From this ship.............
I wanna play in that ship... can I? Can I? lol
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As far as going into a scene with too much DR... what absolute non-sense... I've shot back in the days of 4x5 film, shot transparency, medium format, the early canon DSLRs which had what, 5 stops of DR? If a scene is too dark, brighten it, if you cant brigten it without over exposing something else, use flash, or even better off camera flash, or reflector or some other way to manipulate the light. Dear god son, this is photo 101, well maybe 102. This isn't hard.
In practice, it's often not merely hard but impossible; try doing any of those things inside Notre Dame Cathedral, in Times Square, in the alleys of Lugano or at your local farmer's market and see what happens....
If a scene is too dark, brighten it, if you cant brigten it without over exposing something else, use flash, or even better off camera flash, or reflector or some other way to manipulate the light. Dear god son, this is photo 101, well maybe 102. This isn't hard. A real photographer doesn't blame his gear for not getting the shot. A real photographer knows what needs to be done, and makes the photo even better.
A real photographer is apparently only a studio type photographer then . Kind of hard to use umbrellas to fix up the lighting in a shot covering 16 square miles or something no? Or one where the scene changes second to second.
In the other scenarios I mention a real photographer either decides to leave with a technically shaky shot or simply skips it and goes and shoot something that will work out awesome. But wouldn't it be much cooler to have to move on and shoot something else less often?
.. learn how to expose properly, and take some freaking pictures for God sake or sell your gear and jump to sony for all I care... Just stop this nonsense.
how do YOU "expose properly" for a scene that exceeds your Canon's DR?
Are you content to clip highlites and shadows and live with the out-of-camera tone curve for every shot?
If so, your advice may not register with the more artistic photographers.
Not a downgrader, but, agt the beginning of the summer I was in search of a backup/secondary body - something to compliment my 5d3. After lots of reading about the 6d, I rented one in April just to see if it could keep up with the mk3. As primarily a wedding shooter, I needed something that would produce good images in low light, I knew that technically the sensor in the 6d could kick butt, but, I was worried about the AF, particularly how the outer points would work.
I have to say I have been pleasantly surprised by how well the 6d performs in the field. I use it without hesitation. And so far, my clients seem to like what the 6d can do as well. It';s about a 60/40 split in image picks (sometimes 70/30, depends on what lenses I mount and what the circumstances are, IE larger weddings both bodies get more use, smaller ones I favor the mk3 cause there is no need for using both bodies).
Even in the low light of the reception, with a flash mounted the outer points lock on! (take the flash off and its center point only, so I end up having the 6d be my on cam flash body, and the mk3 handles the off camera flash work because the AF i much better across all the points).
Yes, I do find situations where the 6d doesn't cut it without some assistance (external constant lighting, flash on camera). But I'd say for close to 85% of what I want to do on a wedding shoot, the 6d handles it quite admirably!
With that said, I wouldn't downgrade. My mk3 is awesome and does serve me well. But, if the 6d had been released last spring, and I was facing this decision with only a 7d in my bag and a limited budget - I would have no issues making the 6d my main body (until I could snag a mk3).
Different strokes for different folks though. If you need fps and shoot fast moving subjects, the 6d just isn't the right tool. For my needs though, I have been very impressed with what the 6d can do.
Chuck, a co-worker shot a close friend of his' wedding. He had a single card slot camera, and even remembered to switch memory cards during the middle of the event. When he got home one of the cards could not be read nor could it be recovered - this wasn't an el cheapo Microcenter brand card either; I think it was SandDisk. Anyway their was much anger from the bride's side and I swore that day I'd never shoot a wedding without and instant backup and a 2nd camera body with the same. Which to me makes the 6d a poor choice for a wedding.
That is a bummer. I would not want to be in that situation. Plan as you may, stuff happens. I know of one wedding photographer that had their memory cards from the day in a bag in her car ---guess what happened to that bag...stolen! I had another friend who missed a good portion of the day because she ended up getting into a car accident that day. I personally second shot a wedding for another beginner, and her camera died before the ceremony!!!! She had to use my main body for the day, luckily I had a backup body. So while I agree that you do havet o plan for the worst, you never know what the worst will be - and - at the time of the purchase I could not afford a second 5d3, so it was either grab a 6d or go with one body ---- which would you choose?
It makes economic sense no doubt, and if the event is so critical, it does look like it pays to have a main body and two backups.
I read, I think it was a review or blog...about the 200 f/2...was a pro sports shooter doing AMA motocross...and his lens was stolen!! Talk about hoping the insurance would pay! At some point it's time to hire bodyguards...
All I am trying to say on the matter really is that try as all of us may, you never know what could happen. A card could fail, yes, 2 slots is one way, lower capacity cards so one card loss doesn't kill the day is another - neither matter if they are stolen on the way home, or, instead of a car accident during the day, one at night on the way home, one that involves a drunk driver and not only is all your equipment lost, but your being med evacuated in a helicopter...no amount of dual slots saves that. Lots can happen (hell, I almost got run down in the middle of the street...by another wedding photographer!!!! LOL its a funny story!) and try as we may we can't plan for everything, we can just plan as good as we can with the resources we have. Of course, 2 5d3's would be utterly badass, but - with being very new in the business, and planning a wedding for my own damn self, and moving very soon...yeah, it was either grab a 6d as a backup, or a 5d2 which though it's CF, only has 1 slot, and a lot lesser low light capabilities and AF too...or just run with 1 camera body for more than half the season. It was what I could afford, and I may very well end up with a second mk3 next season, then the 6d could be a true backup. we'll see how things shake out. Either way, I have been eyeing the markets and when the second body was needs...sorry, $2999 +tax and shipping was the cheapest i could find for a mk3 --- that's used too...refurbs for $3100, and yeah the grey market deals pop up, butt hey pop up and disappear very quickly. so, the 6d was the reasonable choice, and it's really not the dog its made out to be.
Serious photographers use primes
You've done it now. I'm off to take cover!
Serious photographers don't waste time on forums.