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Back-up bodies vs complementary bodies - they're not the same thing


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Every now and then you might see people talk about back-up bodies and lenses. Sometimes they'll have, say, an E-M1 II as their main body with an E-M5 II as their 'back-up' body. In Nikon terms, it's vaguely similar to having a D4s with a Df as a back-up (although I don't know enough about the Nikon system to make a true comparison). This makes no sense and I would say that it's bad practise.

 

If your primary body malfunctions, it's certainly better to have the lesser camera than no camera at all. But an E-M5 is not a back-up to an E-M1. The only back-up to an E-M1 is another E-M1. The only back-up to a D4s is another D4s.

 

The E-M5 is a complementary body. It's smaller and lighter than the E-M1 and it might make more sense to take it on a photowalk, or on a hike. So it makes sense to have one, but it certainly is not a back-up camera to an E-M1, anymore than a D3 is a back-up camera to a D4.

 

You could have a Phase One system, plus an Olympus system (for example). The Olympus doesn't back-up the Phase One. It is there to do jobs that the Phase One is not suited for, such as birds in flight.

 

It might be tempting to save some money and have a lesser camera as a back-up to your main camera. But I advise against it. Of course, there is the option to rent the equipment you need, and sometimes that works better than outright ownership. If your budget is tighter, the pay-as-you-go option would make a lot of sense.

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No, I don't think I agree.

 

Yes, having an identical duplicate is the best 'back-up' option, but in most cases it's both a waste of money (if your 'main' camera is a high-end model) and restrictive, not to mention potentially back-breaking.

 

There is no reason why a second body cannot be both back-up and complementary at the same time.

 

Numerous manufacturers have 'lesser' cameras in their ranges that are 90% of the top spec 'pro' models, they might lack the burst rate/modularity/toughness of the top cameras, but unless your project absolutely requires that missing feature, they will still allow you to bring home results, so they serve their role as a back-up. A back-up is not always required to have 100% of the primary system's functionality, rather the minimum required to finish the task, otherwise it would be a duplicate/secondary system, not a backup.

 

If those 'lesser' cameras are also smaller, lighter or encourage a different style of working, they can also be complementary, performing their own dedicated role, but able to step in to replace the primary camera if needed.

 

How many pros carried a Nikon FM/FE as a back-up to an F series primary camera? Likely fitted with their other lens.

 

How about someone shooting events with a pair of mirrorless digital cameras, one top spec SLR-style body with booster grip, maybe a speedlight and one 'rangefinder'-style body with a complementary lens for candids? In several manufacturers ranges, it's possible for those two bodies to have the same sensor and processing engine, so the results would be impossible to tell apart. In a pinch, either can perform the role of the other, but they are not identical.

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As a working pro I have always had identical back up bodies so that if I had to switch from one to another I wouldn't have to fight with the inevitable small but important differences between different models. I've kept that affordable by buying used or discontinued bodies in some cases and by not always buying the top of the line that frequently had features that I didn't need. As I approach retirement, some of that redundant equipment will be going away, since I won't be depending on it for my livelihood.
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The only back-up to an E-M1 is another E-M1. The only back-up to a D4s is another D4s.

 

Does your car have a compact spare tire?

 

A backup for any camera is any other camera that allows one to keep working. If your work requires no difference in features, then you would need the same body as a backup. I certainly don't. I have three very different bodies, two of which are DSLRs. They are very different cameras, but I could make do with the older, cheaper one in a pinch.

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Then there’s the case of Mariano Rivera, New York Yankees closing relief pitcher for 17 seasons and considered by many the best of all time.

 

Maybe you should consider a relief camera instead of or in addition to a backup or complementary camera, or however else we parse it. Imagine having the Mercedes Benz (or any testosterone-inducing make of your choice) of cameras in your top drawer for those extra special occasions!

 

The advantages of having a super-fine relief camera are many, among them: 1) we all know that the better camera you have the better pictures you take and 2) all that money you’ve been aching to spend on gear will no longer be burning a hole in your pocket.

 

Me, I make a lot of portraits, so I’m looking for a complimentary camera, one that will flatter my most vain subjects.

:)

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"You talkin' to me?"

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This is an old topic. Steve Sint, an active pro for many years who published extensively on photography, devoted one of his Popular Photography columns to the issue of backup cameras. On the basis of his experience, he suggested not only a backup camera, but a backup to the backup--he once had to fall back on a third camera body in order to finish an assignment after the first two failed. If memory serves, although his first two cameras on that day were identical, the third was not, and all was well. It gets pretty expensive to have three identical bodies.

 

On a lighter note . . .

 

Me, I make a lot of portraits, so I’m looking for a complimentary camera, one that will flatter my most vain subjects.

I don't necessarily like all the people I photograph at events (I like most of them just not all) so that I try to include an uncomplimentary camera in my kit. As one friend described the principle that those who attend should follow: "Don't annoy or anger the photographer."

Edited by Hector Javkin
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Always had two cameras on a job in film days. #1 my best, #2 the best I could afford. Both were Nikons, No difficulty switching back and forth, mostly done to avoid reloading film at crucial points. I never had a Nikon camera fail. Now, on a trip or purposeful photo excursion, still two Nikons in a shoulder bag, possibly more in a hard case in the car. Habit, a personal preference, and no need to change lenses in the field. The capability of the cameras is not materially different, though I prefer certain camera / lens combinations for particular genres. I think paid Work is where Back Up becomes essential. Complimentary bodies, possibly in respect to available lenses and exotic camera requirements. The words used to describe extra cameras are nothing more than that. A skilled practitioner will change and use any owned cameras fluently.
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If I were a working pro, two (nearly) identical cameras might be the way to go, However even working weddings or events my latest and next latest bodies seem to do the trick, as long as they use the same lenses and accessories. If I need rapid lens changes, wearing two bodies with different lenses is about as extreme as I go. When traveling, it's nice to have the other as a backup. In that case, a Sony A7Riv is my go-to camera, with an A9 as a backup (*), or possibly an A7Siii if I'm doing a travelogue thing. There's nothing wrong with 24 MP, even for 16"x20" prints. I am tempted to forego the A9 in favor of a drone kit, which fits in the same space.

 

* I have given an A7Rii and A7Riii to my sons, but kept the A9. It does things nothing else can do, from fast focusing to 20 fps. The concentric knob on the top left has the mode changes I use most often.

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Working in photojournalism I carried at least an F2 and a Nikkormat at all times, later an F4s and an N90S and still have both setups ready to go. These days though an 800 and an 810 go well together and a D4 for weddings and events. I don’t think one needs two identical bodies but you need to be able to go from one to the other without thinking about it. That way you spend your time and thought making photos and not screwing with the camera.

 

Rick H.

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How many pros carried a Nikon FM/FE as a back-up to an F series primary camera? Likely fitted with their other lens.

You make a good point. I do think that as cameras gain features, it's better to not have to remember the small differences in menu options between different tiers. Not always a problem, but it might be.

 

Does your car have a compact spare tire?

No, and I'm glad it doesn't. That's the kind of compromise I'd rather not make. But it's not as if we have a choice with new cars, is it?

 

I don't necessarily like all the people I photograph at events (I like most of them just not all) so that I try to include an uncomplimentary camera in my kit. As one friend described the principle that those who attend should follow: "Don't annoy or anger the photographer."

I know you speak in jest but if I may be serious for a moment: a photographer should always try and make their subject look good, even if the subject is someone truly loathsome. Professionalism is an ethic.

 

I like a nice, hot body, well shaped, open to suggestions, a little bit risqué. If it fails, it gives me time for a breather

I hope that what you demand can be matched by what you have to offer.

 

HEY HEY!

 

with an A9 as a backup

An A9 as a backup! I love it.

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An A9 as a backup! I love it.

Horses for courses. The A9 would be my primary for wedding candids, action (including grandchildren), and many events (smaller file sizes). The A9 has limited video capability compared to the newer A7Rxxx cameras, and far less than that of the A7Siii.

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Working in photojournalism I carried at least an F2 and a Nikkormat at all times, later an F4s and an N90S and still have both setups ready to go. These days though an 800 and an 810 go well together and a D4 for weddings and events. I don’t think one needs two identical bodies but you need to be able to go from one to the other without thinking about it. That way you spend your time and thought making photos and not screwing with the camera.

 

Rick H.

I carried an F2 and Nikkormat ELW for some years. IMO, about as good as it got in those days. I still have both, and they still work perfectly.

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I do not shoot events or anything like that but my camera is a Leica M6 and it never breaks. If I go on vacation I am positive it will work fine. I just own the one camera and do not have or need a back up camera..

Wonderful...as long as you aren't getting paid to record a one time event. I have never had a Leica or Nikon fail, but when I was getting paid for photos, I always had backup. The only time I needed it was when a flash failed. I had a spare. Comforting to know you can do the job whatever happens.

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Wonderful...as long as you aren't getting paid to record a one time event. I have never had a Leica or Nikon fail, but when I was getting paid for photos, I always had backup. The only time I needed it was when a flash failed. I had a spare. Comforting to know you can do the job whatever happens.

 

I do not do any jobs with a camera. I enjoy B/W photography and wet printing for a hobby is the extent of it. Anyway one camera is all I need.

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Interesting discussion - no right answers, just personal preferences and budget constraints probably. I have two Canon 7Ds fitted with different lenses. I went that route after getting annoyed with the difference between cameras and having to do a mental reset when picking up the second camera/lens combo. It was one less thing to worry about. And, only one set of spare batteries and cards so that's easier. So, not really a backup I suppose, definitely lean to the complementary approach.
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