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Old October 24th 05, 11:27 PM
Skip M
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Default Using Canon 70-200L F2.8 with X2 Converter

"Bill Hilton" wrote in message
oups.com...
I can pick between the 70-200 f/2.8 L, 300 f/4 L, 400 f/5.6 L,
100-400 L IS and 500 f/4 L IS and the 100-400 is definitely the
weak sister


Skip Middleton writes ...

It's also one of the least expensive of that lot.


As I recall (without looking it up) my 100-400 cost $450-500 more than
the 300 f/4 L or 400 f/5.6 L and about $300 more than my 70-200 L (non
IS) so I can't agree with you here ... the 500 f/4 is a different
beast, mine cost almost twice as much as all of these others combined
(and well worth it to me). I think the 500 has dropped at least $2,000
since I got mine though.

I was grouping it with the 300 f4 and 400 f5.6, I didn't realize the 70-200
was non IS, my IS version is $400more than the 100-400, when I bought mine,
it was less than $1200, not much more than the 400 f5.6 is now...

Now that you have a full frame digital body shoot a grey card or
even toned sky with it at 400 f/5.6, f/8 and f/11 and check for
vignetting ... with a full frame body (1Ds) I have to go to f/11 to
get rid of the vignetting.


Hmmmm, I haven't tried it with my 5D, but I never had a problem
with it with film, did you?


Yes, I saw this with film too, in low contrast light where it's more
noticeable ... somewhere I have a shot of a moose shot on a rainy day
in Alaska using Provia 100F with the EOS 3 and this lens wide open at
400 mm and I remember being really surprised and disappointed at the
light fall-off at the edges. In bright light it's not as noticeable
... try it on your 5D and see if it's a problem. If shooting RAW the
Photoshop CS RAW converter has a useful vignetting tool that corrects
for this.

Well, it's supposed to be rainy for the next day or so, so I'll try it out.
I don't think I ever tried it with film with an overcast, except once, and I
cropped the image heavily, so I don't know what the edges looked like...
--
Skip Middleton
http://www.shadowcatcherimagery.com