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Thinking of investing in a new body (camera body)


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#1 Guest_photogbuff_1970_*

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Posted 07 August 2009 - 12:45 AM

I've been vascillating between getting the D300s (by the time I get the money together for the camera body I want, the D300 will probably be sold out completely and considering that this camera is going into a "business", I want LOW to NO shutter actuations on the camera body I get). I've been having a difficult choice between going DX body with a D300s or spending the money and going full-frame with the D700. To those who have either one of those bodies or both. Please tell me what you think I should do. Basically what are the pros and cons of each body. DX having the 1.5 crop factor versus having the FX sensor and being able to have a 35mm view...and a 1:1 ratio on your FX lenses as well as DX lenses going automatically to a 1.5X crop (basically I think that's the great idea of having your cake and being able to eat it too). Give me your "arguments". :lol:

Edited by photogbuff_1970, 07 August 2009 - 12:48 AM.


#2 justshootit

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Posted 07 August 2009 - 01:32 AM

Depends on what you want to do with it. Mainly telephoto or wide angle? If telephoto, are you prepared to buy longer glass? For some reason, wide angle just looks more dramatic to me on 35mm. I know this makes absolutely no sense, and I may have something to do with the lenses I use, but I just don't see the panache with the 12-24 on DX that I see with the 20/2.8 on 35mm. For longer shots, DX starts getting the nod. Putting a 300/2.8 on the camera and getting the equivalent of a 450/2.8 because of the crop factor is a pretty good deal. It's like having a 1.5x converter on the camera without losing any speed. Of course if you want high ISO performance, the D700 gives you another stop. Personally, I want to make the move to FX sooner or later. For events, I bought a 35-135 because my 70-200 was a little too long on DX, but it's perfect for FX for the kind of shooting I do. If I was going to stay with DX, I'd get the Sigma 50-150/2.8. But I want to switch to FX. As a matter of fact, I find myself using my 35mm bodies a lot more recently since I found a place that scans my 35mm film at good quality. Don
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#3 photojazz

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Posted 07 August 2009 - 01:43 AM

My thoughts land on money for lens. You say business which would be more profitable if you get the pro Nikon lens to go with either camera. I have the D300 and now that I have read and experimented with it, I think that it is a great camera for business interests with good glass. I don't have a D700 but would probably point you in that direction along with some good glass. And what about the world known, no firmware ever thought of being created, sexy and takes remarkable pictures....Da 50? Just kidding, but don't sell it.. :D

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I photo-shoot with film, digital and medium format cameras, which includes the following:
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#4 james23p

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Posted 07 August 2009 - 02:14 AM

I have a D200 so the D300 did not interest me enough to lay out the money. I am in the my next body will be FX so I would go for the D700 but that is just me. Don makes some excellent points alot depends on your shooting style and budget. Jim

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#5 justshootit

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Posted 07 August 2009 - 03:07 AM

Just a clarification, if you go FX and you want to shoot telephoto, you need to be prepared to buy more expensive, heavier glass, and you may risk some speed. If a 300/2.8 on a DX body works for you, then with the D700, you will need at least a 400/2.8 or a 500/4.0. I'll likely keep my D1x for air shows for this reason. Don
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Digital: D610 backed up by a D1x.  Quoted from an unknown source by a fellow planeteer, "Never get rid of a working D1x." I've got to agree.

Film: N90s, F3, F100, F4s, C330s. A few lenses.

Why film photography? I like shooting with the equipment. 6x6 Velvia slides from a C330 have an appeal all their own.

Why automated 35mm/Digital cameras? Event photography is about capturing moments. It often requires quick response. Well done automaton can be your friend or your enemy. It all depends on knowing what it can and can't do. "A man's got to know his (camera's) limitations." paraphrasing Dirty Harry...

#6 james23p

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Posted 07 August 2009 - 03:43 AM

Good point Don that is why I see myself keeping my D200 for long work and a FX body for everything else since my D200 is still great but worth next to nothing on the market so no need to sell it. Jim

God bless all those in harms way and Go Navy!



Nikon P900 Nikon P330

F100 w MB-15, N80, FM3a, FE2(Black and Silver) and EM.

Nikkor 24-85G ED AF-S VR, 70-300G ED AF-S VR, 28-105 3.5-4.5 AF-D, 50 1.8 AF-D

Nikon Series E lens, 28mm, 100mm, 135mm, 75-150mm, 70-210 f4.

MF Nikkor's 50 f2 Ai, 500 f4 ED Ai-P.

 

MF Rokinon 14mm f2.8 ED AE UMC(Ai-P)

MF Rokinon 85mm f1.4 ASP AE UMC(Ai-P)

 



Pro Manfrotto 055XV with Markins M10 ,Sirui P-326 6-Section Carbon Fiber Monopod with Markins Q3 Emille, Manfrotto Compact MKC3-H01M with Combo Head, 3Pod PTT1H Table Top Tripod with Giottos MH1304 Ballhead.


#7 Dave Whiteley

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Posted 07 August 2009 - 04:37 AM

I suppose it depends on how long you intend to keep the camera and the funds available? FX is obviously the way of the future and larger format images may sell better professionally, but DX will not disappear for a long time yet. However I think the eventual move back to the old 35mm film format size for digital is inevitable. In a few years we may see picture agencies only accepting FX images, just like some used to refuse 35mm film and require medium format. If miniaturization was so attractive to photographers formats smaller than DX, like 4/3ds, would have really taken off. We are now getting to the effective pixel limit on DX so the only way forward for the camera firms is larger sensors in order to retain image quality but increase pixel count, since pixels numbers still sell cameras.

Given the money I would go FX since most of us only use, or can afford, mid range lenses anyway. It depends what type of photography you will be doing as a Pro? Provided the hire firms recognise you as genuinely in business and not a part timer you can always hire the big and long glass, or even wide-angles, for the odd occasions you need them. No point buying lenses you will only use once in a blue moon. Amateurs have to buy if they want them because professional hire firms will not let them hire them, but Pro's do not. Some of the "big glass" you see the Pro's using at sports events is simply hired, or often loaned by the camera firms anyway. Many firms vehicles are on contract hire, they don't actually purchase them themselves. For the pro's and con's see:-

[url="http://www.the-aop.org/pdfs/careers/10_hiring.pdf%20-%5b/url%5d%5burl="http://www.the-aop.org/pdfs/careers/10_.pdf%5b/url%5d%5burl="http://www.imaginginfo.com/print/Studio-Photography/Do-You-Buy--Rent--andor-Lease-Your-Photography-Equipment/3$3044"]http://www.imaginginfo.com/print/Studio-Ph...ent/3$3044[/url]

Can't get this PDF link to copy but, Google "Hiring Equipment" to see the cost of buying v. hiring a lens in the following pdf:-

www.the-aop.org/pdfs/careers/10_hiring.pdf -

I normally copy and paste links, but it does not seem to work with PDF links, how do you insert those?

Dave Whiteley.
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Tamron SP AF200-500MM F/5-6.3 Di LD (IF)
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#8 Guest_photogbuff_1970_*

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Posted 07 August 2009 - 01:15 PM

My hobbies are: 1) Aviation photography, 2) wildlife photography 3) landscape & cityscape My bread and butter would be: 1) portraiture 2) event photography 3) real estate photography (I have several realtor friends who are willing to help me start out; plus I've actually spent 5 years in the business of selling real estate) 4) wedding photography, once I get up the cojones to actually get past the anxiety of "photographing a bride's big day" and not wondering if I'll screw it all up BAD! 5) art & stock photography. I know I can do event photography because that landed in my lamp...and my pacing was there. It's just that mental viewpoint that "a bride's wedding is their big day..." and I'm scared of trying that (I don't want to screw it up) (but that's something I'm going to have to work through (I think it's more of a confidence problem); maybe through befriending another pro photographer and working as their second for a number of shoots). BTW, David, thanks for the link. I've often thought about renting equipment for the day. My wife is working at London Drugs and we're friends with the Nikon reps who often have equipment as loaners to LD staff who are actually in the business of photography as their part-time shooting. Maybe I can talk to them regarding being able to rent some glass for the shoots I need to do.

Edited by photogbuff_1970, 07 August 2009 - 01:20 PM.





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