Chuck, your notes on lens coverage for wedding/event work is dead-on. I will
add, though, that the 14-54 isn't constant aperture, but close enough to not
be a problem most of the time. If I'm shooting wide-open for
light-gathering purposes, I'm also usually at the wider end of things. The
Mk2 version of the 14-54 moves the transition point upwards enough that it
stays F2.8 much longer too. This lens has proven to be mighty good for
wedding/event work and I usually have it nailed down to either F4 or F5.6
all the time anyway.
The 35-80 F2.8 is another lens in this same category. This lens, on an OM
body is simply wonderful for wedding/event work where you want that
flexibility of focal-length.
That said, I will state that one problem I have with both of these zooms is
that by the time you have them on the bodies with battery grips or
motordrives, the kits become monstrosities which seem to suck the air right
out of the room. When you point the camera at somebody they duck for cover.
I've been learning how to use the 35mm lens for event work and have found a
tremendous operational advantage in having a low-profile camera. For a
point of comparison, I can place the 35mm F2.8 lens on an OM body (OM-3Ti
seems about right), zone-focus, raise, shoot, lower and it seems that nobody
is the wiser. Black cameras seem to scream "I'm going to get you" to the
subject, whereas chrome cameras have that neo-classical retro-geek look. The
OM-3Ti is dark, but not so dark as to garner attention
As to flash, I've been migrating towards a wireless flash approach that
requires no on-camera flash at all. The end result is the non-flash look
that gives you the shutter-speed/aperture needed, but the natural shadowless
lighting we seek. It's not for everything and you can't isolate your subject
from the background, but it does a good job of preventing "cave-dweller"
shots. With this wireless flash approach, the wireless trigger is small and
nothing garners attention.
But what does this have to do with my latest spewings? Easy. There are
times when F2.8 is far too slow. During the ceremony, for example, it is
not uncommon to be shooting at 1/4 second at F2.8 at ISO 400. I can either
boost the ISO or go to a brighter lens. Higher ISO performance of the
full-frame cameras is very good, but you still run into image degration.
With an F1.4 lens, I can raise my shutter-speed without raising ISO and I
also have the option of raising both. Eventually, this will be a non-issue,
but until ISO 204800 is available in an "affordable" camera...
For a number of years I shot weddings and events with the Tokina AT-X 35-70
F2.8 zoom lens. I still regard this lens as one of the finest lenses in its
class ever made. The bokeh is definitely not Zuiko-like (the images look
Nikon), but the focal-length of wide-normal to long-normal was terrific.
The Zuiko 35-80 F2.8 zoom adds those 10mm of reach which really help for
portraits as well as exceptionally lovely Bokeh. With the Tokina, I'd always
have to switch over to the 100/2.8 for the portraits, but the 35-80 allows
me the option of just staying with it.
My goals are a little convoluted, but maybe this makes some sense. Note,
that I am marketing myself as a film-shooter as well as a digital-shooter.
Therefore dualing systems are required. (when shooting a hybrid
combination, I choose one of each) Therefore, here is where I'm at and the
missing links I'm looking to fill:
Film System:
- Two OM bodies. One with the 35-80 F2.8, the other with one of the
following, depending on what part of the wedding day we're in: 24 F2.8, 35
F2.8, 100 F2.8, 200 F4. The 300 F4.5 in the bag for one-off shots. If I
could substitue anything, it would be an F2 lens in the 24-35mm range.
Maybe pick up a 50 F1.4 for mid-ceremony shots. (as an alternative, I could
pick up a rangefinder camera and a Voightlander 35 F1.4 or 40 F1.4)
Digital System:
- Two digital bodies. I currently have just one DSLR--hence the shopping
spree. One with the 14-54 zoom and the other with a smaller, brighter lens.
Preferably, this second camera/lens combination would be low-profile and
yield the shots that you can get before people respond negatively to the
presence of a camera pointed at them. For telephoto work, I use the Tokina
AT-X 100-300 F4 lens on the digital.
It is entirely possible that the very soon to be announced m43 camera will
satisfy my needs and goals. I'm hoping so. If you have learned anything
from me, I don't like "replacing" equipment in my kit, but "augment"
equipment in my kit. There is very little redundancy, yet plenty of overlap.
But, there is a lot of life remaining in those film cameras and there
appears to be a sufficient customer base to justify marketing in this niche
category.
AG
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