adrianb
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 p.4 #2 · Do you understand crippling now??? | |
cineski wrote:
I'm kinda confused, you're agreeing to agree with me? 5 years ago, we could not do the things we can today with photography. Namely with low light. Today, with the advent of clean extreme high ISO, it has the power to morph photographer's own creativity to take full advantage of new capabilities to do things we were never able to do. When you can suddenly shoot clean ISO 102,400, I'm sure the average photographer will think of things they can do and brand new ways of expressing themselves in ways they couldn't have done before. The really good ones will dazzle with new ways to tell a story. Does this make a person more marketable? I think so.
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I agree with the fact that higher clean iso + better DR + better AF + all the obvious things make your life EASIER and give you more creativity room.
I've been doing wedding for almost two years (crappy prices,crappy clients...crappy area where I live)
And as far as I can tell all the 'pro' photographers doing events such as weddings,,,,they all use flash (either onboard, either with soft-boxes,octogons),in a word; addition light sources..
So why all the fuss and eagerness to shoot at high iso since EVERYBODY around is not shooting at ambient light.
I really like to shoot at ambient light and I hate flashes and other light sources,but I got to face it, if I wanna shoot weddings at a higher level, i need to start using the flashes/lights more and more creative. Not get 1.2 and 1.4 L lenses
cineski wrote:
And yes, most clients cannot tell the difference between a 5D and 5D2 (unless it's a 5D2 image shot at ISO 3200 in a difficult lighting situation which the 5D2 is slightly better at). However, most clients can tell the difference between a shot on a digital camera and that from a medium format film camera. They look vastly different. There is absolutely nothing wrong with expecting the best from your gear and wanting the company who makes your gear to respectfully not play marketing games with the tools that you make a living with. Marketing games that can cause a downfall in the quality of your imagery like crippled auto focus. I'm holding on to things until the 5D3 is announced. If it doesn't live up to par I'm thinking of switching to Nikon. Is the 1DX amazing? I hope so, but I'm not going to spend $14000 on two bodies.
Regardless of what a client thinks, I simply want photographic gear that puts little to no limitations on what my imagination can conger up. Better gear simply allows me to be better. Otherwise I'd be happily shooting a 10D.
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There's no point in comparing 2 photos taken with a 24-70 on a 5Dc and 5D II at night because it's more obvious...
Try comparing two photos taken with 5Dc + 24-70 and 5D II + 24-70 in normal light and not even you could tell the difference.
I really don't understand your comparison between MF/LF film and 35mm digital...
We were comparing gear from the same league up until now, but you are now comparing apples to carrots...
I don't know what they charge for a wedding in US and I don't know what sort of gear is considered to be 'pro' ....but let's say you're a "pro" and have a 1Ds III anda 5D II, or a 5DII and a 1D IV and some quality lenses (24L, 50L, 85L, 135L, 200 2.8L, some flashes etc etc).
We can agree that you have quite a setup,correct?
As a wedding/event photographer, how much of an impact do you think the 1Dx will make to your business? to your end results which you show to your clients? Do you think they can tell the difference?
If you think YOU can tell the difference and if YOU think that replacing one of the two bodies with the 1DX will be better for you ,then you BUY it.....because SURELY at a pro level, you're not chopping an arm to get the 1DX,surely you make enough money to acquire it.
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Really? Out of everything that's going on in the thread you're choosing to harp on that? Go fly a kite (and I think you know what I really mean by that, troll).