I found that after I purchased the 24L, I hardly ever use the 16-35L zoom lens anymore.
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
I have more than what I need to take amazing pictures in almost any situation but I after I buy something I find myself looking to the next thing to buy. I don't know what is wrong with me it is like a disease. I know I am crazy and should just be content with what I have. So if you were in my situation and you were going to buy something new would you sell one of the 5D3s and get a 1DX or would you buy the 85mm 1.2? I am a little afraid the 85mm 1.2 will be a little slow focusing at receptions similar to the 50mm 1.2.
Well, I think most of us here feel exactly the same way. I know I do!
I'm not a Wedding Photographer, but I was a Wedding Videographer for a few years, so I can relate to the importance of capturing those once in a lifetime photos. There's no do-over. I have the 85mm f/1.2L II and I shot my friends Wedding as a second shooter, but unaffiliated with the wedding photographer, so I was able to play around and let me tell you I would not trust the 85mm 1.2 for critical moments during the ceremony or reception, but it definitely can find a place in your kit, for portraits, candids, rings, non-critical reception shots, flowers and things like that.
Of course you can nail great shots with or without pre-focusing and I have, but I wouldn't trust it down the Aisle. It's heavy, the DOF is thin, and it's slow, but when you do nail it, it's spectacular.
The 1DX is obviously an Awesome Camera and I can certainly see you selling one of your 5DIII's for it, but it's also a bit heavy to shoot with all day, and you should also consider that if you shoot with two cameras at the same time, then switching from the 1DX to the 5DIII quickly may present some confusion, and the 1DX will definitely feel heavier on your shoulder, especially with the 85mm f/1.2L attached.
However, I really do love the 1DX and 85mm f/1.2L II. I'm not trying to talk you out of either. I'm just adding some of my thoughts for you to consider.
If I did have to pick one then I would recommend the 85mm 1.2L II.
bdunbar79 has some good experience and insight to the question. Both would be good for what you want other than the tungsten issue he mentions, so it comes down to cost and features.
What are the prices of a 1dm3 Vs 5dm3?
Do you need bullet proof build?
As far as portraits and landscapes the edge may go to the 1dm3
Do you need new features of the 5dm3?
Is weight an issue?
Given what you want it for high iso isn't needed.
Both have good focus but the edge would go to 5dm3 and its spot focus as well as live view focus for portraits that allow you to see extremely zoomed in on the 5dm3.
You just need to do a checklist of wants and see where things end up.
I went through the pain of making the 1DS3 vs 5D3 decision too, which was made harder by the fact that a used 1DS was A LOT cheaper than the 5D3. But I went for the 5D3, and am happy overall with it. I *do* long for AF point-linked metering though. It's a pain having to meter at the centre of the frame, then AE lock (*) and then compose and shoot using the outside AF points. It almost makes it worth going back to the good old centre AF point>focus>recompose method, which I've used on SLRs for the past 16 years... until now...
These shots with indoor and mixed lighting where I can't use a flash are difficult. I think WB does matter a great deal, especially if it adds a cast to a shadow that you can't get rid of. I don't think you can ignore that. Fortunately I was able to test both the 1DX and 5D3 in these harsh conditions and they performed similarly.
You know, you can always develop the RAW twice, once for each white balance, and then composite the one into the other using a mask and a big soft brush....
For white balance, your first best option is to use a styrofoam coffee cup as a white balance target. Styrofoam has a nearly perfectly flat spectral response, far superior to that of any of the commercial white balance targets. It's also about 80% reflective, which is excellent for setting white balance; low enough that there's no danger of clipping (unless the photo is hopelessly overexposed), yet high enough that noise isn't a factor. You can set it in the scene and get a nice sampling of each of the light sources by direction (say, daylight coming from the right and fluorescent coming from the left, blended roughly equally in the middle); or, you can put it over the lens and get a good whole-scene sampling suitable for an in-camera custom white balance.
If you don't have a spectrally-flat target (and note that many common "white" objects such as shirts and paper and the like are far from white), your next best bet is to boost the saturation in post-processing to 100%, fiddle with the white balance until it looks as neutral and un-saturated as possible, and then return the saturation to wherever you want it for that picture. It's much easier to tell when the white balance is off when the picture is over-saturated.