MrSMW

For a while it was my favourite lens and as a ‘one & done’ or for perhaps a single body user, it can’t be beaten other than by perhaps Canon’s new 24-105mm f2.8…providing you are in the RF Mount system and can live with a max focal length of 105mm. And it was going to be my ‘one & done’ on a single Z9 for mainly stills and some hybrid, mainly for the 8k raw. But in the end I decided a pairing of ‘adapted’ Tamron 20-40 and 70-180, gave me far greater range and use ability with a Z8 making for a much more compact, lightweight (in comparison) and discreet package. Pretty much the same cost for the 2 lenses vs one new 35-150 as I snagged a used 20-40 at an excellent price. So I know have…or will shortly have, ‘a’ 20-180mm f2.8. Kinda…

This for 23 years. Since I moved to a payment up front system (for me it’s 1/3rd at the time of booking, 1/3rd 6 months to job date and final 1/3rd 1 month prior), I have never had a single issue with payment. But payment of course is not the whole story and booking the ‘right’ kind of clients is the rest of it. OK easier said than done in some industries and some financial situations but as Kye says, having a contract with T&C’s is key when it comes to any dispute. Not opinion or any other factor, but what does the contract state that in my case reads, “We the undersigned have read, understood and agree to be bound by the T&C’s of this contract”. The T&C’s are essentially 10 points on a single side of A4 for clarity. In business, some folks will try and test you from time to time and it feels personal and there is always that concern in your mind about how far someone might take something and whether your case will stand up. But if it’s clear and it’s factual and you remain calm and professional, they always go away empty handed. I have been tested I think 7 times now out of 800+ clients and despite the threats and blustering from some, not a single one took it beyond that when I said very politely, “no”. Sadly it is just part of running any business and you have to make sure you have covered your own back. Fortunately…at least on my case, awful people are a rarity.

Same for wedding clients and probably ALL clients everywhere, every thing. Despite doing all the filtering prior to them booking and then educating from the point of booking to their event, about 1 in 20 slip the net. And then it's always a case of a long list of impossible questions to answer after the fact. "No, you are right, it doesn't look anything like your sisters wedding. I've never met your sister, wasn't at her wedding, and certainly didn't shoot it". "Yes, in different light, your bridesmaids dresses will look a slightly different colour to Pantone 317884. In the results I have provided to you, those are not dresses. That is not sky. Those are not trees, or people, or anything put millions of different coloured pixels. And then do not get me started on your monitor/device screen calibration, because unlike you, I actually have a life". Yawn... Given the choice...and I try to ensure this situation, I'd rather take a lower paying client who gets it over a higher paying one that does not. Every time. Unless they are paying CONSIDERABLY more.

6k raw vs 8k raw, me also which is (part of) why I prefer the R3.

Don't worry about it. Yep. I'm off to see a venue near me next week where they had contracted a so-called pro to take interior shots for them. There's a wedding planner involved. She asked me to cast my eye over them. Utter trash and having access to the exif data, I can see why, - auto everything; aperture, shutter speed, ISO, WB, - dimwits. Interiors/commercial property shoots are not my normal thing, but I have been a pro event photographer for 23 years and so understand you don't auto anything with this kind of thing. It's a switch the house lights off, light it yourself, manual from start to finish. Hey ho, their loss will be my gain as I'm already on the referral list now and the other idiots who were on briefly, are now off. But I digress... Always a good call...and the reason I can't go to my 'ideal' gear scenario, - it will not make me a single extra penny. Make my life very slightly easier and give me slightly greater job satisfaction, but quantifiably, only one of those factors I would be aware of. No problem. You generally get solid advice here. Unlike say YouTube comments where opinions are all over the place and a lot of the time, coming from sources of zero credibility. Most folks on here will give you their credentials privately if asked and you can mthen make your own mind up whether they are muppets or not 😜 A good call in my opinion. I have been wrestling with the right gear combo for years and it's only very recently I finally cracked it and not being able to flip to that 18k Canon scenario, have 'settled' for remaining with my L Mount set up, 3 out of 4 pieces that I bought used, as the next best (incredibly good) option.

I suspect this is because it's 'only' 24mp and it's main rivals such as the Nikon Z8/9 and Sony A7RV/A1 are 45 and 60. For me, it's probably the only slight 'weakness', but otherwise, the 'Perfect' camera in every area. For my specific needs and as mentioned before, if it was financially viable, I'd be over to Canon faster than you can say, "Ciao Lumix/Nikon/Sony et al". Add in my 2 'perfect' lenses and it's a dream set up. I just can't afford it, even as a business... 😒

Find me some that are less 'grey' (no way I'd spend circa 5k on something with potentially no security) and my research shows they are going for as much on the reputable used market as new: https://www.mpb.com/en-eu/product/canon-eos-r3 Only dips under 5k if you opt for 'good' or 'heavily used' and don't wish for 'excellent' or 'like new'. Reputable dealers here in the EU the going rate for new is approx 5.5k+ https://www.google.com/search?client=safari&sca_esv=581173241&rls=en&q=canon+eos+r3&tbm=shop&source=lnms&sa=X&ved=2ahUKEwiF9uKWqLmCAxUpT6QEHa8JAwoQ0pQJegQIDBAB&biw=1728&bih=913&dpr=2 Someone like MPB is asking just 100 euros less for a used 'like new' item vs cheapest reputable dealer. The prices for used did seem to go up, dramatically, within the last few weeks as I had an 'excellent' in my shopping basket a month or so back at 3950 euros. Should have bought it... 😔

I should add that yes, for video shooting say 6k 25p at 1/50th, f4 at 6400 is pretty clean, it not being so far off the second native ISO of 4000, but it’s stills where f4 becomes a problem. Especially where there is movement. It depends on the specific shot doesn’t it and at times, it’s possible to get away with 1/60th, 1/30th or even 1/15th, but more often than not, we’re looking at 1/125, 1/250 or 1/500 to freeze action and at f4 in lowlight, without insane ISO, it can’t be done. Even with software such as Topaz or PureRaw, we can’t fix unintentional movement blur and that’s where IMO, we need to use lenses f2.8 at least. I actually don’t find I need anything faster than f2/2.8 for my work and cap out at 6400 ISO, rarely shoot any slower shutter speed than 1/60th and do use PureRaw batch edit on all my files. The difference though, for stills, between f4 and f2.8 is literally night and day. Recently I have been VERY tempted by Canon with their twin offerings of their 28-70 f2 and their new 24-105 f2.8 which are an absolute dream for an event photographer such as myself, but then I’d need a pair of my dream cameras, the R3, to shoot the things and that is about 18k euros…so err, nope 🤪 Back on with Lumix, there are other equivalent options from Nikon or Canon or Sony and for hybrid use, I’d probably be more tempted with Canon, but I think the best bang for your buck and probably in outright overall capability, right now is the S5ii.

Oh dear. Not US and was waiting until the Spring of ‘24 to replace my original set but maybe I should get it sooner rather than later just in case… There are alternatives, but the Rode WG just worked for me. When I remembered to switch both units on anyway… I hate that long hold on, long hold off system. I’d rather just a flick switch and a lock. Ditto for my little Sony pocket recorders. Forever switching recording on just touching my bag sometimes. Then trawling through 10 hours of recording the interior sounds of my camera bag before eventually finding 2 minutes of Captain Correllis facking Violin being read by cousin Karen 🤪

Pretty sure the S5ii ‘beats’ the G9ii… Not got or tried that particular 4/3rds camera or that lens, but have the FF stuff and had the 20-60 which is great I think as a wide angle 20mm f3.5…which is pretty equivalent to the wide end of the 4/3rds 10-25. This conversation is spread over 3 threads now 😂 I will stand by my opinion that the S5ii is the better option for low light. In good light, not a lot in it. For stills, the FF. Easily. APSC such as Fuji, there’s not so much in it, but 4/3 vs FF, pretty clear cut to me based on extensive use case. I could fool 99% of my clients 99% of the time…at least, but I’d know the truth. Plus I’d have to work a lot harder in that ‘fooling’ and could I be bothered? Nah. There’s a place for 4/3rds, but it’s not low light theatre photography, not when full frame options exist. In my opinion.

Second that. Pros for both S5ii and S1H, video and stills.

If you need any more stable than the IBIS, there is always the dual option with certain lenses such as the 24-105 f4 which is great for outdoors/daytime, but less so in low light.

Great and the Sigma 28-70mm f2.8 is a compact high performing zoom and this pairing is my go to for ALL run & gun, indoor, outdoor, after dark… I have had several 4/3 cameras and lenses including the EM5ii and the most recent OM-1 and whilst they may have marginally better stabilisation, performance-wise, beyond that, no contest, the full-frame S5ii is just better everywhere, stills and video. Even with the f1.7 lenses. Nah, weight and IBIS aside, the S5ii kicks any and all 4/3 backsides. GH6 and G9ii users may disagree. Get in a ring with the S5ii though and we would see who the real champ is 😉 My other choice would be the S1H which are now available at very decent prices on the used market, below new S5ii’s I think and you essentially trade a more compact, lighter, better AF frame for a better built (tank) unit with far better rear LCD, beautifully damped shutter and sound (for stills and important in theatres I reckon without resorting to electronic?) and a more ‘filmic’ image. Funnily enough, I have and use both… Gone over to Nikon for stills but can’t give up my Lumix for video…

OK, decision made, locked & loaded, lenses ordered! Keeping: S1H + Lumix 70-200mm f4 as my static set up. Keeping: S5ii + Sigma 28-70mm f2.8 as my 'run & gun' strap/monopod/gimbal unit. Have: Nikon Zf + 40mm f2.8 as my EDC/personal plus work candid stills unit. Getting: Nikon Z8 + Megadap adapter + Tamron 20-40mm f2.8 + Tamron 70-180mm f2.8 G2 as my 'pro' stills set up. This way I have a dedicated 2 camera/2 lens video set up I know intimately plus a separate 2 camera/3 lens photography kit and combined, a 'perfect' (for me) hybrid set. Phew, had to go around the houses a bit to get there, but finally I feel (know) I will have the no compromise set up that I need for specifically what I do. I'm getting the adapter and lenses in now because I have a chateau (interiors & exteriors) shoot to do plus some land/seascape personal projects over the Winter, but the Z8 body itself will have to wait a few months until I can refill the coffers a bit!

Covers all my bases whether I use Nikon for purely stills or decide to shoot them fully hybrid. I haven’t tried the Zf for video yet but seen plenty of very nice examples and the Z8 of course can do 8K 60p internal raw which I would very much like to try.

I'm not sure if it is that for me, but probably my next main camera... I have now sold a load of gear or am in the process of and now down to a single S1H and S5ii with a single lens each, the Lumix 70-200mm f4 and Sigma 28-70mm f2.8 The units are now designated as 'static long duration' (S1H ceremonies and speeches in my world) with the S5ii, 'run & gun'. For stills, I have the Nikon Zf with 40mm f2 and soon, 28mm f2.8 SE lenses. This is both my personal 'EDC' camera and my new work 'candid' unit which probably accounts for around 65-70% of my work on any job, maybe more. I still need another unit and that will be based around a lens. Specifically an adapted Tamron 70-180mm f2.8 G2. I was going to go with the latest Nikkor S 105mm f2.8, but I am going to compromise things when I need to shoot tighter but cannot get closer. Does this lens suit another Zf? Not really, so it's a case of; wait and see what any Z6III/Z7III might be, or go Z8, or go Z9. I was going to go Z9 because I was going to go with the Tamron 35-150mm which is now native, but I would be back to that big chunky unit and if I was only operating 1 cam, then OK, but not juggling 2 or 3. So Z8 fits the bill as my 'pro' camera best and with that Tamron, comes in around 1.8kg which is a whopping full 1kg less than the set up I have been running with this year. And far more capable. The only question I have is whether I ditch the S5ii and use the Nikon pairing as hybrid stills/run & gun video units which makes a lot of sense. The only question mark I have over this is, is that the S5ii + Sigma 28-70mm f2.8 is a highly capable, relatively compact, extremely well known (to me) system and requires zero learning, but if I ditch it and go hybrid with Nikon, I am back on a learning curve at the beginning of next season as I get up to speed...which will take a few jobs. And the Lumix camera DO have C1/2/3 so yes, interesting question... And then there is how we use our tools... S1H is going static now. With battery grip and 70-200, it's a massive lump that produces beautiful results, but has to live on a tripod now and is reduced to that single role. The S5ii + Sigma is a near perfect run & gun and I'd get just under 1.5k trade in for it, so is it even worth selling? I could even put it in a second static role if going Nikon hybrid, but then it's something else to set up, needs another tripod, a different set of batteries again... The Zf captures the spirit of the cameras I have most enjoyed shooting with; the FM2 for film back in the day, the X100 and X Pro series from Fuji. It's a slightly bigger but far more capable version of all of those. And the Z8. I like it, I'd admire and respect it, but I doubt I'd ever love it, but the simple reality is I need a tool that is going to best suit my needs as a pro camera and with a focal range of '70-200'. Plus (bonus ball), it has internal raw capability and I do want to have a go with that. Most likely is unless I can be tempted by any next gen Z6/Z7 (which would probably need the 33mp sensor from the Sony A7iv to tempt me), it will be a used Z8 in the early Spring and then run the 4 camera system over 2024 before losing the S5ii and going hybrid full-time with the Nikons. I'd rather have a Canon R3, but that's a totally different story and the cost to go in that direction is just too silly this or next year. The bottom line is I think we are now spoiled with options. There's even that new Sony for those that are interested. I'm not.

2/3 right here:

Ditto, or my favourite camera of this current crop, the Canon R3. Waaaaay too much money to switch to a Canon based system, but right now, I would if it was possible. For my needs with Sony, I'd take the A7RV over this new A9III, but then I am probably not the target market... An A7RV along with an FX3 and an FX30...and I looked hard at it, but decided against. I suppose there has to be progress and every manufacturer needs to bring out ever higher capable tools, but we're already at peak camera for me. The only caveat with 'peak camera' for me, the 'peak' part is spread over several bodies and not all in the same camera 🤔🤪

If any new FF Panny is coming within the next 2-4 months then surely it will not. Unless their relationship has changed? But unlikely I’d have thought because if Sony are holding back for their cinema line, they are not going to allow the likes of any new S1 line to eat their lunch.

And he/she/they/it are back

If digital didn’t exist or ceased to exist overnight, there would be just a fraction of the people in my industry that there are.

Tell me about it! I wasn't going to buy one for definite but have been punting the idea around for a few weeks either purely for stills, purely for video, or for hybrid. I had decided on a mix of Lumix for video and Nikon for stills but then Canon curve balled this lens which made a compelling alternative matched with an R3 as above; 2 Nikon bodies + 3 lenses vs 1 of each with Canon, albeit a single bigger and heavier unit, but not outrageously so. But then I had a word with myself (around 7k to buy a used R3 and this lens) and like the Nikon approach very much for photo, so I looked at the Canon 'one & done' approach for video instead of 2 Lumix bodies and 2 lenses and that had a lot of appeal. A lot of appeal until I saw that MBP had hiked the used market up on these bodies by over 1k in a matter of weeks which makes it an 8k+ kind of price which is a bit nuts. Next time I spot a bargain, I think I'll just go grab it even if it means selling it on at a profit to someone else because I've seen a few of these things now. Happened with Z9's that were mid 4.5k, but they are all well above 5 to 5.5k now.

And...they put up used prices of R3's 😒 A couple of weeks ago on MBP, excellent condition R3, about 3750 euros which was about 1500 less than a Z9 and I thought, 'bargain'. Today a newsletter from MBP pops into my mailbox highlighting an article on the R3, so looked at that and then used prices and...5k+ for one in excellent condition now. Just a few days after Canon announced some new lenses... Cynical, moi?

Indeed and pair it with it’s even tinier 10-18mm sibling and you would have a 15-27 and 27-75 combo