Canon EF 300mm f/2.8L IS II USM

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The Big Solar Eclipse of 2017

Posted by Snob on September 3, 2017

Posted in: Astrophotography, Camera, Canon 7D Mark II, Events, Nature. Tagged: 2017 Partial Solar Eclipse, Canon 7D Mark II, Canon EF 300mm f/2.8L IS II USM, Canon Extender EF 2X III, Moon, Star, Sun. Leave a comment

2017 Solar Eclipse start

2017 Solar Eclipse peak

Well as the saying goes, “better late than never”. I did make some kind of effort to capture the solar eclipse a few weeks ago. There was a lot of hype about this eclipse here in the US particularly because it presented an opportunity to many across the country to witness a full solar eclipse. I wasn’t however as motivated or hyped-up as some. I just didn’t think it was worth the hassle this time around considering my work schedule and the travel to an obscure location and deal with the gridlock and traffic jam. This especially considering that there are anywhere from 2 to 5 solar eclipses around the world each year. I simply do not think it is as rare (or special) an occasion as it is made out to be. I would sooner chase the eclipse at a destination that offers interesting and exciting possibilities for photography.

Canon 7D mark II + EF 300mm f/2.8L IS II USM + EF Extender 2x III

Nonetheless, I did at least take out my gear for the occasion. The view from Sacramento was of a partial eclipse as we were not in the line of the full shadow. I used my Canon 7D Mark II and Canon EF 300mm f/2.8L IS II super telephoto lens. I also used the EF 2X Extender III, albeit begrudgingly. I say this because it softens an otherwise perfect lens but I had no choice given that for solar observation you really need 600mm at a bare minimum. Of course I did not forget to use a solar filter. Originally designed for my telescope, it fits perfectly on my canon lens. I would have liked to setup my Computerized German Equatorial Mount for tracking, time lapse and also use my 1000mm telescope. However I really had more pressing things to get to that morning. So I threw my kit in the truck and headed into my morning commute. I managed to step out of my office a couple times throughout the eclipse to capture a few key shots. Here they are.

Did you capture the eclipse? Did you view it?

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Plane Spotting @SMF – SouthWest N7738A – Canon 5DsR + EF 300mm f/2.8L IS II USM + EF 2x Extender III

When I was a little boy, we lived practically across the street from a military base and international airport. My big brother Christopher and I would race up the hill as soon as we heard the faintest sound of an airplane. We would sometimes grab our Dad’s binoculars to get a closer look at the action. As I grew up I eventually forgot about aircraft spotting. My brother never stopped however. He routinely spends an afternoon at the end of any runway that has a view and access.

He recently visited and since he’s caught the photography bug from me he suggested we go aircraft spotting so I can give him some tips on how to photograph airplanes. Little did I know I would catch the plane spotting bug all over again. This was only a few days ago and now today I spent my sunset at Sacramento International Airport (SMF) on the lookout for special airplanes – the ones with unique livery, colors and paint jobs. Both occasions have been great opportunities for me to test my gear and add yet another dimension to my photography experience.

The shot at the top is a panorama taken with the Canon 5DsR and EF 300mm f/2.8L IS II USM with EF 2x Extender III. That a shot this sharp and detailed could be taken handheld at 600mm is a testament to the effectiveness of the camera system. The original image is about 20x more detailed. You can read the fine print on the rear door. This is one of those ideal conditions where the Extender III works at it’s best. It did however soften the incredible sharpness of the EF 300mm f/2.8L IS II USM lens ever so slightly.

Yes, I am well aware that the 5DsR is not really designed for this kind of action. However these are the kind of challenges I like to give myself. Yes it is possible to photograph action with the 5DsR – by carefully framing and tracking your subject, paying very keen attention and holding a steady hand. The 5DsR’s fast and effective AF system and accurate metering system more than compensate for it’s slower shutter speed. You just can’t “spray and pray” that you got your shot. You have to focus a little more. I also used the Canon 7D Mark II today. It was just too easy as this is exactly the kind of photography it was designed for.

I also rented the Canon EF 100-400mm f/4.5-5.6L IS II USM lens from Photo Source for the second day. I noticed that the fixed focal length of the 300mm was not well suited for this type of photography. My 70-200mm f/2.8L IS II was just not long enough for half the scenarios. I have to say the 100-400mm was nothing short of perfect. I simply forgot, stopped thinking about my lens configuration and focused more on my shots. I am tempted to add this lens to my kit.

This was fun and relaxing!

Astrophotography

Also in this series: Canon 300mm f/2.8 vs 400mm f/2.8

Part 1 – Landscape Photography
Part 2 – Fashion and Portrait Photography
Part 3 – Astrophotography

Continuing from: Review: Canon 300mm f/2.8 vs 400mm f/2.8 – Part 2

Canon 7D Mark II + Canon EF 400mm f/2.8L IS II USM

Tracking M42 on Celestron Advanced GT mount

The last step in my evaluation of each lens was to see if I could successfully photograph a DSO (Deep Sky Object) from my backyard. The urban location presented some major challenges in the form of light pollution, smog and haze. This meant that I had a very limited window of opportunity. There simply weren’t that many clear winter nights with great visibility. Wind conditions also posed a major challenge to keeping the camera system steady during extended exposures.

After putting each lens through it’s paces and getting nothing but absolute uncompromising perfection from both lenses, I was beginning to see a stale mate. The whole purpose of this exercise was to determine which of these lenses I should consider adding to my kit down the road. Up until this point it was looking like I may be stuck with the idea that I have to own both. An investment I may very well not be able to justify.

Astrophotography is a highly technical/scientific endeavor that requires you to push every single piece of equipment to it’s maximum regardless of compromises. It turns most conventional wisdom in photography on it’s head. The result is a genre of photography who’s prime objective is to first highlight all the flaws in your camera system so that you can quickly and effectively apply yourself to the challenges of working around or compensating for those flaws with the goal of generating as clear a picture as possible of celestial bodies and DSOs.

I chose the Orion Nebula (also known as Messier 42, M42, or NGC 1976) as my test subject because it is readily visible in the winter night sky with the naked eye. You can see its very faint glow in the second photo of the night sky above.

The EF 400mm f/2.8L IS II USM
In each of my tests, this lens’ performance wide open at f/2.8 is perhaps the most important property I observed with the highest level of scrutiny. My reasoning was if this is the the single biggest differentiating feature of this lens, it should and must be able to deliver on every expectation, because Canon does make several alternatives to this lens at smaller apertures and they all deliver impressive results for orders of magnitude less in cost.

The EF 400mm f/2.8L IS II USM failed my astrophotography test. Why? Because my first shot of the Orion Nebula wide open at f/2.8 showed some really serious coma optical aberration, even in the center of the frame as shown in the composite below. I had to stop the aperture down to f/8 in order get a respectable image. This obviously severely restricted the lens’ light gathering ability and at f/8, I would sooner use any of the other 400mm f/4 or f/5.6 alternatives that don’t have this aberration. This also means that any attempt to photograph cityscapes and night scenes after dusk will quickly go sour. You can’t just filter or process coma out of your shots.

Orion Nebula – Canon 7D Mark II + Canon EF 400mm f/2.8L IS II USM

As you can tell, in order to shoot at the coma reducing f/8 aperture, I had to extend my exposure, but as I extended the individual exposure, I had to drop my ISO in order to keep the noise from overwhelming the image detail. A drop in ISO meant yet another increase in exposure. This feedback loop finally settled at 15 seconds and ISO-400. At this stage there would not be enough observation time to get enough frames for a proper stacking. I only had a few hours of clear winter sky during the entire evaluation period so I settled for a quick and dirty 15 frame stack with DeepSky Stacker (DSS).

I should also mention that because of the forbiddingly long exposures needed when using this lens coupled with it’s narrow field of view, a properly aligned computerized tracking mount is all but required. In this case, I used a Celestron Advanced GT German Equatorial Mount. I had to fabricate a custom mounting bracket adapter for the mount. If you have ever tried to observe celestial bodies, you must know how fast they are moving across the sky. On this particular night I happened to get a proper polar alignment and good tracking. I kept thinking if this lens was flawless wide open at f/2.8, imagine how much more light and detail I could collect over a 15 second exposure at ISO-100. If Canon can fix the coma aberration in this lens, it would be hands down, unequivocally, the absolute best, most amazing lens ever made.

Despite the coma, the sharpness and clarity is impressive. I was able to make out four stars at the center of the nebula as well as other gas cloud details. Images should be even more spectacular with a 100+ light frame stack in DSS, however once again the coma should also become more apparent the more you stack. This was the least expected deal breaker for The EF 400mm f/2.8L IS II USM. I expected it to trample any challenge I could possibly come up with in this category.

The EF 300mm f/2.8L IS II USM
This lens was up against greater odds in this category. There were no clear skies that week except for the night after my Photo shoot with Charis. Upon my return I decided to stop for a little wine with a friend. I immediately noticed the skies had cleared up for a brief moment at which point I decided to get a few very quick and casual shots for evaluation later. My very first shot hand held led me immediately to my conclusion. I was able to get a clear shot of the Orion Nebula hand held, at f/2.8 with no coma and no discernible chromatic aberration. Unlike the EF 400mm f/2.8L IS II USM, I did not have my German Equatorial tracking mount with me.

Orion Nebula – Canon 7D Mark II + Canon EF 300mm f/2.8L IS II USM

While the above composite may not seem as good as that from the EF 400mm f/2.8L IS II USM, the devil is in the details. I did not have the benefit of a tracking mount. I had much less time to acquire my frames than I did with the EF 400mm f/2.8L IS II USM. I could shoot wide open at f/2.8 aperture, ensuring that after traveling 1,344 light years, as few photons as possible were wasted. I look forward to making more detailed observations with the EF 300mm f/2.8L IS II USM mounted to a tracking mount and at a more ideal location for star gazing.

It is at this point where I realized the EF 300mm f/2.8L IS II USM was in fact the better lens of the two. It was not only more versatile as a result of its more manageable size and weight but its optics were the most true of both lenses. It obviously does not hurt that it costs almost half the price of the EF 400mm f/2.8L IS II USM. This outcome was most unexpected, and I have since gone back several times to double check and question my results.

Review: Canon 300mm f/2.8 vs 400mm f/2.8 – Part 2

Posted by Snob on April 28, 2015

Posted in: Fashion, models, Reviews. Tagged: Canon EF 300mm f/2.8L IS II USM, Canon EF 400mm f/2.8L IS II USM, Fashion Designers, models, Photography, review, Super Telephoto Lens. 4 Comments

Fashion and Portrait Photography

Also in this series: Canon 300mm f/2.8 vs 400mm f/2.8

Part 1 – Landscape Photography
Part 2 – Fashion and Portrait Photography
Part 3 – Astrophotography

Continuing from Review: Canon 300mm f/2.8 vs 400mm f/2.8 – Part 1

Canon 5D Mark III + EF 300mm f/2.8L IS II USM

Canon 5D Mark III + EF 400mm f/2.8L IS II USM

This is an area of photography I was most curious about how both lenses would perform. Even a broad Google search yields very little material to make a good enough assessment with. These lenses are used almost exclusively for sports, action and wildlife. For each lens I put together a photo shoot with model(s) and talent from the local fashion scene.

The EF 400mm f/2.8L IS II USM
This lens is in fact hand-holdable albeit on the upper limits. It requires that you leverage your entire body and center of gravity. I was able to do shoot continuously for about 3 hours switching between the EF 400mm f/2.8L IS II USM and the EF 70-200mm f/2.8L IS II USM. My back and shoulders were most definitely fatigued and a little sore the next day, and I have a relatively larger frame at 6’3″ tall. You pretty much have to keep both hands on your camera system at all times and set it down when not shooting. You can read and see more about this shoot here: Fashion: Winnie Stackz Collection.

The image stabilization was so effective, there was never a need to use a tripod. I was blown away by the fact that I could heave such a massive lens with such a long focal length – it is impossible to keep still at 400mm – and click away getting some of the sharpest portraits I have ever seen. The portrait to the left, was taken about 50+ feet away and yet every pore on the model’s skin was visible as well as every strand of hair. What you see is only a quarter of the original image size. All of this hand held. This is perhaps one of the feats this lens performs better than any other.

Wide open at f/2.8 this lens is sharp and true. The depth of field (DOF) is just wide enough to keep most of your subject in focus but then quickly falls off, transitioning into a sublime bokeh (background blur) like no other. It almost does not matter what’s behind your subject, as this lens will most likely turn it into a creamy magically beautiful blur. Even the 300mm f/2.8L IS II USM cannot quite match this, however it does come very close.

The EF 300mm f/2.8L IS II USM
This lens was much more at home with this style of photography. It felt like a slightly heavier 70-200mm f/2.8 IS II USM lens, with a bigger front element and hood. I was able to shoot hand held for several hours without fatigue and when not shooting, held the camera system with one hand. I do have big hands so this might be a bit of an issue for some. It required no leverage and IS seemed almost unnecessary. I was able to keep a very fast shutter speed due to it’s amazing light gathering ability.

At f/2.8 this lens appears sharpest. The DOF and fall off is very much reminiscent of the EF 400mm f/2.8L IS II USM. The bokeh and subject isolation when up close is just sublime and second only to that rendered by the The EF 400mm f/2.8L IS II USM. I also liked that I did not have to be almost 100 feet from my subject to get a full body shot. Try yelling your model very detailed, specific directions from 100 feet with the wind blowing and other ambient noise…LOL.

I love how both of these lenses tell a story with every shot. The quality of the image rendered is of the highest order and often so good there was no need for any editing whatsoever. In many cases I just pulled them off the camera and posted them on here. The time savings here are incredible and I can definitely see why these lenses are a favorite for serious sports media photographers – they just don’t have time to fiddle with image editors.

For fashion and portrait photography I think both lenses performed equally well with the The EF 400mm f/2.8L IS II USM having a slight edge in bokeh and subject isolation and the The EF 300mm f/2.8L IS II USM having a slight edge in versatility due to it’s relatively smaller size and weight. In this category I could not come up with an absolute favorite for the two.

For more detailed, objective and in-depth analyses, I recommend reading Bryan Carnathan‘s reviews for the EF 300mm f/2.8L IS II USM and the EF 400mm f/2.8L IS II USM. I am in no way affiliated with The Digital Picture but most definitely appreciate all his hard work and dedication over the years.

Photo shoot with Charis

Posted by Snob on April 21, 2015

Posted in: canon 5D mark III, Fashion, models. Tagged: Canon EF 300mm, Canon EF 300mm f/2.8L IS II USM, Canon EF 400mm, Canon USA, Charis, fashion, model, Old Sacramento, photo shoot, railroad tracks, telephoto lens, Urban. 5 Comments

Charis on the tracks – 5D Mark III + Canon EF 300mm f/2.8L IS II USM

A few weeks ago I was wrapping up my evaluation of the Canon EF 300mm f/2.8L IS II USM super telephoto lens. Just like the Canon EF 400mm f/2.8L IS II USM I had evaluated a few weeks earlier (see my post Fashion: Winnie Stackz Collection), the folks at Canon USA were kind enough to send me a copy for review. This is the second in a series of posts in which I will be discussing my observations and results of my evaluation. I had one last item to cross off my evaluation list and that was to run it through at least one photo shoot with a human subject aka model.

This lens is nothing short of spectacular. The EF 300mm f/2.8L IS II USM and the EF 400mm f/2.8L IS II USM are in a league of their own. They both represent the pinnacle of lens technology and the very best of the best money can buy. They are both uncompromising pieces of precision gear. The EF 300mm f/2.8L IS II USM was perfect for, if not more at home with the task of fashion/model/portrait photography. The resulting images required no editing whatsoever. The clarity, sharpness and contrast were on point. Perhaps this lens’ strong suit is how well it performs wide open at f/2.8, affording shutter speeds that will stop any kind of shake. The amazing IS was almost unnecessary in daylight. The depth of field is very well defined, none too shallow (perfect), but what sets both lenses apart was how graceful the fall-off is and sublime transition to creamy bokeh. I will be writing more on this soon and which lens won my shoot-out.

Canon 5D Mark III + EF 300mm f/2.8L IS II USM

Charis was gracious enough to volunteer. I have photographed Charis before and posted about it in 2015 Sacramento Fashion Week and in Retrospect Vintage Fashion exhibit at Demin Spot. She has a look I always found intriguing, is an all around great person to collaborate with. Beautiful inside and out. New for this shoot was our hair and makeup artist Nicole Matta. This was a last minute shoot and she was a breeze to work with given my time and scheduling constraints. What I like most about her work is her execution – clean, seamless, and picture ready – which means much less work in post processing. My good friend and fellow photographer Steve Phang also partnered with me for this shoot to assist me in making the most of this opportunity. I have often drawn creative inspiration from him over the years, over numerous photo excursions and assignments.

Below are some behind the scenes shots to give you some insight into what it entailed. In all it was a very productive afternoon. I hope you enjoy and please feel free to share any thoughts, questions or ideas you may have.