Yes..It appears the firmware DOES work

OK David...that is just not right. LOL NYUK, NYUK, NYUK

You must be thinking about when Joe Derita was one...but when Curly
Howard...man it don't get no better.

Wally
--
Wally
************************
http://www.wallyjarratt.com
http://rumboogy.zenfolio.com
http://www.zumoforums.com
--Curly is just a riot. The best. I grin just thinking about him, but all them were down to earth, descent people who valued family, friends, their fans, and of coarse Sally Star. Moe Howard especially was a gentle soul that took time for people.

RIP

-Fortune favors the bold-
 
[text snipped]
How people can't seem to grasp what the 70-200 can do just amazes me,
but it's the same root cause with all three. People don't understand
the equipment.
I concur. It amazes me that some people treat the 50L like the 50 macro. If they abide by the minimum focusing distance, the 50L is a super sharp lens. IMHO the 70-200/2.8 L IS vs. f/4 is more of an affortability issue than anything else. I think this is the hidden objection. How many people are going to hike with the f/2.8 for miles and hours?

Lastly with the 1DMKIII it's not an easy tool. I spent some time yesterday looking into the PDF file that I downloaded (1D/DSIII settings in various situations). I realized that my setting for cycling is incorrect. So I made changes and tried it today on cars. I am just uploading the pictures right now but chimping from the LCD they look good.

Good as always to chat with you.

Best regards,

José
The MK-3 is the most misunderstood probably because it's the most
complex, and people tend to blame it rather than themselves for poor
results.
The MK-3 is slowly becoming the integrated extension of myself that
is my Holy Grail of street shooting, it just keeps delivering
keepers, but so does the 50L and the 70-200.

What controversy? How about the 70-200 isn't sharp enough wide
open? or a silly f/stop more won't make a difference... or it's
too heavy, people will see it ...
this is as much fun as watching the Three Stooges, almost.

h

-Fortune favors the bold-
--
Feeling it from downtown with the 1D-Trey and hitting the quadrupLe-doubLe
Recent work:
http://www.pbase.com/jmb_56/kirstie_1diii
http://www.pbase.com/jmb_56/treina_1diii
http://www.pbase.com/jmb_56/heather_1diii
http://www.pbase.com/jmb_56/cris4_1diii
 
Seems like a simple thing to fix front/rear focus. That's why it is part of the firmware.
 
How people can't seem to grasp what the 70-200 can do just amazes me,
but it's the same root cause with all three. People don't understand
the equipment.
I concur. It amazes me that some people treat the 50L like the 50
macro. If they abide by the minimum focusing distance, the 50L is a
super sharp lens. IMHO the 70-200/2.8 L IS vs. f/4 is more of an
affortability issue than anything else. I think this is the hidden
objection. How many people are going to hike with the f/2.8 for miles
and hours?

Lastly with the 1DMKIII it's not an easy tool. I spent some time
yesterday looking into the PDF file that I downloaded (1D/DSIII
settings in various situations). I realized that my setting for
cycling is incorrect. So I made changes and tried it today on cars. I
am just uploading the pictures right now but chimping from the LCD
they look good.

Good as always to chat with you.

Best regards,

José
The MK-3's AF and drive options are complex and they are comprehensive if you take the time to learn and use them. Glad to hear I'm not the only one still dabbling with them! Bad settings here will cause AF "issues", but that's not the camera's fault! Something too many fail to realize I think.

One thing I'm noticing with this body is my hand held shots with the 24-70 are noticeably better; much less camera shake. The 24-70 really works well with this body and has become my favorite walking lense when the 70-200 is too long.

Yeah, the 60L Macro... where did they get that twisted notion?

I love using the 50L for motorcycle shots; it's flare resistance helps with the headlight as far as getting a fast AF lock on, and giving a pleasing image with bright lights. Setting suns and shots with heavily back lite subjects are something I love using the 70-200 and especially the 50L for. I like the way the 70-200 flares the light and often deliberately try for this effect. I almost always shoot with RAW format which is needed to clean those images up, but really does well.

The bokeh of the 70-200 and the 50L is delicious especially with point source lights in the back ground. It's funny how few recognize the importance of this, and it's value. They seem obsessed with resolution as if that's the end all to a great image.
 

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