO 200

This is a scene I have driven past many times and always wanted to stop and photograph. Often it hasn't been practical to do so (kids in the car, time constraints, horrible conditions), but on this trip the photography planets aligned and I had the time, conditions and obliging travel companion (thanks honey). What has always caught my eye in this scene are the braided rivers leading towards the mountains. Add with a dusting of snow, crisp light and blue skies, you have the right recipe for my kind of photo!

The Great Alpine Highway. Canon 50D with Sigma 17-50mm f2.8. F8 @ 1/320th, ISO 200. Cokin Polariser

Sometimes leading lines and perspective works in your favour. In the above image, the road, fence posts, icy puddles, car and power lines all lead your eye towards the hero of the image - those beautiful snow covered hills. This is a shot I've stopped and taken before, but never in quite these conditions. I find the clarity of the light quite intoxicating.

A light dusting. Canon 50D with Sigma 17-50mm

This is from the same spot, but an entirely different angle. In this image I was attracted to the clumps of snow in the grass that lead the eye up towards the hill and sky. Similar in effect to the image with the braided river and Southern Alps above.

I'm a bit of a fare-weather photographer if I'm being honest. I love blue skies with white clouds, crisp, clear days and deep greens and blues. Some photographers look for the dark, stormy and moody, preferring to go out when it's wet and wild. There was a popular catchphrase among Youtube photographers in the UK recently that said "Embrace the Grey". One photographer I follow even grumpily announces on his videos that he 'hates blue skies'. Not me. I love them.

Don't get me wrong, I like a bit of drama in some of my images - of course I do. But I prefer a clear day to a rainy one. In fact if it's wet and rainy (which it often is here on the West Coast), then I don't go out at all. And yes, that does mean that there are many weekends that I don't go out and shoot. So be it.

Mid-Winter at Castle Hill Sheep Station. Canon 50D with Sigma 17-50mm f2.8. F8 @ 1/100th, ISO 200. Cokin Polariser

Castle Hill is one of those well-photographed locations. Hundreds of people from all over the world visit it every day (probably thousands in Summer) - especially since it appeared in Peter Jackson's Lord of the Rings movies (minus the sheep).

This is about as picture perfect as it gets and I'm delighted to now have the shot. Picture perfect images, or 'chocolate box' photography as it is often derogatorily referred to, has gotten a bad rap for many years. Probably still does to be fair. For decades in the artworld, 'beauty' was a taboo word. "Embrace the beauty" I say. I'm lucky enough to live in a jaw-droppingly beautiful part of the world, and be damned if I'm not going to try my best to capture and honour that in my photography. Chocolate box be damned!

Gondola ride, Avon River. Canon 50D with Sigma 17-50mm f2.8

And it doesn't get more Chocolate boxy than a Gondola ride on the Avon River at the Christchurch Botanic Gardens! Maybe it's a bit late in the season for the complete chocolate box package - some more autumnal leaves on the trees would be nice. But I've got some autumn colours there, and the light is gorgeous.

My wife and I spent a lovely morning wandering around the gardens. Me snapping away at random gondola riders, and she patiently stopping every five minutes for me to take said snaps. She got her payback later in the morning when we discovered the Botanic Gardens gift shop which is a new addition we hadn't visited before. A pleasant hour was spent looking around the gift shop, oohing and ahhing at the wonderful products they have on display there. Many of the gifts are garden themed (a lot of William Morris products), but all were rather beautiful (there's that word again). Well worth a look if you are ever in Christchurch and visiting the Gardens.

Homeward Bound. Canon 50D with Sigma 17-50mm f2.8. F11 @ 1/250th, ISO 200

I've called the last image Homeward Bound for fairly obvious reasons really. This was taken on our trip home, the next day, with conditions almost as good as the previous days trip up. Almost, but not quite. I still like the image, and I'm glad I stopped to take it, but I don't think it will win any awards.

But then again, photography's not always about the awards, is it? At least it shouldn't be. More often than not it's more about capturing memories. Memories of a trip away with my wonderful wife, on a beautiful mid-winters weekend. Of picture-perfect scenery, gorgeous light, crisp air and blue skies. My kind of photography heaven.

And back to Canon again... again

I've been re-reading my blogposts from the last 10 years (yes, I really have been blogging for that long), and I think I've used the title of this particular post on at least three other occasions (apart from the extra 'again' at the end).

And yes, it's true. After about 2 years as an Olympus micro-four-thirds mirrorless user, I've once again moved camps and switched allegiances back to Canon DLSR's. "How come"? - I hear no one ask. Well, it's slightly bewildering to me as well, but let me explain as succinctly as I can....

I loved using my Olympus E-M1, and E-M5 II. They are truly outstanding cameras.I've extolled the virtues of said cameras on this blog (and in other guest posts) and will continue to do so. But, I have also written on this blog about my continued (and almost impossible to shake) love affair with the DLSR. And even though I've pretty much used them all, the one system I seem to keep coming back to, is Canon.

As the top dog in camera manufacturers (sales figures and Sony be damned), everyone loves to hate Canon. They have, as the saying goes, the furthest to fall. Yet in the same breath, almost everyone praises Canon's IQ and colour science. They just produce beautiful image files. Not to mention the ergonomics.

But I will - mention the ergonomics I mean. Because the ergonomics of a Canon enthusiast range to top end DLSR are exceptional. The large back control wheel and joystick combination on most of their cameras is ingenious. Best end user-experience bar none (IMHO). And this is where I think the Olympus E-M1 and E-M5 was let down a little - ergonomically. At least for me. Even with the grip attached, my E-M1 just didn't feel all that comfortable in the hand. Canon's DLSR's, however, certainly do (again, to me).

Also, looking back on my previous blogposts, I always seem to come to a crucial decision over camera systems when wedding season is approaching. I might not be a wedding shooter anymore, but it seems that this trend has continued. Because I have a wedding coming up - next weekend in fact (as I write this), and here I am, changing back to Canon just before I have a wedding to shoot.

I was quite happy - and would have been quite happy, to shoot the wedding with my Olympus E-M1. I had no intention of changing a week out from the big day. Honest. So why did I, and what changed my mind?

Last weekend, my wife and I had to go to Christchurch for a medical appointment. I was planning a trip to Photo and Video in Merivale to check out (drool over) the new Olympus E-M1x. Simple enough. But, literally the night before we were due to head off, I woke up at 4am with one thought in my mind - 'trade in your Olympus gear for a Canon DLSR before the wedding'. Try as I might, I couldn't get this thought out of my head, and I couldn't get back to sleep. I honestly hadn't thought about anything other than checking out the new E-M1x prior to waking at 4am - but there it was, and it wouldn't go away.

I've written previously about how, as a Christian, I believe God often leads me with my photography. Whether you believe this or not, I do believe that he is interested in all aspects of our lives. As a creative God, I feel his presence most deeply when I'm outside being creative myself. And I also believe that if the Holy Spirit prompts you at 4am, then you would do well to listen.

I eventually got up a couple of hours later and had a workout on the exercise bike. While cycling on the spot, I looked up Photo and Video's website to see what they had available in their second hand department. I had decided that if I couldn't walk away with an almost identical Canon kit after trading in my Olympus gear, then I wasn't interested (I was listening to God's prompting, but I'm not stupid! 😇). Not surprisingly (sorry God), they had everything I wanted in stock (second-hand) if I could get the right price for my trade-in.

I decided on a Canon 50D body (I already have a very well-used one on permanent loan) with a Sigma 17-50mm HSM OS f2.8 lens and Canon 430EX II flash. This would basically give me like-for-like (roughly), and actually get me a more comprehensive kit because I already have a Canon 10-22mm EF-S, Canon 90-300mm f4.5/5.6 USM and BG-E2 vertical grip for the 50D.

As mentioned earlier, I love the ergonomics of the 50D. It's the last of the pro-sumer magnesium-alloy bodied XXD cameras (released in 2008). From the 60D onwards they've changed the materials and control wheel design slightly, and I like it less. So it's the 15MP, magnesium alloyed 50D for me!

The 50D at Photo & Video was in good condition, with a low shutter count (just over 9000 actuation's), at a great price. The Canon 430EX II speedlite was similarly in good condition at a good price - and even more importantly, it looked like they were going to offer me a great deal on my Olympus kit (in absolute mint condition). So, much to my surprise (and growing excitement), the deal was almost done! And now to the lens...

Again, I was adamant that I didn't want to loose out on the quality that I had, so a constant f2.8 mid-range zoom to replace the outstanding Olympus Zuiko 12-40mm f2.8 Pro was a must. Trouble is, these lenses don't tend to be cheap - even the third-party offerings. But the website indicated they had a couple of Sigma 17-50mm f2.8 lenses available, and a quick check of lens reviews for the Sigma on Youtube looked promising. To my surprise, however, the salesman helping me out with the deal (thanks Adam) reached in the case and pulled out a Tamron 17-50mm f2.8 VC lens. I hadn't even considered a Tamron (it wasn't listed on their website), but what a beast! Attached to the 50D it's a monster of a lens - exceptionally well made, very heavy, and quite imposing. Almost - dare I say it - a little 'too' heavy? Yeah, I know - what did I expect. Isn't it what I wanted, after all? But I was coming from micro four thirds remember - and even I have my limits for weight in a camera 😳

Regardless, I was willing to take his advice, and so the deal was struck. An Olympus OM-D E-M1 with HLD-7 Grip and M.Zuiko 12-40mm f2.8 Pro (plus camera remote release, spare battery and accessory flash) traded in for a Canon 50D with Tamron 17-50mm f2.8 VC lens and Canon 430EX II flashgun. Good deal!

That night, back at the Hotel, I checked over my 'new' Canon kit and started to set up the 50D how I like to shoot (I may do a post on that another time?). Looking over the Tamron, I was still impressed/surprised at the weight of the lens, but on closer inspection I thought I could detect quite a few blemishes on the front lens element. Nothing a quick clean wouldn't fix - I thought. But... on even closer inspection, it appeared to me that there was the start of some fungal blooming on the inside of the front lens elements. Not good!

Long story short - I returned the lens the next day, and swapped it for the Sigma 17-50mm f2.8 that I thought I would go for in the first place. The Sigma is in pristine condition, has an even bigger front lens element (77mm rather than the 72mm of the Tamron), but is, in fact, lighter than the Tamron - and apparently a little sharper if the online reviews are to be believed. I am much happier with the Sigma lens over the Tamron - fungal issues of the Tamron aside. The Sigma just seems to be a better match with the Canon 50D. Quick example; the Tamron lens doesn't 'talk' to the Canon 430EZ flash for distance information when zooming the flash head, whereas the Sigma does. Go figure?

So yes, I've made the switch back to Canon - again. And, as I've written quite a few times on this blog, I couldn't be happier. With the 50D body and grip, Sigma 17-50mm f2.8, Canon 10-22mm EF-S, Canon 90-300mm f4.5/5.6 USM and Canon 430EZ II Speedlite, I've got a comprehensive system for the wedding this weekend (it's a 'freebie' for friends). I've even got a little store credit at Photo & Video left over than I might put to good use soon if/when a fast prime (nifty 50?) turns up in their second-hand department. I'm already thinking about possible future lens purchases (fast prime, macro, fisheye). Good times 👍     

 

Micro Focus Adjusting a Canon 50D

I shot my first wedding in two years last Saturday - with my newly acquired 50D kit. It was a great day, they were a lovely couple, and I came away exhausted and exhilarated; with over 1000 images.

I processed the images through Aperture (yes, I still use Apple's RAW conversion software - but that's about to change), and was generally pretty happy with the results. I used both 50D bodies, and every lens in my arsenal on the day, so I felt that I gave my kit a really decent workout.

But on closer inspection, I began to feel that some of the images weren't as 'sharp' as I would have liked/expected. On an even closer inspection, I narrowed the images that I was less happy with down to 'my' 50D body and the 24-85mm lens. The 70-210mm lens on the same body was a tad sharper, but still not quite right.

My heart sank a little, since the images were indicating that the camera itself was faulty and the sensor not resolving sharply. I did some direct comparisons with my other 50D body a few days after the wedding, and these tests also showed me that on all my lenses, one body was producing sharper results than the other (all things being equal).

I considered sending the body away to Canon to check the sensor alignment - but since the camera is out of warranty I wasn't really thrilled about the cost involved. And then I remembered that the 50D has its own 'micro-adjustment' custom function (apparently the kind of adjustments that the Canon service centre would make anyway).

Since I wasn't happy with the body's performance, but didn't want to send it away to be 'aligned', I decided to give it a go myself.

There are numerous ways to 'micro' adjust your camera and lens combination, using either complex charts or moire pattern computer programmes. But I'm a much more practical, hands-on camera tester, preferring to go out and shoot real subjects rather than brick walls and test charts. So I found a 'real world' micro-adjustment test, and followed that.

Basically, you set the camera up with the lens set to its widest aperture (f2.8 / 3.5 etc) at its longest focal length (if it's a zoom). So for my 24-85mm lens I set it at 85mm @ f4.5. Then you find a target that has some detail and some 'roundness' to it, so you can gauge the movement of the focus point as you 'adjust' it. Many people use the limb of a tree. I chose our clothes line pole.

You then focus on the front of the subject and shoot a series of images, adjusting your alignment in 5 step increments. So, with the Canon 50D, I shot at -20, -15, -10, -5, 0, +5, +10, +15 and +20. That's 9 images in total. Shoot in RAW mode so that no sharpness is applied. Open them up in your RAW conversion software and save them all as high quality jpegs. Then open these in photoshop, zoom in 100%, and crop the final image making sure that you save them with an appropriate name so you remember what each setting was shot at. Go through and find the 'sharpest' number. For arguments sake, lets say it was -10. Subtract 3 from that (which gives you -13), reformat your card, take the camera outside on the tripod, and shoot again, but this time start at the number you just decided on (-13 in our example), and then shoot 7 images, going up by one step each time. This would give you seven images (-13, -12, -11, -10, -9, -8 and -7).

Go through the same process with these images; download them, convert to jpeg, enlarge 100%, crop and then compare the results. You may find that it gets very close at this stage, but a process of elimination should net you the sharpest result?

Do this with all your lenses, and the 50D will 'remember' each setting for each lens thereafter.

So did it work? You betcha. My results varied, but I was able to get the 'softer' 50D matching (and even surpassing) the sharper 50D body in all instances. My 24-85mm lens required a -6 adjustment, my 70-210mm required a +8 adjustment, my 10-22mm required a -8 adjustment, and my 50mm f1.8 required a +14 adjustment! As can be seen below, the 50mm adjustment was the most remarkable of all.

Canon 50D with 50mm f1.8 @ f1.8 with '0' adjustment.

Canon 50D with 50mm f1.8 @ f1.8 with +14 adjustment

It amazed me how 'unsharp' the 50mm was at its default setting before any adjustment. No wonder I wasn't very happy with the sharpness of some of the images I was getting from the 50D.

I've never had to do this with a camera before, as I've never been unhappy with the overall sharpness I was getting - and yes, I shoot wide open as often as I can, especially at weddings. But what about the other focal lengths (on the zooms) and the other apertures? Well obviously, because you are making these adjustments 'wide open', the results are even better when you stop down a bit (they always are) - so no problem there. And the other focal lengths? Well, it just seems that if you get the maximum length right then again, the others fall into place and are just as sharp.

If you are happy with the sharpness you're getting from you camera body/lens combination, then you don't really need to go through any of this. And as I said at the beginning, one body was fine for sharpness while the other was not. I've 'adjusted' the 'off' body now so that it falls in line with the body I was happy with - so for me the job is done.

But If you're not happy with the sharpness you're getting, it 'might' need a micro adjustment for your specific body/lens combination? Give it a try. You may be blown away by the results.

Canon 50D Gear Update

My last post in November outlined my intention to get together a Canon 50D kit instead of my previously opted for Canon 1D. Given that it's been two months since then (tisk, tisk), how did it go?

It went very well, actually. I eventually managed to sell my Pentax outfit (two K10D bodies with various lenses, accessories, flash etc), and began looking around for their Canon equivalents. The 'newer' 50D body was my first acquisition (I already have a beat up 50D body on permanent loan), followed closely by a Canon 24-85mm f3.5/4.5 as my 'general' all-purpose lens.

The 50D on loan also came with a Canon 10-22mm ultra-wide, so I have that as my landscape and large groups wedding lens. Hence I didn't feel the need to go for an "18 to something" lens as my standard. Yes, the new batch of mid-range EF-S lenses have image stabilization etc, but they also sacrifice build quality and larger apertures in the process. I actually prefer the early 90s 'consumer' lenses that Canon produced, since they tend to be more solid, better constructed, and have faster apertures than the newer wave of techno-whizz-bang lenses. I'd sacrifice image stabilization for better build quality and a faster lens any day of the week. Oh, and yeah, the 'older' lenses tend to be cheaper too! Bonus :-)

My next purchase was an absolute steal! I've always wanted a Canon 50mm f1.8 Mk1 - the metal mount version of the nifty fifty. But they are as rare as hens teeth, were discontinued in the early 90s, and are three times the price of other 50mm 1.8's if you do happen to find one. BUT, surfing the web one night I saw a 50mm f1.8 Mk1 pop up on my local internet auction site at a ridiculously cheap price! I couldn't believe my luck, and nabbed it immediately (fortunately they had a 'Buy Now' price and I was the first to see the auction). So I finally own the much sought after 50mm f1.8 Mk1.

When I sold my Pentax gear, I let go of the Yongnuo flash to sweeten the deal. So I needed to get a new flash for my 50D kit. I 'ummed and arred' about just replacing it with another cheapo flash, but in the end waited until a good value second-hand Canon 580EX came up for auction. I'm glad I went the Canon way; flash is a mystery at the best of times - but the 580EX just works... no issues. Especially in TTL mode (although I'm not adverse to switching over to full manual when I need to either).

And last, but not least, I had just enough money left over to get a telephoto (all be it a 'cheap' one). Surprisingly - since I don't use a telephoto all that often - this ended up being the hardest decision. I was tossing up between a Canon 100-300mm, a Tamron 70-300mm, and the lens I eventually ended up getting, the Canon 70-210mm f3.5/4.5. Once again, build quality and speed won out - the 70-210mm being the better built and 'faster' of the three I was considering. No, it doesn't have IS - but gone are the days when we had to stick to just one ISO, and good technique should take care of the rest - right?

So that's the kit. I got a chance to use all of it last weekend when I shot a wedding (more on that soon), and to cut a long story short, I think I've made the right decisions.

One final word. Of course with all of this, price has been my defining (and limiting) factor. Would I have bought the same lenses if Id just won lotto and money was no object? Of course not! Given a limitless budget I'd probably be shooting full-frame (either the 5D Mk3 or 6D - probably both), with a series of f2.8 'L' lenses :-)

Oh well, we can but dream....

Hang on. That's not a 1D!

Well, what a difference a day makes.

In my last post I wrote excitedly about my purchase of the Canon 1D MkII, gave all my reasons for going that way, and even started forming a lens buying strategy.

But I also mentioned how unsure I was about the fairly high shutter count of the body I had purchased - especially since it turned out to be quite a bit higher than the buyer had originally suggested.

I slept on the decision overnight - tossed and turned a bit - and in the morning, decided that I really wasn't comfortable with the shutter life left, and pulled out of the deal. I'm happy to report that it ended amicably, with both parties in agreement and keen to get on in other directions.

So for me, what direction was there left to take?

My experience at the Street racing recently rekindle my love affair with Canon through the 50D. Even though I was using a very well-used model, it functioned perfectly and was a joy to shoot with. It had everything I wanted (frame rate, weather resistance, solid feel, great autofocus), and nothing that I didn't (movie mode, touch screen, blah, blah, blah).

So yes, a mint condition (low shutter count) Canon EOS 50D is the way I've now gone. And I'm just as excited about it as I was about owning the 1D.

If I'm being perfectly honest, I am bummed that I don't own a pro series 1D. I was really looking forward to it. But I also had several nagging doubts and really do feel that the 50D is the better fit for me personally.

Its 6.3fps was more than enough for the street racing and the autofocus was almost always dead on. The only thing that really let me down were the old batteries, but of course I plan on fixing that with a few new ones.

I have a 50D turning up any day now (hoping that it arrives before the weekend since I have a camera club field trip to go on), and once I've sold my Pentax K10D's, I'll pick up a few more accessories/lenses for it. The first thing I'll probably opt for is the vertical grip. I almost always get one for whatever camera I own, since I shoot a lot in portrait orientation, and enjoy the extra bulk/weight and shooting power they offer.

I already have a (borrowed) Canon EF-S 10-20mm ultra-wide angle, and the EF-S 18-55mm kits lens I picked up for free at our last photography club evening (yay). So I think the next lens I get will actually be the EF-S 60mm f2.8 macro lens. I like the fact that macros do 'double-duty', working as reasonably fast short telephotos as well for portraiture. So you get two lenses in one!

Not sure if I'll pick up a Canon speedlite for it as well, or try out the Yongnuo flash I had with the Pentax (I think it will work with the Canon as well)? If I don't get a flash, I might have enough money to get a Canon E 70-300mm IS USM too? Have to sell my Pentax's first though!