MrSMW

Yes, looks like the way things are going, somewhat sadly, but that is the way of the world. If folks just are not buying compacts these days due to phones, then why make the things? There has to be a market. The smaller the sensor, the bigger the hit. The photography/camera market is still huge filled with both enthusiasts and pros and they/we will always need gear whether for fun or to earn a living. Last chance saloon for L Mount with me now. I love the gear and the results, but I know I am having to work harder in areas where I shouldn’t have to and making compromises I don’t want to make. I’m not writing them off just yet and hope over the next 6 months, they will drop something I can work with or I’ll be biting that proverbial bullet.

Well my L Mount buddies (buddy singular, possibly...) Panasonic have announced they are no longer going to be manufacturing their lower end cameras that compete with smart phones. No surprises there. Interpret that as you will but I read it as 'sub-M4/3'...but even then, for how much longer does even the latter have a future? Plus they are actively collaborating on producing at least 'a' camera with Leica. Well they have collaborated many times previously but I suspect this time, it really is going to be a collaboration, partly of survival. I made a prediction over on the Leica forum that it will be two bodies; one S5 size and the other SL2 size. I reckon they will go for a lower mp version and a higher mp version of each size, both hybrid. There would probably be one or two other differences other than just size. Hopefully implementing PDAF. The Leica version will probably cost more and they'll swing that by saying it has some 'extra sauce for photographers'...which it may well have just as the SL2 currently does over the S1R despite having the same sensor. The Panny will be cheaper but can tout the fact that it will probably have some video thing it can do better. Rangefinder? I'd like to see one, but I suspect Leica will keep that format to themselves, but never say never. Announced, end of this year/very early next, for 2023 availability? I reckon they will be chasing just the pro market from this point onward. Or at least the well-heeled. Plus dentists, naturally. PURE SPECULATION (re. the cameras) on my part other than the two announced facts on the Nikkei Report. Too little, too late? Could be for me because unless the next gen system is: A: Readily available by end of Feb 2023 and B: Meets my min spec, I'm going back to Nikon-land and the Z9 as it's the first camera/system to actually tick all my boxes with the only current compromises being initial cost and availability.

I’ve been doing the maths… Single Z9 + adapter + Tamron 35-150mm f2/2.8 vs Pair of Lumix S1R’s + 28-70mm f2.8 + 105mm f2.8 (in crop mode 4k 50p, 42-105mm and 157.5mm) Nikon based combo wins. Single unit combo larger and heavier, but overall, lighter and more compact. Can shoot 8k 50p Nraw internally (albeit at massive file sizes) for those brief, but critical times when I have to use an additional 3rd body (S1H) on a tripod to shoot video and stills at the same time, otherwise… Flip back to 4k 50p + stills rest of the time (95%+) of my coverage. This is HUGE actually for a hybrid shooter, specifically me. HUGE. I still need 2x static 4k 25p units, but they would have just that single role at just 2 points in the day. The downside though is: A. The cost to buy. B. The cost to change. C. The fact that I can’t find a single Z9 for sale within the EU without a massive premium 🤷‍♂️ If I was going to switch, the window of opportunity is the next 3 days. Ain’t going to happen, but I might just put in a preorder somewhere because it should be easy to sell it on with zero loss if the timing is not right. Or start building a system off it. Damn, it’s not just ‘peak camera’ but but ‘peak camera and lens combo’ (for me) for the first time in my 20+ year career. But I can’t buy the bloody thing! 🤪

I was just going to respond to confirm that! I am currently running about with 2-3 cameras most of the day and 4 at certain times. I would like to get this to 1 most of the day (the Nikon/Tamron combo is currently by far and away the best option), 2 at times and 3 max. I’m also looking to lose 1 tripod and a couple of lenses. The losses (in kit) would make a significant difference. The gains (in tech) would make a decent difference. The combination would be worth it and it now comes down to a question of timing as in I cannot do anything this season, but probably will do something for next because as a business user, if it makes sense, then why not?!

For me it’s the combo of both. The lens with the most appeal to me out there right now is the ‘one and done’ (for 90% of my work anyway) Tamron 35-150mm f2-2.8 in Sony e Mount. However, Megadap do a Sony e to Nikon z adapter and I’ve seen the lens working extremely well on a Nikon Z9. Not cheap and not exactly small or light, but a mega(dap) combo that ticks every ‘needs’ box for me. But 8.5k+ cost is pushing it a bit even for me… I think if that combo was around 5k and actually available with 24 hour shipping, I’d push the button. But it ain’t so I sit on the fence because it’s not as if what I have doesn’t do the job I need it to do, just for the difference right now, I can’t make it swing! 🤪

Bum. I thought the R5 did 8k 60p... Maybe I was thinking of the Z9, but they cost nearly double... I'll take a look at the R3 but that's a bit of a pricey monster also. Two things with the R3... Thing A: Investment vs future-proofing. If I could get away with 6k stills (and I probably could), 8k would be better, especially for a longer term investment. Thing B: Could I go back to 24mp... I currently shoot 47mp and though I'd happily go back to 24mp for candid stuff, for my more considered work, I don't know if I could. Or it would at least be a compromise... So it looks like my current 'on paper' champion is the Z9 despite it's price as one of those paired up with some Z6ii's for static work would tick every single box I have. At a price. With Canon, an R3 plus a pair of R7's would tick all boxes except 8k 60p but at a slightly lower cost. I'm still going to wait and see what Panasonic do before I do anything as I have so much invested in an L Mount based system. I suspect, when/if a new S camera is announced, it's more likely to be 6k rather than 8k on the basis we currently have 4k cropped (in camera) or 6k up to 30p with the S1H. So maybe a jump to full sensor 6k 60p internally might be what they do and if the AF is up to snuff and they don't do anything totally stoopid like remove the IBIS (I don't think they will, they aren't that stoopid), then that could be of interest. And ideally, with a 30mp min sensor for stills. I think that could work... I'll still be keeping an eye on Canon et al because ultimately, I don't care what badge it wears, just as long as it does what I need it to do. L Mount does, but in a slightly bloated (multiple bodies and lenses to achieve something say a Z9 can with a single body and lens), roundabout way, that I have made work (to the best of it's and my ability) rather than because it does straight out of the box.

Or me. Until quite recently… As a hybrid shooter, I am always looking at ways to capture more and specifically, capture more as efficiently as I can. I have had a play with extracting stills from 4k video with mixed results. Sometimes they are great and sometimes less so. There are times when having an 8k 60p mode with great tracking AF would be highly useful for me. It’s those parts of the job where I need to shoot video and stills at exactly the same time. Currently that is a 2 camera job, specifically; an S1R in hand shooting stills with an S1H on a tripod shooting video. If I could shoot 8k 60p at these times, the only times when I need 2 cameras, I could reduce my hybrid camera need from 2 cameras + 2 lenses + 1 tripod to just 1 camera + 1 lens. That is a massive efficiency move and eliminates the cost and devaluation of kit for this need by 50%. I personally would not be concerned about the storage aspect because it would only be 10% max and the rest of the time, I would still just flip between stills and 4K 60p video. Right now, I’d eliminate the R5c because of it’s lack of IBIS and because it’s too slow to flip modes, but R5 or Z9… I’ve also eliminated the Sony A1 from this hypothetical list for a couple of reasons so there is only really 2 contenders for a new system for me, the old stalwarts Nikon or Canon. I would only need 1 ‘beast’ camera in the line up, then just 2 smaller/cheaper units whose sole purpose would be to shoot 4K 60p statically and both manufacturers have these in their lineup. Or wait a little longer and see what the next gen Lumix S line brings…which I am now hoping might be 8k 60p.

I normally always say, “I would like” and silently correct people who say, “I want” which does indeed sound very self-deserving, so only used it in the continuation of the “I wants” above. I would however like to obtain the said three items at some point, if I can afford and deserve them 😜

According to my maths, that would be 20 weeks to afford a used S1R and about 9 years on that diet to get the Leica SL2. Not worth it for the Leica.

I want a Porsche 911, a motorhome and a Nikon Z9. In any order.

S1R’s can be had on the used market for 1500! Even back street dentists can afford them!

Yay for Leica (and the Panny S1R) not having a Sony sensor 😎

And that goes for anything, not just DR. When ‘stuff’ looks (or sounds) better, folks do notice, but it tends to be in a more subliminal manner. When something is off though, it tends to jar and be highly noticeable. Negative stuff is harder to get right and easier to get wrong. I’m always doing stuff with my work, photo and video to not so much improve it, but remove any obvious elements that will take away from it. And then there is the pride factor in your own work, doing more than you need to even though 99.9% of other people will never notice. It’s often all the little stuff that adds up to make the whole.

Neck strap, gimbal, OIS lenses (several third party including Canon and Tamron that can be adapted) plus some post-stab if needed. If budget is a priority, then XT3 could be a good call.

It was an issue for me, manual cine or vintage primes aside, but improving now.

Why not XT4 and have both IBIS and a bigger battery? I could have traded my XT3’s for 4’s and at one point, was going to but no regrets going with S5. Faced with the same decision today, I probably would go XT4 now there are updated Fujifilm lenses plus both Sigma and Tamron options, the latter f2.8 17-70mm being of particular interest as a relatively compact ‘28-105’. But then I’d probably be eyeing the XH2s with envy so good job I am not looking at switching anything right now 🤪 The ONLY thing lacking for me however with the XT3 was the lack of IBIS. If it had had that, it would have been the perfect camera for me and the lack of fast IS lenses was a real issue… IMO, best value cameras on the market today are a used XT3 if you don’t mind the lack of IBIS, otherwise S5.

I’m not really sure how to answer this… For one thing, I rarely look at what anyone else is doing as it’s such a rabbit hole. Otherwise, I have a plan of sorts in regard to what I shoot with both stills and video, and there is some crossover, but at the same time elements unique to each. Ceremonies and speeches for instance I use 2 ‘extra’ static cameras which leaves me free to roam, mostly shooting stills. Details that a lot of pure videographers shoot, I tend to ignore and leave purely to stills. Candid people tends to be the biggest crossover area when I tend to capture the same scene in both formats ‘at the same time’, ie, seconds apart. There is also quite a bit of focal length difference. I dunno, it kind of just is what it is and kind of evolved by itself over the last 12 years I have been shooting hybrid… 🤷‍♂️

Sure: https://firehorsephotographyfrance.com/2022-weddings/the-two-sams-wedding 90% handheld with a pair of S1R’s, Sigma 35mm f2 and 65mm f2, 5k 30p plus church (dim) and barn speeches (dark, lit with single LED panel), S1H and S5 in 4k 60p. There’s shade, bright sunlight, backlighting, golden hour…the lot. There’s even some AF tracking! 😬 And a bit of lighting flicker/banding so gone back to shooting 25p and 50p as a result! Flat profile, light grade as previously described. I’m not a grading expert so it’s more a ‘good enough for the purpose’ grade. Pity the 5k is not available in 50/60p, but then there’s a 15 minute record limit for 5k on the S1R so not good for ceremonies or speeches. So for now, I use the 4/5k mix and look forward to seeing what Panny do next with the S line.

I agree with Kye. You can and I mostly do, use 'auto lot's of stuff' (mainly WB) but whether you can trust it is up for debate. Define 'trust'... 100% bullet proof? Good enough most of the time, for most uses? For me, that's when WB is because in the heat of my fast-paced work, it's one less thing to not have to think about and the way I work, it would be an utter PITA to do so because I use 3 principal memory settings when flipping between stills and video and I'd need to reset and lock in the WB in the memory settings for each camera every time. Err, no, too prone to error. Reality shooting 100's of clips. Not an issue. Ditto auto-ISO for stills. I always use auto-ISO unless it's after dark and I'm doing a slow shutter speed landscape or something when I maybe want a long exposure and low ISO. Fireworks or the Milky Way is another example. But every day work stuff. Auto-ISO. Unless using flash in which case I just pick something like 800 and go with that. If I didn't shoot hybrid on the same bodies, I'd take a bit more control, but as with all forms of juggling, there are human limitations.

I think we are a million miles from the pro market using a phone as their pro tool. If ever. Just because it can do some things, seemingly on a similar level, these things do not. And whilst camera development may be slowing (is it?), it's still going to be ahead of phones. Phones are gaining more camera tech than cameras are gaining phone tech but I don't see a point where they become one and the same thing. Sometimes, you just need a specific tool to do a job.

Actually, about 4 years ago I was having coffee with a wedding planner and she was gushing about 'Mr Bigshot film photographer' and how he used film and was "the best" so could charge so much more than anyone else. In her words, "he's on another level". So later, out of curiosity, I looked him up and his wedding work at the same venue I have worked at. And then fell about the floor laughing as at least 1/4 of his work was out of focus or had so much motion blur, it was obvious he was using far too slow a film stock in lower light conditions. On "another level"? On "another planet" more like. The little known planet called Delusion. His portrait stuff was good, but he was and still is a one trick pony. The rest of his wedding coverage was below average in my opinion. But hey, what do I know...

My first wedding and from then on until I went digital was 8 rolls of 36 exp, 4x colour and 4x B&W in 2x Nikon F3 bodies, each with a 50mm, so 288 max poss. I then had a cost option to go to 10 or 12. Developed and printed the first one (B&W) at home. Never again. Today I shoot an average 2000-3000 frames at a wedding depending on whether it's 1, 2 or 3 days coverage (with those days either side being 1/2 days and often limited in material) and typically 500-700 make the cull to edit and then present to clients. I do double tap most shots and may take 5-6 of the same scene from slightly different angles or more as it develops. Could I go back to 'shoot 300, provide 300'? Probably, but the safety net would have been removed as would a large chunk of creativity because whilst some may machine gun for no reason other than a lack of confidence, the biggest bonus of digital has been we can be more creative without it costing us anything. How much is a typical buy/expose/scan/cheap print roll of 36exp film today? 25 dollars/euros/pounds? That would be 200 gone today, every job. To shoot what even I do on film today, cost per job would be an average 1736 dollars/euros/pounds with an average 69 roll changes and would require large stocks of all kinds of different film speeds. What. A. Frikkin. Nightmare. I think there is a market for film photography for weddings, but it's not shooting it like digital because that would be insane.

I only work with the Flat profile for all my work, but Panasonic Flat profile. Previously, I was a ‘Natural’ guy but I tried Flat earlier this year and immediately noticed I liked it more. I shoot S35 crop mode across all 4 bodies and with the S5 and S1H, 4k 50p and with my pair of S1R’s 5k 25p. If anything, I prefer the 5k footage. I guess it’s the different sensor it has, but IMO there’s some magic about the supposedly least video-centric of the S cameras. I just wish it would do 50p in this 10 bit 5k mode… The footage I like the least is that from the S1H shock horror. I think it’s due to the anti-aliasing filter and so I have the sharpening set higher in this unit and use my 2 sharpest lenses. And before anyone says you don’t want sharp output blah blah blah, actually I do because I can always reduce it in post whereas if it’s captured as mush… And by ‘sharp’ I don’t mean over-sharpened, but just something to my eye that does not look soft. Anyway, grading it… Simple and doesn’t need much. I use Première and simply adjust the highs, lows and sometimes mids. Then I might boost sat to 120% in landscape footage. Twiddle the colour balance if needed but skin tones tend to be pretty decent. As always, getting it as right in camera as possible is our friend, so WB along with exposure. Then a single layer Film Convert Nitrate film stock customised to my tastes plus a second single layer of secret sauce that just adds the final ingredient to my ‘look’ et voila, done. But SOOC, Flat is my standard and I like it 👍

Oh definitely pros and cons to being a full-time wedding shooter, but then there are with all careers. On balance, not much else I would or even could switch to. I wouldn’t start up today though knowing what I know as trying to become established as a start up in 2022 is far more than just producing pretty pictures. My first 4-5 years in the game was exclusively film and I’d never go back to that, even as a side option.

Define ‘good’…. A bit mental is the term I would use. Since 8th April, other than 2 family days off, I have worked every day min 12 hours, whether that be shooting, traveling to or from, or editing/doing admin. I am currently 4.5 weddings behind on the editing side. By the end of this month, I will be 9 weddings behind… I am never behind. Well rarely by 1 or 2 max and I quickly catch up during the season, but this one is the mother of all seasons. And then there will still be the Sep jobs and 1 in early Oct. Some great events and couples. Some less so… It will take me up until the end of Nov at least to catch up and then I can breathe once more. The downside has been that in 2021 when I shifted to L Mount, I had a more limited kit but made the best use of it. This year has added more (needed) kit and I have juggled various combos around but the problem has been I have had to shoot another 2-3 weddings before I fully know the result of any prior wedding where I have made changes. Only a few blips along the way and a couple of bits of kit I intended to sell, I have kept and I don’t miss anything I have sold. Sold the Panny 85mm f1.8 and the freebie Sigma 45mm f2.8 with zero regrets. Not yet sold the DJI Action 2 which is the only bit of kit I am not using. Back on the fence over the VND EF to L Mount adapter and Meike cine lens and it’s the other bit of kit I have shelved. Just can’t find a place for it now I’ve moved a few lenses around. Pity because the quality it produces is great.