No, I'm applying the industry's criteria. Any company looking to reach the pro market must produce a camera capable of fulfilling many professional needs. It must work equally well ringside at a fashion show as flying sideways in a Cessna with the door removed to do aerial shots (both of which I've done with my Canon A2's, neither of which I'd depend on an E-10 to shoot) That camera must be adaptable enough to address a broad range of uses and overcome many different situations.
Adaptability. If you only do head shots for a living you control the pace in studio. If you do live coverage you're at the mercy of events and your camera had better be able to keep up.That's fine as long as he only does head shots. My point was that he's in this camera's comfort zone doing something like that. What if he gets his big break though. What if Sports Illustrated likes his head shots so much they give him the swimsuit issue?
Zoinks! Now he has to learn how to use a 1D in 24 hrs.And now you use a 10D and by your own admission rarely pick up the E-10. You know why? Because you know that it's a more capable camera. You out-grew the E-10 and it's limitations, and the Olympus doesn't fit into where you want to be 3 years from now. The 10D has the capabilities to support your future endeavours, the E-10 was too restrictive.
Ah, but it was superb for most of the evening. I did a flamenco guitarist who was miked, not plugged into pick-ups, from very close. The E-10 is such a wonderfully quiet camera. It didn't intrude at all. For 80 percent of the night it was an excellent tool to use. But I mentioned the other incidents in the context of the original discussion about pro attributes in cameras. Adaptability is important because there will always be that other twenty percent. The wider the capability of the camera, the better.
I'm not partial to it either. But I like it even less when my presence intrudes on the moment (this is NOT your typical photojournalist's attitude) That's what frustrated me about that circumstance, I had to hang around for the camera to finish before I could finish and get out of the way.
It does if you remember to pace yourself. Unfortunately, sometimes your subject is not onboard with this concept and will give you the best look of the session on shot number 5 of your 4 shot buffer, leaving you stabbing at the shutter release in frustration.
Absolutely. It's really well built. Makes all the other cameras in this class look like toys by comparison. Heck, it makes my A2's look like toys by comparison
)This just isnt so. That's why Nikon made a D1X and a D1H - two different pro tools for two different jobs.
I dont use the E-10 anymore because I sold it because the 10D made it useless to me. HOWEVER, as far as the "adaptabliltiy" of the 10D is concerned, I would gladly have David M. weld the E-xx's lens on the front and I would be more than happy using that one lens forever. (assuming his weld holds.)
My last 5 shoots with the E-10 I was shooting 1000+ shots per shoot (about 4 hours). This was due to recent CF purchases.
I was referring to digital SLR's. For that matter a 4x5 camera would be even more useless
BTW: I'm new here. What kind of shooting do you do? What kind of work would you like to do down the road? Sounds like you do Glamour all day long. In another post you mentioned being a make-up artist.
Bad suggestion in the sitution I described. There are circumstances where using burst mode is the best technique. Ask any photojournalist. It's not a matter of blindly shooting and praying. It's a matter of using the most effective technique to capture that moment. He's not standing there taking posing instructions, the musician was performing live in front of an audience. Like shooting someone talking. It takes a lot of dud exposures with uncomplimentary facial contortions to get one that works. If you've got the reflexes to catch that in one shot more power to you.
Both you Doug, and Gage, make very valid points and extremely good advice. I tend to agree more with Gage on the "work on taking a great shot instead of gunning 50" type of philosophy, but I can think of MANY instances where this just would not be expeditable.....such as a pro sports shooter, trying to capture the split second moment of a NBA star's magical jump, hanging in mid-air, the expression and sweat of his brow, his arm extended, veins protruding, ball gripped in hand, JUST hanging right there, frozen in time the millisecond before he slams it in the hoop. To capture such a moment perfectly, say, for a Sports Illustrated shot, one would need to start rapid firing the moment he gets even close TO the hoop, right before the jump, and keep firing away praying that the magical moment previously described will be captured within ONE of the images within the speed burst. I can't even imagine trying to capture such a moment shooting off a single frame, or even 3.
I was referring to digital SLR's. For that matter a 4x5 camera
would be even more useless
Now if you had a choice of owning an old 550CM or the new 645 auto
focus model, which would you choose? The new model gives you more
capability - heck you might even be inspired to take on that NBA
game with one. Again Gage, you can't get around it. Flexibility,
adaptablilty is always a desireable trait. Even if you only do the
same thing every day in the studio, it's a good thing if you have
the ability take on more.
I've owned a Hasselblad for twenty years and would describe it as
an extremely limited camera that excels in the studio, but is a
major pain in just about every other circumstance (and yes, I know
wedding photog's have used them for years on location. Notice how
many are bolting to DSLR's now the resolution is high enough) I
can't imagine only owning a Hasselblad. But if you do nothing but
studio work it would be fine.
BTW: I'm new here. What kind of shooting do you do? What kind of
work would you like to do down the road? Sounds like you do Glamour
all day long. In another post you mentioned being a make-up artist.
who must "spray and pray",
Bad suggestion in the sitution I described. There are circumstances
where using burst mode is the best technique. Ask any
photojournalist. It's not a matter of blindly shooting and praying.
It's a matter of using the most effective technique to capture that
moment. He's not standing there taking posing instructions, the
musician was performing live in front of an audience. Like shooting
someone talking. It takes a lot of dud exposures with
uncomplimentary facial contortions to get one that works. If you've
got the reflexes to catch that in one shot more power to you.
Best Regards,
Doug B
Torontowide.com
Then WE should be called "Photosmiths."
Yes! Maybe not the best choice of words But--using this technique does reveal and make apparent the point in which a pixel has or doesn't have a given value by which to print (tells the printer to print ink). The point of "white" would describe the value of 255 ("0" being black). I used the word white point because I figured most readers from novice to seasoned expert would identify more easily across the board. When you use the eye dropper to select the white point or black point or for that matter neutral grey you are literally compressing the data! when exercising the method I described earlier (the Alt or Option) you are in affect compressing the data as well! Though there is a difference! One could say they do the same thing. Where we will see a real advantage is during the printing process whether it be ink jet or offset printing and then and only then is it really relevant (I shouldn't have said "only"
. You should limit your "points" based on the printer and the paper used considering it's characteristics such as "dot gain.I'm talking about ALL tools, not just digital SLRs, because it cant possibly only pertain to digital SLRs.
I was referring to digital SLR's. For that matter a 4x5 camera
would be even more useless
Now if you had a choice of owning an old 550CM or the new 645 auto
focus model, which would you choose? The new model gives you more
capability - heck you might even be inspired to take on that NBA
game with one. Again Gage, you can't get around it. Flexibility,
adaptablilty is always a desireable trait. Even if you only do the
same thing every day in the studio, it's a good thing if you have
the ability take on more.
I've owned a Hasselblad for twenty years and would describe it as
an extremely limited camera that excels in the studio, but is a
major pain in just about every other circumstance (and yes, I know
wedding photog's have used them for years on location. Notice how
many are bolting to DSLR's now the resolution is high enough) I
can't imagine only owning a Hasselblad. But if you do nothing but
studio work it would be fine.
BTW: I'm new here. What kind of shooting do you do? What kind of
work would you like to do down the road? Sounds like you do Glamour
all day long. In another post you mentioned being a make-up artist.
who must "spray and pray",
Bad suggestion in the sitution I described. There are circumstances
where using burst mode is the best technique. Ask any
photojournalist. It's not a matter of blindly shooting and praying.
It's a matter of using the most effective technique to capture that
moment. He's not standing there taking posing instructions, the
musician was performing live in front of an audience. Like shooting
someone talking. It takes a lot of dud exposures with
uncomplimentary facial contortions to get one that works. If you've
got the reflexes to catch that in one shot more power to you.
Best Regards,
Doug B
Torontowide.com
I don't think anyone was saying that adaptability and flexibility weren't desirable traits. I think everyone can agree on that.I was referring to digital SLR's. For that matter a 4x5 camera
would be even more useless
Now if you had a choice of owning an old 550CM or the new 645 auto
focus model, which would you choose? The new model gives you more
capability - heck you might even be inspired to take on that NBA
game with one. Again Gage, you can't get around it. Flexibility,
adaptablilty is always a desireable trait. Even if you only do the
same thing every day in the studio, it's a good thing if you have
the ability take on more.
Interesting. Agree with you about the Glamour label.
