james_washington

I have a Crumpler 4milliondollar home bag that will hold the camera with a lens attached and an extra lens. I just bought the Slingshot 200 and that held the camera with lens attached,2 other lenses, quantum battery pack, sb800, all of my cables, cards and accessories. It was perfect. I bought it because i ride a motorcycle and needed something that was sturdy and easily accessible when i'm off of the bike. It works like a charm.

I'm a fan of Digital Photographer...the one printed in England, not the US version. I have gotten to like Picture. Photo(printed in France)is visually better than american Photo.

I shot my first solo wedding with 2 cameras. Luckily, they were both the same camera so I set them up exactly the same with an 85mm prime on one and a 17-35mm zoom on the other. I went into it thinking that i could have them both strapped around my neck but quickly figured that it would be best to take the one without the flash and bracket mount from around my neck and just carry that and set it down next to me whenever i used the other camera. It was easy as long as you always remember to pick up the camera when you decide to change positions.

Probably won't sell for anywhere near what you paid for it. I would keep it. You may want to shoot in some conditions that you don't want to subject your D200 to...like blowing sand or wet weather.

I'm not sure how far you are talking about distance-wise, but if it is really far and the room is fairly well lit, then the zoom would be my first choice. If the person taking the photos were close to the stage i would recommend the 50mm. Using the SB-800 from a workable, but sizable distance would mean removing the diffuser and pointing the flashhead directly at the target.

 

Like i said, i don't know how far away the balcony is from the stage or what kind of lighting is in the hall. Just make sure that the flash is not set to fill, or you may want to manually bump the flash up to full blast, but that is something that I would want to test before handing it to someone that had no clue what they were doing...you could end up with a bunch of peoples heads in the foreground getting blown out if they are sitting directly in from of the shooter or something.

Look for the AT-X 270AF.

 

I'll post up a photo if i can figure out how.<div></div>

I shot a wedding with the "no flash" restriction. I had the 17-35mm 2.8 and the 85mm 1.8 on 2 separate D50 Bodies. The 85 1.8 was great in the low light. The 2.8 is fine as long as the subjects aren't moving. I found it hard to get a perfectly focused as the B/G were walking toward me, but that is just my inexperience.

 

oh, if you are shooting at f/1.8 because of the lighting, try to get both subjects at the same focal distance to prevent one from being in focus and the other from being OOF.

 

My first PAID wedding was in a small room that had more people than there were seats, I was stuck in a corner behind the alter, and with the bride's back to me...I was not allowed to use a flash. It was a learning experience, but i know exactly what I'd do next time. Some lessons are only learned hands-on.

It also looks like some online retailers have raised the prices on the lenses on the rebate list. Just an observation.

I have a Tokina 28-70 f2.8...it is the non-pro version and it works with my D50. The 2.8 will work much better than the 18-55 kit lens in low light and it will give you much shallower DoF. What you will be losing is the wide angles that you can get with the 18-55 tho.