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| p.1 #18 · What today's great portrait shooters use. |
Tom K. wrote:
I wonder why she made the switch.
She did cover that in her last creativeLIVE course "Successful Studio Businesses". I recall that she had a play with a D4 at some point and she was just "blown away" by the image quality and the AF. Sounded like a pretty wishy-washy response. It seems that most photographers that make the switch (one way or the other) have a gripe about their current setup, test the alternative and find that that gripe is addressed in the current model, and believe that "all other things being equal" it's worth the switch. It's only later that they discover that the new system has flaws of it's own and remember how good the previous system handled those things. Not to mention that the next model of the old system usually/often rectifies the major flaws of the old model.
Jerry Ghionis made the switch to Nikon after being a long time user of Canon. Jerry made the switch before Bambi and they are supposed to be good friends, maybe he put her onto it. Anyway, he dropped and broke one of his Canon bodies, and had won a D3s (?) in some competition some time earlier and decided to have a play with it while waiting for the Canon to come back...was so impressed with the Nikon...made the switch.
I'm sure there have been countless high profile photographers that have gone the other way too.
I am intrigued by the prevalence of the 24-105L in the list above. I know Sue Bryce does like the 35L and uses it quite often these days. I know that in her studio she has enough natural light (and is happy to bump ISO where needed), for the f/4 aperture to not be an issue. The 24-105/4 has, certainly in my mind, been labelled as a entry-level L Series lens. I picked one up in a bundle with a second hand body and on-sold it straight away even though I didn't have a 24-70/2.8 at the time...I just thought it wouldn't cut it for me in the long run.
For portrait shooters the f/4 probably isn't an issue as they can be more picky about their light and when / where they shoot with clients. Wedding photographers and PJs don't have that luxury and often find themselves shooting in very low light situations, so I suspect faster glass has a higher importance? (NB: I don't know a lot of the photogs listed above so can't comment whether they shoot weddings as well as portraits.).