Wednesday, December 26, 2012
New Toys, New Business, and The Gear Quandary
Yesterday, like many of us, I was busy in the thick of celebrating the holidays was various circles of friends and family. A few days earlier I attended (and somehow wound up photographing) a dear friend's wedding and immediately afterward spending time with one side of my family for their early Christmas festivities. Cruising down from 4 hours north, a friend of my better half and mine came down to spend the week with us over Christmas time in what has been a non-stop binge of movies, video games and delicious food. And yesterday, as expected, more time was spent with the remaining side of my family in an enjoyable parade of giddy kids who were surprisingly open to the idea of smiling for the camera. What a holiday!
Naturally gifts were exchanged, and en lieu of my desperate push towards legitimizing all the time I devote to photography and its practice, the assortment of gifts I received this year were very specific assets that have been like missing links, holes that needed to be filled but I've always been too stubborn to buckle down and purchase them. And, oh, are they welcome additions to my toolbox!
They couldn't have come at a better time in my ongoing endeavor to establish a strong photography business. Earlier this year, in February I believe, I wrote a long, elaborate business plan as a sort of guide to determine what and how I wanted to grow as a business entity. A very sizable portion of that plan focused on portrait work, both candid and studio, as being a sort of bread-and-butter element of my efforts. As the year went on, my focus shifted much as it should be expected to over time. I had one major commercial job and for a good couple months following I was enamored with the idea of pursuing commercial work, and only in the past month or so have I really settled on the fact that pursuit of commercial work may very well be the great lost cause that ruins many a rising photographer. With that hopeless ambition out of my system, however, I'm once again back to basics, refocused on my original plan and aiming to open up my business to a new market.
With the heavy hitters in lighting equipment graciously gifted to me, last night I took it upon myself to complete my kits completely with the frivolous little things missing from my camera bags. Red filters, step-up rings for lenses thus far lacking in proper filter usage (M. Zuiko 45mm f/1.8, I'm looking at you), and lens hoods and accessory port attachments for my Nikon V1. Another lovely gift I received this holiday was the Nikkor 1 30-110mm f/3.8-5.6 lens, something that seems outside of my usual circle of appreciation for fact of it being a zoom and long telephoto, but given the nature of the V1 and the simple fact that, sometimes, you really do need a long lens, it adds an entirely new realm of capability for me, something I've not had since dropping DSLRs 3 years ago. With the crop factor in mind, this 30-110mm lens functions much more like a 70-300mm telephoto, and paired with the V1's breakneck speed (I mean, come on, 60FPS in electronic shutter mode...) photographing wildlife and sports has once again become a realistic possibility for me. And, even though it may be a zoom, the uniquely close focus distances of all Nikon 1 system lenses makes it a fantastic portrait zoom capable of producing appropriately shallow depth of field based not on aperture, but the element of DOF rendition that far too many seem to neglect, proximity. I would be lying were I to say I was not absolutely excited to try it out. Inclement weather forecasts be damned.
This, of course, makes my brain itch slightly when I consider how much I do still love my Olympus kit. It's difficult for me to maintain multiple camera systems as I imprint a sort of emotional value to each. When I use one overly much, part of me feels that I'm leaving the other feeling neglected, and that would absolutely describe how I feel about my poor E-P3, stuffed in a bag and only ever seeing the light of day for real estate jobs and the occasional night shoot. With the remote coming in, I fully intend to try night shooting with the V1. Miserable as I felt it was the last time I used it on a tripod, I suspect that after spending so much time with the camera and learning its nuances I'd be capable of working with it more comfortably now than before. This all, of course, solidifies my real quandary - why am I maintaining two similarly capable systems?
In the end, of course, I can at least state with confidence that, although I enjoy shooting with the V1 and do tend to carry it around and shoot with it more, the photos I'm taking are rarely of a superb artistic quality. It tends to be the camera I shoot family gatherings and social events with, not art so much as function. The E-P3, on the other hand, remains my go-to for intentioned artistic shooting and working jobs, and it will likely remain that way even once my MFT body is upgraded to the next PEN or the OM-D or whatever fits the bill. The V1 remains my little experiment, and while it may take some attention and budget away from solidifying my MFT assets, it still seems a worthwhile venture. After all, the best camera is the one you have on you all the time, and I certainly carry the V1 around far more willingly than lug around the MFT bag.
How typical... I steer away from DSLRs because they're too big and heavy, and sure enough I'm starting to treat MFT the same way because there's a new champion of tiny sensor goodness in the ring. My logic centers are an absolute mess!