Well that completes the set now. Forget dozens of lenses and gadgets. The ultimate combination for live, street and weddings can be combined into five items only. I’ve only had a brief play with the Versace of cameras (see Jake Bugg & Pete Townshend/Roger Daltrey) but really looking forward to pushing it to the limit at the CMA Awards next month.
The goal was to have two cameras that work in tandem without comprimising image quality. My companion before this was the 1D Mark III – a great camera in its day, but ten years on, technology has advanced so much that the ground-breaking sensor and speed back in the early noughties is now available with the more basic prosumer models like the 50D, 60D and 70D. So the poor 1D Mark III never really got a look in. Really, why would it with the 5D Mark III’s 61 point AF system and dual digic processor. No, I had to complement it – and now, with the 1DX as the primary shooter, I can feel safe that I’ll never miss a shot when switching between the two.
There are only two day-to-day pro lenses that do these cameras justice – the 24-70L 2.8 Mk II and the 70-200L 2.8 Mk II. Along with the 15mm Fisheye (on rare occasions), when shooting from the pit, these are the ONLY two lenses that anyone should work with in getting sharpness, nice bokeh and vivid colours. Anything short of these, you’re doing yourself a disservice. Of course, on the occasion where you’re thrown back to the soundboard, then you may need to jump up to some of the super-telephotos, but in reality, there are only 4-5 items that I am taking with me now – my two pristine lenses and my backup 5D and the treasured and beloved 1DX.
Stay tuned for shots from the CMA Awards that really do this baby justice! That’s all for now.