As I mentioned in a previous post, I got myself a new camera body about a week ago and after some 5500 exposures I think I can give it a short assessment.
But before I get into that, I wanted to give a shout out to my favourite camera gear store in the city; Calumet Photographic. Not only do all their staff have a great amount of experience to impart, but they’re very good at scaling their knowledge appropriately, from teaching newbs like me, the basics of how to use a two head lighting kit to giving their recommendations on the latest pro gear. Plus they let you rent which makes things like $1700 lens seem a little more affordable.
Ok, back to the gear list:
Canon EOS 1D Mk III
Canon EF 16-35L f2.8 (rented)
Canon EF 24-70L f2.8 (rented)
Canon EF 70-200L f2.8 IS (rented)
Spare battery for 1DMk III
Four 4gb Lexar 133x CF memory cards
Domke F2 bag
So what worked and what didn’t? Actually, everything worked out great! The only time I had anything that was close to a equipment fault was due to my incompetence. I thought the auto focus on my 70-200 was broken, so I tried turning the body on and off a bunch of times, then mounting and unmounting the lens… then I remembered that there’s a switch on the lens itself that turns the AF off. Ugh.
After a full weekend of shooting, my favourite lens was the tremendously heavy 70-200L f2.8 IS. It had the reach I needed to get some great close ups of detailed facial expressions during the performance at Pitchfork but also has the added bonus of getting people to move out of your way, since it’s so freaking large. The lens is white and with the hood attached it’s about the length of my arm. Let me tell you, it’s very hard to dance along to De La Soul’s, “Rock Co.Kane Flow” with it hanging off your neck.
Ok, now onto the new body: it’s ridiculously good. I’ve never owned a tool that performed with such purpose and conviction. Almost every aspect of its design and operation has been optimized for the task at hand, and that task is always to get the shot: battery life is over 2500-3000 exposures per charge, ISO is readable in the viewfinder, the viewfinder is HUGE and bright, the vertical grip has a complete replication of the control layout, the blackout time in the viewfinder is a barely perceivable 80ms, and a huge array of custom functions to tweak and adjust the controls to your preferences.
Now there’s been a huge ruckus all over the internets about the new Auto Focus system built into the MKIII, and while I have yet to do any definitive tests, I am pretty satisfied with how it’s been behaving. A great source of relief to me so far, is how well placed many of the 45 AF points are laid out within the viewfinder.
How I learnt to focus on all my previous cameras is to find an element in the image that I want to focus on, then start the ‘Focus Lock and Recompose’ sequence. The focused element then doesn’t always fall in the dead centre of the image. I started using this process years ago and it’s totally instinctive now. But this technique just becomes a pain when you’re trying to compose a portrait where the subject isn’t used to holding still with a toothy grin on their face. I don’t want to be constantly, ‘Focus Lock and Recomposing’ on them either, as in that split second when I’m reorientating the camera, they might move their head and body and the shot will be thrown off. I just want there to be an AF point directly on the person’s eyes for a portrait and it want it to be placed so things look right proportionally when the camera is set into a vertical orientation. I guess that I could revert to manual focus to really make sure the AF doesn’t move around, but I don’t think that I could trust that I could react to a person’s movement quickly enough to guarantee that I got that tiny, subtle change in expression or glance of the eyes. The whole time I was shooting close ups of the artists at Pitchfork, I would change to the vertical grip, hit the ‘select AF point’ under my thumb then roll my index finger two clicks until it hits the upper most AF marker. Done. Shoot. Next shot.
One additional thing I noticed while using the Mk III was that I retrained my eyes to use a technique that I’d forgotten about since my first film camera, the Canon A1. Since there’s so much fast movement on stage at any one time it’s important to not be too blinkered looking through your viewfinder and miss something happening just out of the frame. My old film camera had a really expressive, bright viewfinder which I missed dearly when I moved to my Nikon D70. But since moving to the Mk III, I found that while I have this new viewfinder up against my right eye, I can once again open my left eye and let my mind blend the images together. This way I can ‘see’ through the lens while keeping a check on whatever else is happening on the stage with both eyes open quite naturally.
All in all, I’m very happy with the new body and when matched with some decent glass, it’s a formidable package.
