I always carry two bodies around on me at almost every gig I shoot - Normally the 24-70 and something else. This last time it was the 24 ƒ1.4. I've also carried the 135L, the 50/1.8 and the 70-200 primarily at sporting events. But two bodies are almost always on me if I'm shooting.
Does anyone who has two bodies prefer to just leave one in the bag? I like having the instant ability to switch bodies.
I must be a big wuss. My 5D with the grip is heavy enough, I can't imagine always having a second body with a lens on it hanging from my neck or shoulder!
I absolutely hate doing it. Not only is it heavy and bumping everything - but the self-image picture of Dennis Hopper in the jungle and his cameras without film hanging around his neck is just too much.
Shot the moon tonight... hand held - working out and getting ready for Oshkosh. 300mm w/1.4TC
jbear2000 wrote:
Both are plenty fast enough in the dark and the bokeh on either one isn't bad either. May not be in prime territory - but the customer doesn't know the difference anyway.
This is my thinking....the average person isn't really going to notice some of these differences....like with the bokeh for instance.
My wish list includes a fisheye or 14mm, an 85mm, a 200mm, a 400, and a Super of some kind 5,6 or 800. (also want a couple TS lenses - but i'll see what and when on those as needed.) Until then, I can use my zooms and TC to get what I want out of my artistc bent and still make a few bucks here and there on the rest.
I want to try out the Tokina 10-15 fish eye. I also would like a Lens Baby to play around with. I tried out the 17-40mm lens recently and I really liked the way that one felt and the images I got just clicking randomly.
I didn't much care for the 24-105 when i first got it since its � 4 and seemed too slow to shoot in the dark - but in broad daylight - it does OK.
The King and Queen shot was with it as well as this MARTA rail shot from the St Joe Hospital parking deck.
Since all I have had is the 24-105, I haven't had any bad feelings about it. But then again, I may not know enough to know any better It can be a pain in the ass in the dark, but then again, shooting in the dark is a pain in the ass for me no matter what .
I'm surprised about nearly every time i get the 17-40 out and use it. It seems to deliver nearly every time. Sometimes I think that since I don't use it much, i'd sell it. But then i use it and remember how good it is... and for less than 1/2 the price of the 16-35! The big difference is that the 16-35 is faster... but since you don't usually use a wide angle for nighttime people shots and instead for scenics... it just makes good financial sense to me to keep it in the bag.
The first time I sent the 24-70 in for calibration, a day later I got a gig out at the Falcons training camp to shoot a special event. I thought it was going to be held outside at the practice field, so I bought the 24-105 to use while the 24-70 was away. Thinking I didn't need it to be fast outside. As it turned out, we were on the indoor practice field and if you think the GA dome is dark! It was a huge struggle to get anything at all that day and I'm surprised they were happy with the results. But it biased me against it for event photography. Lately Deb has been learning how to shoot and I put it on the 10D for her and its been working out great. This time, while the 24-70 was out to be cleaned, I used the 24-105 and I've found i really like it after all. You just have to have enough light.
If Colin were selling his 24-70 then though... i'da bought it instead.
smoov wrote:
This is my thinking....the average person isn't really going to notice some of these differences....like with the bokeh for instance.
I want to try out the Tokina 10-15 fish eye. I also would like a Lens Baby to play around with. I tried out the 17-40mm lens recently and I really liked the way that one felt and the images I got just clicking randomly.
Since all I have had is the 24-105, I haven't had any bad feelings about it. But then again, I may not know enough to know any better It can be a pain in the ass in the dark, but then again, shooting in the dark is a pain in the ass for me no matter what . ...Show more →
I have played with the Tokina fisheye. It is cool. Nice lens.
As you know from talking the 17-40 is my next lens....gotta have that mid-zoom in the bag... I might just get the 16-35 if I can get a good deal.
Yeah Jon the 300 is a killer lens! I struggled between buying that and the older 200 1.8 and ended up deciding the reach was more important than the buttery bokeh. as it turns out the 300 isn't too shabby either.
I see you're liking that Mark III. You are right it is a wonderful camera and now that the issues have been identified and fixed - there is nothing like it. Wait till you shoot some sports - you're gonna be knocked out!
My AlienBee arrived yesterday, barely 24 hours after I ordered them and shipped them from TN using UPS Ground. Pics to come as soon as I figure out how to get the Cacti working with them.
You might need a hotshoe adaptor. But it should work.
I made a cord to fire my Novatrons with the PWs - its a simple solder project. If you want to make something - let me know and we can do it one weekend.
You know the AB's have an optical slave built in as well so you could fire them from your on board flash or a shoe mounted flash. You could also sell me your Cacti and get the new AB wireless triggers...
Thought I'd dig this out - its got the 56 Telecaster, the 61 Fender Bassman I'd kill to get back, the EBO i gave away for an MXR 90 Phase Shifter, the Guild ES-125 and my old Precision i had back in the early 70s.... plus it has pasted over the original print of a friends 1972 Les Paul that at the time i thought was the holy grail.
All that stuff probably is worth around 110 to 125,000 now (with the tele being responsible for most of it)
All gone... so i could trade up to the 73 Deluxe I still have now... it has increased in value over time - but nothing like any of these.
Hopefully I don't need the hotshoe adapter, JonB. We'll see what we run into, anyways.
JonU, Cacti are so damn cheap you should order you a set just to have I will eventually upgrade triggers, but I think a portable battery may be higher on my list.
I got a Black 800 - it'll give me a lil more power than the 400 but I don't think I need the 1600. I'll probably get another one when I have extra $ from another gig, but that's not for a while yet, probably. I also got a heavy duty stand, a boom arm, and a collapsible 24"x36" softbox.
Thought I'd dig this out - its got the 56 Telecaster, the 61 Fender Bassman I'd kill to get back, the EBO i gave away for an MXR 90 Phase Shifter, the Guild ES-125 and my old Precision i had back in the early 70s.... plus it has pasted over the original print of a friends 1972 Les Paul that at the time i thought was the holy grail.
All that stuff probably is worth around 110 to 125,000 now (with the tele being responsible for most of it)
All gone... so i could trade up to the 73 Deluxe I still have now... it has increased in value over time - but nothing like any of these.
shot back in the early /mid seventies and scanned with a flatbed - so no C&C - ...Show more →
Poor photoshop job putting the 72 Les Paul in there - I can totally tell there's different lighting. And you've got some sort of a lens flare on the right I'd watch next time.
Also, frankly, the composition doesn't work for me. Rarely should you shoot anything straight on. Have you heard of the rule of thirds?
Gonna try and do a stroll in and around downtown Marietta this Sat at 10 am. I would like to meet at the stage area on the square.
This will be a "any camera with a 50MM lens stroll". Now as we talked about if you have a mid-zoom you can shoot it at 50MM. We are not going to worry about crop factors so bring what you got.
If you don't have a 50MM come out anyway.....
I just think it will be interesting to see different view points with the same lens.
Colin, the cord that is included is a camera PC socket to 1/8" male mono plug (what is on the back of the strobe)
You need to swing by radio shack and pick up a 3' or 6' (it seems like the 6' is all they keep in stock) 1/8' male mono to male mono cord. That will give you the plug for the strobe and the cactus trigger, assuming the cactus trigger has a female 1/8" port like the PW's do.
Have fun, Mark
PS, I think the AB 1600 has a 1/4" so you have to get a different cable or an 1/8 to 1/4 adapter. I'm not positive on that, I know the White Lightnings are 1/4"
Edit, I just went to the AB site and they talk about a stereo plug. I thought I bought mono plugs but I guess I was wrong. It was a long time ago...
Edited by Mark Alexander on Jul 16, 2008 at 10:21 AM GMT
speaking of all things google, has anyone loaded the latest version of google earth? They have a new feature called street view. Apparently they've had people driving slowly down streets with GPS enabled cameras taking multiple sequence shots. When you put in your address it zooms to the birds eye view like normal. If you enable the street view you also get a series of mini camera icons. If you click on them it takes you to a street level view that can be rotated 360 degrees.
Maybe this isn't a new feature but I never noticed it before. It is kind of scary from a big brother stand point...
Mark Alexander wrote:
Colin, the cord that is included is a camera PC socket to 1/8" male mono plug (what is on the back of the strobe)
You need to swing by radio shack and pick up a 3' or 6' (it seems like the 6' is all they keep in stock) 1/8' male mono to male mono cord. That will give you the plug for the strobe and the cactus trigger, assuming the cactus trigger has a female 1/8" port like the PW's do.
Have fun, Mark
PS, I think the AB 1600 has a 1/4" so you have to get a different cable or an 1/8 to 1/4 adapter. I'm not positive on that, I know the White Lightnings are 1/4" ...Show more →
Thanks, Mark. Actually, fortunately, the Cactus receiver has a PC port just like the camera does, so the cable that comes with the Bee should work.
It can be a pain in the ass in the dark, but then again, shooting in the dark is a pain in the ass for me no matter what 
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