Anyone use a film slr as a backup body to a digital slr?

[jet_tilton]

<p>I'm currently using a Canon XSi, have some paid work coming up, using mostly my Canon 50mm f1.4 lens for senior portraits (non yearbook) and also family/baby shoots. Budget is limited but the more I read this forum, the more I realize that I definitely need a backup body, even for small shoots that are paying jobs. Have a dilemna:<br>

1. Do I get a newer body, such as the rebel T2i, since it has better high ISO performance than the Xsi, and then<br>

use the Xsi as the backup?<br>

2. Would my money better be spent on a new lens, such as the new Sigma AF 17-50 f/2.8 lens, and then purchase a film EOS body so I could at least use the 50mm on it, or even the Canon T90, even though it uses FD lenses?<br>

Budget is around $800 total.<br>

Thanks,<br>

Jet</p>

 

[User_1172872]

<p>A used Xsi would be far less than $ 800 and you would have two of them. No need to remember how to use the backup! For even less, you could acqure a used 20D, which is still a perfectly good camera. But I think you don't want to take time and recall how to use a rarely used backup camera on a paying job.</p>

[noah_pardee]

<p>I would suggest a film body. The Canon 1N (about $200-$250 on ebay)... slightly pricy for a film SLR but it has great performance.... you get what you pay for!</p><div></div>

[john tonai]

<p>Option 1:<br>

You normally don't need a high ISO performance for senior portraits or family portraits/baby shoots. The higher overall quality would only be an issue with extremely large prints-not something most people do when they hire newer photographers. The 12 MP of your XSi with good photo skills will allow a 16x20 print that will please your customers (and you) The viewfinder on the T2i is much better and more enjoyable.</p>

<p>A T1i is a pretty decent improvement over the XSi with the T2i a slight improvement on it. I would consider the T1i (can be available used for a good price) for your purposes. You could get a used T1i and a Sigma 17-70 DC for around your price range.</p>

<p>Option 2: You don't mention why you think you need a new lens. A 50 ƒ/1.4 is great for both of your jobs (unless the family shots contain large groups).</p>

<p>If you don't have a lot of experience with film I wouldn't do option 2. It is a much different way of working and will require you to concentrate on your equipment too much. You need to concentrate on your subject matter more.<br>

I would not recommend going to a second lens system.</p>

[john tonai]

<p>Noah, while the EOS 1 is a great camera, Jet needs to consider working within a system. The EOS 1 is a completely different beast that will take away from the shoot.</p>

[lauren_macintosh]

<p>Then he should get a XSi camera to back his first camera up, then he will not need to shift gears when changing cameras:</p>

[john tonai]

<p>I would agree. But the T1 is similar so there are only a few important functional differences that might matter during the shoot. That way he can upgrade without a huge difference of controls.</p>

[john tonai]

<p>Lauren,</p>

<p>This is because he is just starting out in the field. Once he establishes a personal work methodology, is comfortable with his skills, and has a positive money flow, he can take the time to buy a major upgrade camera, take the time to learn it and use the better of his current cameras as the backup. He should be then have much of the camera controls hardwired so using the older camera should come back to him quickly</p>

[sarah_fox]

<p>It might be just a tiny bit more than you want/have to spend, but I think the best combo is a full frame camera plus a crop camera. That way you have twice the lens/format permutations to choose from. Crop and FF both have their respective uses and benefits, and either can serve as a backup for the other. With that in mind, you might consider picking up a used 5D (Mark I). I use this camera in combination with a 40D and a G11. That gives me three entirely different sorts of cameras that fill different roles in my work.</p>

<p>Stepping back for a moment, though, do you really NEED a backup right now for shooting portraits? Backup cameras are mostly needed for events that cannot be rescheduled -- like weddings. But for senior portraits? What's the worst that can happen? Your camera dies, so you tell the client, sheepishly, "My camera is dead. I'll have to find another one. I'll call you in a couple of days to reschedule your portrait session. I'm so sorry for the inconvenience. Let me offer you 25% off for your trouble." If everything of yours is reschedulable, I'd think first about adding some versatility to your lens collection. Maybe get a longer prime for head shots, like the 100/2.0 (which is awsome on a FF body). Save the rest of your money for now. </p>

<p>Then after you've earned a bit of money and are ready to branch out to a dual-format (mutually backed-up) collection, get the 5D and perhaps a 24-105. That lens will be slightly wide to moderate tele on your crop and a very useful wide/tele walkaround lens on the 5D. </p>

<p>Finally, with regard to a film camera: If you want to shoot film, then get something like an EOS 1n, so that you can use your EF lenses on it. Get an EOS 3 if you want something better featured. (Both are excellent bodies that can be had very cheaply.) I picked up a 1n for $185 after not getting hired for a job because of the prospective client's reluctance over digital photography. I decided on the 1n because of its weather sealing. (It remains my only 1-series camera.) Since that time, nobody has ever said "boo" about film vs. digital photography, and I've not yet used the 1n on a job. It just gathers dust. However, if it ever matters to another prospective client, sure, I can shoot film too.</p>

<p>Also if you want an even cheaper film body, get an Elan 7n. Nice camera. Plastic, but nice.</p>

[dangoldman]

<p>i usually use digital as a backup for my film stuff... hey, horses for courses and all that...</p>

[jim_j2]

<p>I tend to agree with Sarah, she makes some very valid points all around. And especially about the rescheduling if necessary, although in all probability, your Xsi won't fail.<br>

Now if you're just wanting an extra body, . . . then they are useful in any shoot. Different lenses on each body, less time, etc., etc..</p>

<p>I currently have an EOS 3 as the backup to my 50D, and only because of the progression from film to digital and the cost.<br>

If and when I can, . . . I'm moving to a full frame and the 50D will become the backup. Exactly for the reasons that Sarah indicated, to get the most use out of the lenses I currently own.</p>

[cabbiinc]

<p>I use film as a backup backup backup camera. Elan IIe. But, I also have a Rebel film camera, and if you put the same lens on the camera with the same film it produces much the same results. It's not like with digital that this has video and that has higher ISO. With film most of the technology is in the film. With film your differences are the metering, autofocus, and ergonomics. My point is, while I'd love to buy a 1V with power booster and have the ability to eat through 10 frames a second and be done with a roll of film in under 4 seconds I find that just having the Elan and the Rebel before that at hand were quite acceptable. They use the same 430EX that I mount on my 40D and the same lenses. The ElanIIe cost me $45. If you don't mind buying a flash that would only be used on a film camera the EZ series flashes are usually pretty affordable on the used market as they don't play nice with the digital cameras of today.</p>

<p>I've even taken to loading the camera with black and white film for the look that it produces that I enjoy.</p>

[jet_tilton]

<p>thanks for all of the advice! Sarah does has a valid point, if my camera were to fail, it would be easy to reschedule, and offer a discount if and when that were to ever happen. My only concern would be a shoot I have coming up where some of the family members are coming from across town for this, and I would hate for anything to happen, especially if they have taken the time to be there for this family/baby shoot. <br>

A film body would be nice, but it seems that another digital body would make more sense. But I sure would love to have a lens with a wider reach, or even the 100mm macro! I guess my main concern is developing a reputation as a photographer who is serious about his work, and would not want bad word-of-mouth to ruin me before i even get started.</p>

 

[mark_pierlot]

<p>I use my film bodies <em>in tandem </em>with my DSLR, such that none is a backup to the other. My 5DII sees almost as much use as all of my film bodies (EOS-1V, F-1, F-1N, T90, etc.) combined, but not quite.</p>

<p>If I <em>were </em>to use a film body as a backup to an EOS DSLR, it would be an EOS film body, despite my love for all things FD. This is because the lenses would be interchangeable between the bodies, thus obviating the need to carry two sets of lenses, and also because both bodies would be AF capable.</p>

<p>What I would probably do, however, would be to use another DSLR as a backup. And I'd probably use a full frame body as the primary camera, and an APS-C body (or, ideally, another full frame body) as the backup.</p>

<p>But if I were in your shoes, Jet, I'd pick up a T2i for my primary body, and eventually invest in more glass. The EF 50/1.4 is a superb lens, and on a crop body it yields the ideal portrait focal length, so it should be sufficient for now.</p>

[john tonai]

<blockquote>

<p>But for senior portraits? What's the worst that can happen? Your camera dies, so you tell the client, sheepishly, "My camera is dead. I'll have to find another one. I'll call you in a couple of days to reschedule your portrait session. I'm so sorry for the inconvenience. Let me offer you 25% off for your trouble."</p>

</blockquote>

<p>I don't consider that a very professional attitude. Here's why: I shot a portrait (back in the days of film). It was an unremarkable job except for the fact that the girl had spent the night at the prom (her boyfriend was a senior-she was a junior). She died a week later. They became her funeral photos.</p>

<p>While this obviously was a rare occurrence, this is what pros do, they deliver the goods, not make excuses. I just can't see any professional not having something as simple as a backup camera.</p>

[alan_rockwood]

<p>You could get a canon Rebel film camera body on ebay for under $100, sometimes way under $100. The best model is probably the most recent, i.e. T2. The Ti and 2000 are also pretty good, in descending order of desirability. Alternatively, you could get one of the higher end EOS bodies (various models of elan, or EOS 3 or variations on EOS 1) for a bit more, or even quite a bit more, but they won't actually give you better photos than a lowly rebel, especially in the studio where things like weather sealing aren't an issue.</p>

<p>Then add a 85mm f/1.8 lens. It's field of view on a 35mm film camera is almost a perfect match to your 50mm f/1.4 on your digital rebel camera. Alternatively, get a 100mm f/2 lens.</p>

<p>You should be able to get all this for under $600, probable even under $500, leaving you a bit of room to spare to get some other accessories if you want.</p>

<p>As someone else has pointed out, combining a full frame camera (like a 35mm, or a full frame digital camera) with a reduced frame camera using the same lens mount multiplies the field of view/lens combinations for your camera kit.</p>

[steve m smith]

<blockquote>

<p>i usually use digital as a backup for my film stuff... hey, horses for courses and all that...</p>

</blockquote>

<p>Me too. If all thirty of my film cameras stopped working I might think about using my D100 again!</p>

[anders_andersson2]

<p>I have hardly ever used film, but is it not a completely different kind of system?<br>

For example, with a digital camera, you may have the habit of taking 500 pictures on one occasion, and then discard 490 of them. That would be very expensive with film.<br>

My understanding is that film still gets a satisfactory (or even superior) result in some situations, but if you fully use the potential of a DSLR, there is no way you can reproduce all of its goodies with a film camera.</p>

[plasma181]

<p>I use a Nikon FM3a film SLR as my main body, then a D-70 as a backup. I start with film, then if I still have a few shots to take, I use the digital rather then breaking open a new roll of film for just a few frames. This works nicely. </p>

[nathangardner]

<p>I have a film body, but its not really a backup, more of a supplement to my digital. It gives me the full frame capabilities of my 17-40mm and its fun to shoot film every now and then. As for a backup, I always think glass is a better investment because it gives you more possibilities. Another body will only give you conveniece, but if you really think you need one, I'd suggest a 20D, its a great digital body and they're dirt cheap, I've seen em for $200 on C-List. Of course if you have the money a T2i would give you more MPs and HD vid, but since you're considering film I would assume you're on a budget. Either way, I'd get a film body, most of them cost next to nothing. I had someone from right here on Pnet give me a really nice film camera.</p>

[StuartMoxham]

<p>Just buy a used digital rebel like the EOS 400D (XTi) it's not that expensive used or pickup a used EOS 40D/50D and use the rebel you have as a backup. To use film well you need a decent lab and if you shoot a lot the film and processing will cost you money. The suggestion above for a used EOS 20D is not a bad idea either. I would not consider not having a backup and rescheduling I just can't see that going down very well with clients. It does not matter if its a wedding or a portrait shoot a job is a job and rescheduling should be the last option. If you are a working photographer you should have a backup (spare) equipment. If the 50mm 1.4 is your main portrait workhorse lens then a back up to that would also be a good idea.</p>

[sarah_fox]

<p>Re not having a backup:</p>

<p>Then again, look at it from the client's point of view. Would you rather hire a photographer with two substantially similar crop bodies and a 50mm lens, on the off chance that one body might fail, or would you rather hire a photographer with a single crop body and lenses of at least a couple different focal lengths that could be used for a wider variety of compositions? Would you be so afraid of Murphy's Law as to feel that chance would strike down the camera at your appointed time and then strike YOU down before you could reschedule? I'd live dangerously and hire the kid with two lenses.</p>

<p>Almost everyone starts small, with only a few pieces of equipment. That's reality. The responsible thing to do, professionally, is not to take jobs for which one is inadequately equipped or prepared. If a backup camera would be necessary, don't take the job until you have one. (Possibly rent one.)</p>

<p>Finally, is a second 50mm f/1.4 necessary as a backup to the first one? No. If a 50mm prime is important, get a 50/1.8. If 50mm isn't the end-all focal length (and it shouldn't be), then fall back on a 35 or 85 or maybe a zoom with 50 somewhere in the middle of the zoom range. The important thing -- the ONLY important thing -- is that you have alternative ways to take some decent shots and are not standing there with egg all over your face. I realize some photographers like to duplicate equipment exactly (e.g. 2 5DII bodies), but I'm not that rich. I don't have two identical copies of anything except batteries, cards, and filters. I have a variety of equipment with slightly different capabilities, where one item can pinch-hit for another. I've had equipment failures, but I've never had egg on my face.</p>

[michael_madio]

<p>One aspect that seems to have been forgotten is the film itself. When using pro film it should be used before the expiry date and stored correctly. Using film that's been in your bag for a few months without attention to freshness and storage makes for a very questionable "backup". You will also need pro processing and high resolution scans which are not cheap. At the end of the day a used DSLR will probably be the most practical and economical solution.</p>