Thanks, Jim, Andy, and Charles. Praise from you guys means a lot to me.
Jim, I'm still working on 1D Mark III technique. Noise about the same as 5D. Speed matters less than you might think. Ballet has music and a beat and if you listen you know when to shoot. The difference between catching the extremes of the movements and being "between movements" makes or breaks a shot. Fortunately, the dancer's try to hold the extreme positions and make the transitions quickly (something that's taken me a while to learn.) In short, it's very different from sports.
I thought I would like the 1/3 crop factor of the 1D Mark III as I usually end up cropping a lot. But in fact, it seems to be too much with the 135. For Swan Lake (which as two very dark acts), I think I'll put the 85 on the 1D Mark III and use the 135 on the 5D.
I do like the autofocus and metering systems of the 1D Mark III better than the 5D. Does it meter on the autofocus points it selects, or can it be made to do so? That might be useful.
Comments
Jim, I'm still working on 1D Mark III technique. Noise about the same as 5D. Speed matters less than you might think. Ballet has music and a beat and if you listen you know when to shoot. The difference between catching the extremes of the movements and being "between movements" makes or breaks a shot. Fortunately, the dancer's try to hold the extreme positions and make the transitions quickly (something that's taken me a while to learn.) In short, it's very different from sports.
I thought I would like the 1/3 crop factor of the 1D Mark III as I usually end up cropping a lot. But in fact, it seems to be too much with the 135. For Swan Lake (which as two very dark acts), I think I'll put the 85 on the 1D Mark III and use the 135 on the 5D.
I do like the autofocus and metering systems of the 1D Mark III better than the 5D. Does it meter on the autofocus points it selects, or can it be made to do so? That might be useful.