>
>
>Date: Fri, 30 Sep 2005 20:37:27 -0700
>From: Moose <olymoose@xxxxxxxxxxxxxxx>
>Subject: [OM] Re: e500
>
>C.H.Ling wrote:
>
>>You may tell me your camera's AF system is good and never need manual focus,
> >that is not true, there are lots of situations you need manual focus. I have
>>tried my C*non 10D with 28-135 USM IS for ballet, it has never been able to
>>capture the two persons dance in action, they run from left to right and
>>jump and... the camera always focus to the background, switching between
>>center or 7 points TTL does not help. Finally I have to use my Zuiko 75-150
> >to make a few usable shots.
>>
>>
>I solve this problem by avoiding ballet and sporting events. :-)
>
>>Even for portrait, you need to focus precise on the eye and the focusing
>>point always not the in right position, I have not try the EOS3 or 1D MK II,
>>may be the 45-point focusing can do it
>>
>Probably not, as teh eyes aren't the closest point, which is generally
>where the AF focuses. More points just makes missing the closest point
>less likely. How about a mode where you can set how far behind the AF
>focus point it actually focuses the lens.
>
>> but I still prefer manual focusing.
>>
>>
>I don't think the small sensor bodies are ever going to be very good for
>some kinds of shooting. Portrait, where the shallower possible DOF and
>beter manual focus of FF are a big advantage, is one.
>
Just some thoughts regarding CH's and Moose comments.
If you think a 10D is bad for shooting ballet, try a C*non D60! :-);
also to be fair, while the Canon 28-135 is a nice lens, it's
certainly not the fastest piece of glass on the planet.
Seriously, though, the Canon 1.6X series prosumer models are getting
better and better for the applications CH is talking about, like
shooting ballet. The 20D is a marked step up from the previous C*n*n
D-SLRs in this regaard; that is the percentage it would work in this
setting is higher, but not perfect.
Bottom line is if you want this level of AF performance under these
lighting conditions, you need a pro 1-series body and a *fast* lens;
f/3.5 doesn't usually cut it. Sorry, but ya's gets what ya's pays
for. For the work CH is talking about the best set-up is a 1D MkII
and a Can*n 200/1.8 or the 50/1.4. Alas, the 200/1.8 is now
discontinued, but it was truly a superior piece, arguably one of the
finest primes anyone has ever made.
-Stephen.
--
2001 CBR600F4i - Fantastic!
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