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Anticipation. . . .
I'm making the move to FF.
In an uncharacteristic political move, I have opted to purchase my new Canon 5D Mark III from my local, small-town camera shop. It was a horrible business for decades, but was recently purchased, completely renovated and modernizes, and they are a great store now with a great crew.
So I made my purchase, but had to order it. As a result, I've been waiting for more than two weeks. That's OK, I need to learn a little patience, and I love that I'm doing business here in town and supporting a worthy retailer.
I've also decided that I've got to have a flash bracket, and I can't talk myself out of the RRS Portrait Perfect Package. I've looked at them all: Stroboframe, Newton, Custom, ProMedia, etc., and this bracket seems to be the one I must have. Part of that decision involves my desire to have an L-bracket.
I've got an EF 50 1.4, 100 2.8 micro, and 70-200 2.8L. I'm buying the MkIII with a 24-105L.
I'm really excited, tired of waiting, but relishing the anticipation. When it arrives, the wife and I will drive to SLO to visit RRS and make the purchase there.
So while I wait, I dream of other lenses. A 35 1.4 perhaps? Maybe a 135 2.0. Time will tell.
In the mean time, I sit. And wait.
In an uncharacteristic political move, I have opted to purchase my new Canon 5D Mark III from my local, small-town camera shop. It was a horrible business for decades, but was recently purchased, completely renovated and modernizes, and they are a great store now with a great crew.
So I made my purchase, but had to order it. As a result, I've been waiting for more than two weeks. That's OK, I need to learn a little patience, and I love that I'm doing business here in town and supporting a worthy retailer.
I've also decided that I've got to have a flash bracket, and I can't talk myself out of the RRS Portrait Perfect Package. I've looked at them all: Stroboframe, Newton, Custom, ProMedia, etc., and this bracket seems to be the one I must have. Part of that decision involves my desire to have an L-bracket.
I've got an EF 50 1.4, 100 2.8 micro, and 70-200 2.8L. I'm buying the MkIII with a 24-105L.
I'm really excited, tired of waiting, but relishing the anticipation. When it arrives, the wife and I will drive to SLO to visit RRS and make the purchase there.
So while I wait, I dream of other lenses. A 35 1.4 perhaps? Maybe a 135 2.0. Time will tell.
In the mean time, I sit. And wait.
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Or, whenever I need to photograph portraits in harsh sunlight or no light at all, I usually can find a few minutes to set up a couple wireless hotshoe strobes, so my flash is 100% off-camera and WAY more good looking than using a bracket...
Just wondering, that's all. Every time I see someone using a flash bracket, I wonder how they are shooting such that they really need the bracket. I know there are indeed specific lighting situations in which it may be useful, I just wonder what they are.
Now a good Arca-Swiss plate, that's something that every photographer should use. I can't stand using any other tripod system other than Arca-Swiss, and I love my handful of RRS plates / clamps.
If I knew what you were into shooting, then I might be able to recommend either the 35 L or the 135 L. Both are stunning performers that deserve consideration, depending on the style of the photographer...
=Matt=
My SmugMug Portfolio • My Astro-Landscape Photo Blog • Dgrin Weddings Forum
I'm not a working photographer, but I do shoot lots of portraits inside and out. I also shoot two or three events each year for my employer.
I shoot flash inside and out. When inside, almost always with a Sto-Fen or Lumiquest diffuser. I need my flash to be above my camera when shooting vertically. Without a flash bracket, I wind us shooting everything horizontally and that drives me crazy.
I hear what you're saying about outdoors. I still think I would prefer a nice flash rig, but you've given me something to ponder. I do have two speedlights, but alas, no radio triggers.
As for the lenses, I'm pretty sure I want both. When I shot 35mm Nikon, I had a 35 1.4 that I loved. Since my daily lens will be a max aperture of 4.0, I want the 35 for indoor, lowlight shots. The 135 I think I would use for portraits. Because I have a 100 2.8, I might be able to get by with that for the time being and start with the 35. . . .
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Same here Matt.
If you really want to invest in something that will help you out...get a sling strap...and get rid of that factory noose (strap) that's boxed with your camera.
I made the jump this year...after looking and waiting and pondering. I went with the Black Rapids RS-7...but there are many brands and lots of options and different rigs. As others will tell you...they have their favorites. With a sling, you have both hands...and your camera is at the ready on your hip...
I do outdoor events...sometimes for three days...8 hours a day...and just couldn't stand having the factory strap hanging off of my shoulder one more day with my elbow pressed against it so that it wouldn't fall off of my shoulder.
The difference in comfort and convenience is night and day.
You may already have a sling or other after market apparatus...but, I just wanted to tip you on this in case you're still using your factory strap.
Educate yourself like you'll live forever and live like you'll die tomorrow.
Ed
nice setup from a real camera store, there are no camera stores where I live
You're only missing something wide so the 35 1.4, 28 1.8, 35 2 or a zoom like the 17-40, 16-35, etc. would fit in
Congrats! There really is no reason to buy a 5D3 online other than to evade taxes. It is good to support the local guy, and the online shops won't be discounting the 5D3 for quite some time.
I have a sweet one for sale: http://www.dgrin.com/showthread.php?t=204044
Nice setup. Unless one already owns a 24-70L, the 5D3 kit with the 24-105L simply makes too much sense.
Both of those are a dream on the 5D3. If you're not sure about a 35mm prime, you can always try a 35/2.0 for much less money, and you'd be able to sell it easily if you decide not to keep it. It's surprisingly sharp, I had one.
An "accurate" reproduction of a scene and a good photograph are often two different things.
So I guess my question is, do you just always shoot at venues that are completely impossible to use with a full / 90% bounce, instead of a tiny Sto-Fen "bubble top"? Some of the time the ceiling is sky-high or painted flat-black, and I'm forced to use more direct, more powerful on-camera flash, but 90% of the time I've got a a nice big white reflector just 10-20 feet above my head, just waiting for my bare flash to hit it and become beautifully soft. Oppositely, with a capped diffuser, light goes forward so much more powerfully than any other direction, such that shadows become a serious issue.
Ironically, when I bounce I actually INTENTIONALLY aim to the left or the right, so that my light looks more dynamic and directional than if it had come from directly overhead.
Just some food for thought... :-)
=Matt=
My SmugMug Portfolio • My Astro-Landscape Photo Blog • Dgrin Weddings Forum
Which I'd like you to know is much appreciated.
It wouldn't have occurred to me to try to bounce off of a 20' ceiling. I'll have to try that.
I've also read a bit about bouncing obliquely (a la Demb diffusers) but have never tried it. Again, something for me to experiment with.
If I can do without a flash bracket, all the better. I'd rather invest the $300+ in glass.
Thanks for sharing your experience.
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