christopher_ellington

<p>Yes in this case, I don't feel that work is therapeutic. It's simply a distraction from the real issues you have to contend with on a personal level. I think many get therapy and temporary distraction confused. Especially in a setting where it's about being married, the joys and commitment.<br>

I think if you feel you're going to have a hard time doing the weddings emotionally, you should start going in the direction of not doing weddings for now. If that means finishing up the ones you're committed to, then fine. But don't accept any more. You also know your financial situation too. Sometimes you need to live.<br>

I just don't want you to believe that working is the solve. It's simply something to divert your attention. If you continue working, know that the healing process still lies outside of work.<br>

My opinion is that you look at your finances, and if you need to finish them to get through your current situation, then finish them. But don't take anymore and consider stepping away from the wedding business for a little while as you deal with this.</p>

<p>Sorry guys. I really was thinking about the D4. Not the D800....I know the D4 is what Nikon seems to have been pushing for the Olympics in speed and quality</p>

<p>my mishap</p>

<p>Has anyone here seen any results of the D800 from the Olympics yet?</p>

<p>Yeah the loss of MANY pictures on one large card seems to be one of the major concerns people have. I am kind of that way with computer hard drives. I could never see myself depending on a single 3TB drive. I'd rather have three 1TB drives or two 1TB drives with two 500GB drives. Then I'd split what I want on each.<br>

<br />For your camera, depending on what you do you might consider a couple/few 8GB cards. So if ANYTHING happens to one, you have others as backup to use and you're not losing 16GB worth of everything.</p>

<p>If you're shooting a lot, you may not want to have your family BBQ, wedding gig, concert, first date, night out with friends, artistic shots and work shots all on one card.</p>

<p>I'd recommend two 8GB cards or four 4GB card or splurge for two 16GB cards.</p>

<p>True Fred G. It's really a joint effort by both. As far as finances, they both have to know what the intention is, agree on things. Sometimes it's about who the initiator is for the project. What the end result is for, etc.</p>

<p>An I agree about the comfort. That can be different in various cases. It's really not about any hard cut rules, and may be different in every situation.</p>

<p>The power part is tough. It may work better when both the photographer and model respect what each brings to the table, but are open to what they are seeing.</p>

<p>1) The photographer respects the models comfort, expression, technicalities (posing, knowing their best sides, improvisation), creating emotions, etc.</p>

<p>2) The model respects the photographers abilities to accent those qualities that they bring, capturing those qualities, and bringing out the best of them with their eye and technical and/or artistic skill.</p>

<p>It becomes more of an equal effort, but the model pays the photographer because the photographer is the one capturing them and accenting their modeling abilities so that they can focus on modeling (rather than using a remote and capturing themselves). The model is paying for the technical, artistic, but also trust in the photographer to see what they can't see in the live modeling process.</p>

<p>It's also about intent...<br>

The model already brings their gifts to the table naturally (expressions, poses, fashion, emotions, props, purpose, etc). It's then the photographer to bring their offerings to the table (technical skill, lighting, space, eye for detail, direction, ability to bring out the best of the models intent vs their own intent, ability to make the model comfortable enough to do their thing, etc.)</p>

<p>The intent isn't always a model paying a photographer. A photographer may pay a model to test their own photography skills and build portfolio. So the photographer is paying the model in that instance.</p>

<p>I guess it's however you interpret the word portrait. You might say it's not a mugshot, because it isn't by nature a photo taken for an official/legal police record. Even though the concept of the shot (straight on, plain, against a wall, etc) is there, the purpose (police records) isn't.<br>

It's a picture of a person - YES<br>

It's a portrait of a person - Maybe by definition. If a portrait is simply an impression or a photo/illustration/description of a person based on their expression, mood, personality, etc. Then you could call it that. But you might qualify it by whether it is technically good from your artistic viewpoint.<br>

Or if you interpretation is that the word portrait is reserved for a photo with artistic and technical intention, then you might say no. But then again, that artistic and technical intention is based on whose standards? The artist may decided that his portrait series will be done with a point and shoot, straight on, white wall background, available lighting, no care for forcing personality, etc.<br>

Such a fine line because it's based on the artists intent. The rest (technical and visual appeasement) is left to interpretation of the artists intent. The intent may be successful, but that doesn't mean everyone will agree/like with the result.</p>

 

<p>For whatever it's worth, Western Digital and Seagate have been pretty good to me. My company's production and IT department uses Lacie externals regularly. My friend and I bought a Lacie external for backup of our work.</p>

<p>I'd consider having a "backup system". I don't mean a system as in a product, but a process. Get the hard drive, but consider having a second (separate) drive to double backup. Or consider a way of storing select work on DVDs or flash drives.</p>

<p>Of you get a photo session gig for instance. You can easily factor into the price a4GB or an 8GB USB flash drive for $6-$12 respectively as an alternative to DVDs. Then figure out your means of physically storing those USB drives or DVDs in addition to having a loose or compressed folder archived on a backup drive. The idea is that these backups physically don't move. So your backup drive shouldn't be the drive you carry around.</p>

<p>The reason we have those "oh crap!" moments is because we don't have a process/system/strategy to our backing up. Sometimes we think that just buying the best reviewed [in reliability] drive is the best choice. Backing up is really about having multiple copies of something on separate devices and/or locations. What works best for me is to have the backup on a hard drive and then selecting what's important for that project, burning to a DVD or putting on a small USB drive, labeling them and storing them with no intention of touching them unless absolutely required. Anything can do bad, nothing material is forever. Just backup and take care of the hardware.</p>

Jeff. As I said in my last post, ive been back o simply shooting and that's all I've been doing. And enjoying it.

<p>Thanks for all of the responses guys. I just received my camera battery grip today for the D7000 and it has a much better feel for my hands. While I appreciate the width of the D300s, Canon 7D/5D Mark II, I'll be focusing on making it work with and without the grip depending on the situation. I've already been back into simply shooting and creating the shots I like.</p>

<p>I did get a perspective from some of your posts that not everyone views photography as art. While I do, I don't expect everyone to and for some it's simply a hobby or a technical thing that many enjoy to collect and compare. As a graphic designer, I focus on the shot as well as what I can do afterwards with it to take it to where my vision is. I appreciate all aspect of photography though from the art to the technical.</p>

<p>This topic was really a rant for those who might relate to me as being an artist, but somewhere forgetting to shoot and create with what I have. Instead I began worrying so much about having the latest and greatest and had a bit of revelation to work towards the latest and greatest, but in the meantime make what I have the best it can be until I get there. It was not meant to be any commentary on those who see photography differently. I am grateful for all views and responses in this.</p>

<p>Interestingly enough, I was at DPreview anyway looking for something else and ran by their image comparison mechanism.</p>

<p>I have to say, that even though comparing side by side JPEGs/RAWs isn't the only factor when considering cameras, I appreciate the time and effort going into what they have. It's another tool that helps with decisions and concerns when you're not able to get your hands on each camera.</p>

<p>With that said, I don't see where the Olympus has better or comparable quality at higher ISOs. I know we've kind of encouraged to consider other aspects of choosing a camera. But I was curious and still see the D7000 out shining the Olympus in this area. Don't forget that lenses play a huge role when it comes to quality, bokeh, ISO and auto focusing. Also it only means so much in the grander scheme of things. It depends on how much bank you're putting on spec hunting and comparison. Eventually the shot has to be caught and overall look nice. There are so many noise reduction applications out there that slight ISO differences (if there are no major differences) mean but a fraction of the decision.</p>

<p>As I mentioned earlier, you know the specs of each, seen image comparisons, have all of our opinions, read reviews, etc. Now it's best for you to hold each camera, shoot with them and decide what feels to your liking.</p>

<p>Get it in your hand!</p>

You might just consider finding a way to get your hands on that Olympus when available. At this point really, you know all

of the specs for both to make specific comparisons. You've heard all of our opinions and suggestions. You've concluded

that the real battle is weight and your desire for a small camera wih some comparable features and quality. We know the

Nikon most likely has better AF and overall image quality due to the sensor as well as more expansion with lenses,

teleconverters, etc. Also the lens plays a MAJOR role in the image quality, focusing, light sensitivity, etc and you'd have

more latitude with the Nikon. However, YOU eventually have totals all of this advice and learnings to determine your

needs. Most of all you need to determine what will make you most happy so that you can simply shoot and enjoy

producing the images you desire. At this point a split second AF difference or a stop or two light sensitivity may not be the

difference makers you think they are.

 

 

You need to get them in your hands first. Since you have owned Nikons before like the D90, it is especially important that

you get the Olympus in your hands and shoot with it. We are not talking a Nikon D300 vs a D300s here. We are talking

two different brands, that's two different menu systems, that's two different depth of support (company and other user

support), it will become the difference between visiting loaded Nikon forums vs Olympus forums, that's two different

levels of additional products/lenses, etc, these are two different sensors (larger on D7000), two different mechanics in

controlling the body and settings, two different feels when holding. Basically two classes of camera.

 

 

When I first saw this Olympus about 2 weeks ago, it captured my interest as a secondary, fun to play wih something new,

travel camera. However I personally like the feel of a larger DSLR so it would not be a replacement for me. Either way, I

wouldn't know how I like it and how it REALLY performs until I had it in my hand and clicked the shutter.

 

 

You've learned about both. Now find a way to click them both and only then will you truly know.

Ariel. We are essentially giving the same advice. Just with differently delivery. In regards to specifics, you are

encouraging him to still use the most recent memory cards as they should work fine. I don't argue against that. I am telling

him to consider getting more of the stuff his camera needs. If there is a specific battery for the D3s, to consider getting

another if his current battery has had a substantial amount of use. To make sure he has all the drivers necessary as

backup. I never encouraged against not trying a recent technology card or the latest RAW plugin, etc. We never know what these companies will and won't do. So my mentioning of maybe getting and extra battery or screen cover is not a statement of "it will never be available". Many manufacturers still service and support older proud at. But more so a "just in case" they suddenly are hard to come by. I know you can't future proof everything. It was just a recommendation.

 

 

Basically we are both encouraging him to extend the life of his current and capable gear vs being discouraged that there

is a new D4 in town if he can't afford it at the moment.

I currently own a D7000. Considered a technically superior camera to the D300, D5000, D2X, D3100 etc. Mainly because

of its new technology over older cameras and functionality over lower end camera.

 

 

However, there are beautiful shots many have taken on those cameras that I have yet to match because of everything

else that goes into the shot. There are wedding photos take with a D200 that are much more inspiring to me that anything

I've taken. Simply because they took a better photo with what they had. Its great to pay attention and learn from these

specs, don't get me wrong. But I think you might consider your decision based on what you will feel comfortable shooting

with and how much expansion each company allows in lenses and accessories.

Gurpreet. I encourage you to REALLY list to the posters who are telling you not to focus on these numbers. Companies

will confuse to release new cameras and the spec numbers will continue to improve. If you take this spec chasing

approach, you will find it hard to stay happy with any current camera gear you have. Whether its Nikon or Olympus, a new

one will come out and be better spec wise. Based on the capabilities of the D7000, a couple of number differences will be

a moot point when compared to how well you shoot to achieve the image that you want to achieve. Go one way or the

other isn't going to be the determining factor in whether you can shoot a successful image or not. The cameras settings

are simply a part of it. The other part come down to your eye for the shot, positioning, lens, patience or quickness,

lighting, creativity or technical skill, etc.

 

 

I think your BIGGEST concern in this decision should be about what you feel comfortable holding and traveling as it

relates to size. They both handle the weather well, but that doesn't mean leave it on the patio every night. You will and

should still take care of a weather sealed camera. That feature is a great insurance policy if you happen to get caught.

But that doesnt protect the lenses if they are not sealed like the camera body.

 

 

Consider size, weight comfort that will make you want to shoot. Also how far do you want to go in photograpy? Nikon will

always have a great assortment of lenses for you. But what it might come down to for you is overall comfort so that your

focus is on taking photos.

Yes. A great option right now with these cameras that are being succeeded is to find places that sell their batteries and

maybe some essential accessories (cards, cables, screen protectors, covers) to stock up on them. Maybe future proof

your cuurent gear the best you possibly can. Download and store (on a CD) the latest software, drivers and camera

firmware for your camera.

 

 

If you think a successor to your current gear (which is still great, not obsolete, just not Nikons latest) is a discourager.

Imagine your D3s REALLY becoming obsolete if you don't take care of it or future proof it.

 

 

Us this D4 release as a reminder to take care of your current gear extra so that it doesn't fit the true meaning of obsolete.

Consider selling it now as someone mentioned so you can still make decent return on it to go towards a D4. Or start a

"used D4" or "D5" savings fund. Many of us could consider the gradual process of saving up for that next major upgrade

even if it takes a year or two.

^As you know and mentioned, there is still a large market for the $600 to $2000 camera. The beginning hobbyist to the budding professional. From the

parents buying that nice D3100 for their young college bound kid to the creative artist with a total budget of $2400 for

body, lens, lighting, etc.

 

For many, $2000 in the bank for a camera may not easily translate to $3000+ just because the D800 offers a good deal.

 

Camera companies need the lower an mid end markets too. And for the price point differences, something has to be

sacrificed and full frame is one of them. Someone with $2500 doesn't mean they should save up another $500 for a

D800. That $3000 is just the body and no other accessories, full frame lenses, flash, etc. to get full use out of a D800, it

can basically be a $4500 camera for someone who doesnt already have stuff.

<p>With all of my words in my previous response, I completely missed the point of your question. It is about clients wanting to see raw files for selection purposes prior to you working your magic.</p>

<p>I think it's right to use your gut on this one. Also make sure your processing is and/or is sold in such a way that they don't feel they can simply just click a filter button or have their cousin do it on his computer. Emphasize the time, spirit and dedication that goes into the service you provide. It MIGHT help them trust that what they are moving forward with is something that only you can provide.</p>

<p>Also consider a backup option where if the client looks at the RAW files and doesn't like them, or doesn't want your style processing, that they'd be responsible for paying a portion for your session time vs simply saying "I don't like that photo of me, I look fat, so never mind." Consider viewing the photo session and the processing session as separate costs so that they are at LEAST responsible for one. And if you shoot in such a way (lighting setup, etc) that is specific to how you process, maybe they pay a penalty for skipping the post processing part due to your anticipation for a full fee for both. You might also have a separate non refundable fee with some sort of clause that if the client isn't please, they get say 85% of their money back. But you keep 15% for your efforts. Just a thought.</p>

<p>Another random thought is to find some way to watermark or edit down each image as you guys go through them. Maybe tone down the overall saturation. Reduce the pixel dimensions so they don't get hung up on details (pimples, wrinkles, etc). Basically something like a soft, low res, somewhat desaturated and watermarked version that may help them focus on the overall look and composition rather than seeing the RAW image at its best. That way they may be in for a wonderful surprise once you've provided the high quality, beautifully colored and crisp final product.</p>

<p>Yeah, it's tough. Your initial thought is to please the client, but I am learning that it's about what you establish up front.</p>

<p>For instance, if it is established that the client receives 15 select and processed photos from their portrait session, they should know that they can't simply ask for all 117 RAW and unedited photos taken in the session. And in your case, as mentioned above that they pay for your style and finished product.</p>

<p>As a graphic designer, my clients for the most part pay for the finished art. Not necessarily all working/layered files unless that's part of the agreement.</p>

<p>I think you should establish up front that this is your style and finished product. That you normally wouldn't provide the RAW files as to detract from what you uniquely provide. However for client relations, recommendations, etc, you might consider an option where you charge extra for those RAW files. Not necessarily, more than the finished product, but something extra. I just wouldn't advertise that part and still recommend against it when they ask. But it's simply an option to where you have something in place and prepared so you don't have negative interaction/arguments with your clients as if you didn't expect them to request that.</p>

<p>Thanks for your response James. For me it's about simply shooting. I have a beautiful piece of equipment that is proven to do nice things. Yet I've spent 95% of my time looking into other equipment, making comparisons on specifics specs and not shooting.</p>

<p>I don't view spec searching and collecting as anything negative, I enjoy it. The part that I've viewed as negative for me is that I've spent more time in awe of specs, more expensive gear, great shots from that expensive gear and great shots from inexpensive gear that I haven't been seriously clicking the shutter with my own gear. Almost treating the camera I upgraded to last year as if it all of a sudden isn't good enough this year when I haven't even begun to touch the surface of producing imagery that I am most satisfied with. Or getting to a point where I've grown out of what my current gear does. When I am following photographers on Flickr or Facebook—shooting inspiring/beautiful images with their Nikon D80, D40s or point and shoots, I know there's something I'm lacking. And I think that simply is just shooting with what I have. All it has done is remind me that those inspiring shots are still a result of the photographer. The tech geek in me is still curious of the camera and lens used.<br>

So I am just in a transitioning stage in balancing out my shooting/producing a nice image (which I love) and spec research (which I love). Figured I start by sharing where I'm at just in case anyone else might relate or even give advice. So I am grateful to everyone's comments. Gives me many things to think about and do.</p>

<p>I agree that it is different for everyone and can be enjoyed by everyone. I see no problem in enjoying the collection and reviewing specs. I do it and enjoy it. I look at shots and wonder how they were achieved technically.</p>

<p><br /> However, I am now just looking to assess the balance of my spec/technical/business/brands etc research with simply practicing and shooting. For ME, it's almost been 90% spec/price hunting for the perfect 2009, then 2010, then 2011, then 2012 camera and 10% actually shooting the types of shots I want. My own fault, however I've learned a heck of a lot. So I don't mean to discourage anybody for doing their own thing in the world of photography. Just a commentary for those who may feel they've gotten caught up in the spec/business/sharpness aspects and somewhere left their passion (be it stock photography, weddings, events, advertising, documentary or simply artistic fun and expression) for shooting behind and think they might want to get it back.</p>

<p><br /> My first step is simply discussing it here and next to stop worrying about every avenue and penny scraping I can to upgrade knowing I haven't truly outgrown what I have. My only gripe with my Nikon D7000 is that the body is a little smaller (I upgraded to it from a D40 and D5000) than I recently realized I like when I held a Canon 7D. And I know the Nikon D300s, D700, D800, D2x, Canon 7D and Canon 5D Mark II would be decent fits for my hands. However it's not like my fingers are in pain. So instead of spending 95% of my time seeing how I can upgrade, I'm back to carrying my camera around with me most of everywhere I go just in case I see a shot. So far have been enjoying my D7000 all over again. Just a little re balancing.</p>

<p>@Jeff, I have some random ones uploaded in my profile here.</p>

<p>@Starvy, Thanks. Yeah what I am trying to do is find my own passion. My purpose in this though was just to give a thought to anyone who feels the way I do. Not necessarily to point fingers or say everyone has to do something a particular way or even view it the way I view it. Just that if there's anyone who feels they may be spending more time in front of the computer than behind the viewfinder, think about where you want to be headed. And trying to be transparent about it, because I haven't all of a sudden become great at that myself. If you're content, that's cool. If you don't view it as art, that's cool. Everyone is different. Just speaking from the point of view of someone who has spent so much time comparing and contrasting hardware and not shooting. From someone who is simply trying to ignite that passion and encourage anyone who feels the same way.</p>

<p>This is a long off the dome rant for encouragement and though. So I will preface it with what's it's about so you can decide whether you want to read it.<br /> This rant is mainly for those who feel they're in my position. You have a great piece of equipment. You know it's good, others tell you it's good, yet you find yourself spending more time typing "which should I buy", or "how much can I get for" or "megapixels don't matter" or "which has the quicker buffer" among other things than you do actually shooting and growing in the art of photography. Don't get me wrong, I see absolutely nothing wrong with looking of specs, camera sizes, comparing features, writing wish lists, asking questions before making purchases, etc. But I am beginning to really consider where my time is going and where it's not going.</p>

<p>--------------------<br /> <br /><br />I began with a Fujifilm E510. That was my go to camera that I carried with me everywhere. Of course, it's a camera small enough to comfortably carry. But I made great use of it—and even upgrading to rechargeable batteries. Eventually when I went of to college for my senior year, my Dad's so graciously let me borrow his Contax film camera that he used most his life for wedding, landscape and portraits. I needed and made great use out of that camera for a photography class. That was a pride and joy my senior year as I carried it everywhere, photographed textures, friends, candids, and simply interesting objects for my graphic design work. The Fujifilm E510 stuck around and I ended up taking a load of photos of my old roommate's wedding after we graduated. There was one picture in particular that made me say, "hmm, I think I really love photography.<br /><br />Fast forward 6 years later since college…<br /><br />a sold Nikon D40, a returned D3000, a sold D5000, discarded Fujifilm E510 and a broken Contax classic film camera. Now I'm with a few weddings under my belt and the experience it brings for a beginner. I've captured many live events before owning a flash and after owning a flash. Currently with a Nikon D7000+ accessories and lenses, a lot more book and second nature field knowledge of lenses, manual controls, lighting and camera specs. As well as a Canon 7D (my design agency owned, but I manage) with a kit, portrait lens, nice studio lighting set, heavy duty tripod, white, black and green screen backdrops.<br /><br />Fast forward 6 years later since college…<br /><br />I don't feel like I've grown in the art of photography. Today I look back and realize my passion for capturing moments. Capturing the forgotten. Be it a small crack on the side of a brick house in the bushes or that moment where a friend is uncontrollably laughing at a stupid joke. The art of a spider web, designed by a tiny 8 legged creature that probably won't be there in a few days time. The beautiful back-light cast on my wife from the setting sun on the perfect dawn when were walking out of the shoe store that I didn't capture.<br /><br />Fast forward 6 years later since college…<br /><br />I'm online trying to sell my Nikon D7000 to find every possibly way to upgrade to the latest pro gear of today (Nikon D800) or the top gear of yesterday (Nikon D700, Canon 5D Mark II). I ask myself "for what?". Sure I'd love the full frame. Sure I'd love the bigger body. Sure I'd love a new toy to play with. And admittedly, I'd love the feeling and "look" of having what many consider a professional level camera for the sake of being a bit transparent. Besides, the way cameras are these days the casual wedding guest with a little bit of extra change are carrying around D300s, D7000s, 5Ds, etc simply because they can. Does that worry me? Yes. Should I be worried? Not really.<br /><br />Fast forward 6 years later since college…<br /><br />I'm more concerned with upgrading my equipment and waiting for the "next paying gig" to impress and fill my resume than simply enjoying photography for what it is to me. I've always seen it as capturing the moment that one never gets back. I've also recently thought of it as "painting with light". I feel like I am more concerned with how sharp and large I can blow up my photos compared to another camera than whether the photo is actually successful or not. I feel I am more concerned with possibly having a camera that's full frame with a fast frame rate than I am composing with my feet. I feel I am more concerned with higher ISO numbers than being creative with the light that's available to me. I don't even remember the last time I took a photo to improve my skills and asked for feedback.<br /><br />Am I most concerned with buying "the best I can get for my money today?" Even if I have to scrape pennies and sell everything I own to just make the sale price of the next step up? Or should my time be more geared toward asking suggestions on what distance should I stand for shooting a small piece of jewelry for a studio shot using the capable gear I currently have. Or when do you recommend shooting at ISOs above 1600? Or how do I position to get the most flattering composition of my subject followed by postings of my efforts for more feedback and growth?<br /><br />I know the Canon 5D Mark II has dropped in price and is a full frame classic. I know the D700 has great capabilities in low light, focusing and image quality. I know the D800 is a little slower in FPS, but offers many other great improvements. I also know that I'd have to sell every cent of a gear that I have and then some to simply afford one of those camera bodies. It's not worth it. I believe that many in this position know everything they need to know about their "do I sell my for a", "do I buy Nikon or Canon" decisions. I believe many in this position—after weeks or months of forum questions and research—know whether they really need that full frame speeder or that full frame pixel behemoth. We know whether we've really pushed the limits of our current gear or whether we're just looking to upgrade because "it's that time" or we feel like it. For example, I even realize that if I get a great paying wedding gig, I could use a portion of a deposit to rent necessary gear for that day. $60 to rent a backup/second body or a lens for 3 days when the client is paying $1000 for photos is worth it. I don't have to spend every waking hour on spec sites to find the perfect backup body while missing out on shooting and booking opportunities.<br /><br />I just read a very interesting article, then found more articles and a video featuring renowned wedding (and more) photography Jeff Ascough. That was probably the most enlightening of in depth camera reviews, Nikon vs Canon battles, many megapixels vs lesser megapixels, or full frame vs crop sensor discussion. Those have ALL been beneficial to my growth and knowledge. I do not deny that. I think every photographer should know about such things. That we should be aware of the hardware market and industry. However, I simply want to encourage many to rekindle that love for photography as an art again. Many years ago before D800's and 5D Mark III's, we were amazed at the creativity, lighting, story telling and compositions of the photograph. I feel as if I've lost that for myself. I've always continued admiring it from others, but I've lost it for myself and I am getting it back. Jeff Ascough spoke about his approach to photography as and art, how he "looks for images" and how the advancements in the gear has simply enhanced what he already achieves. How he found his "style" or what turns him on in photography and focused on developing that. I don't mention him because I think everyone should be a documentary styled photography or even agree with everything he says. I mention him because his approach inspires me I feel a connection with his outlook on photography. His style is his own and I feel there are aspects of what I like about how I shoot that I'd like to focus on developing rather than simply trying to shoot as sharp a photo as I possibly can for spec sake.<br /><br />I believe that a 40 megapixel beast simply accentuates whether the photographer shot a meaningful shot or not. Whether shot on a $600 camera or a $6000 camera, I want to look back at the photo not to say "wow, I shot that on the best camera and I can blow that up easily", but to say "wow, how did I capture that shot. I really captured a moment there from the lighting, to the angle, etc". Not to hear others say "nice, that's sharp quality", but to say "wow, that's a beautiful and touching photo". It would suck to show a portfolio of images with an expensive camera I probably don't even deserve and sold my life savings for and hear "hmmm, that's an ok shot" compared to someone who's developed an eye and skill with their point and shoot and really touch people with his or her beautiful shot. I've actually had quick point and shoot shots from other casual shooters be chosen over my higher quality DSLR shot simply because they captured a better moment. Again, I am no advocate against wanting to have the best. However as some ask, "what do you feel you're missing or can't achieve that has you so focused on upgrading now?"<br /><br />In typing all of this, it's somewhat therapeutic and I simply want to encourage many to find that love, rekindle that love or continue that love. I will always be as excited as the next for the latest gear specs, the price drops on that once unreachable price point and which "brand" is making the better advancements in their technology. However we also need to get out and shoot. Practice with the gear you currently own. Think about the missed opportunities and the beautiful sunny days that you were on your computer trying to prove why the brand you're loyal to is better than the other. Know that there are PLENTY of tutorials and youtube videos on the best ways to capture certain types of shots. And of course we know that we can always ask on forums for feedback and artistic suggestions. At one point, I spent so much time saying "ah, I don't have as great an eye for capturing those beautiful shots" than I did actually developing that artistic skill. Sometimes those gifts are there within us and we simply need to hone it.<br /><br />I think about my background in playing the piano. I don't have a formal background or training. I play by ear and write by gift. But I have an ear and natural skill for composing music because I spent a lot of time listening, writing, messing up, trying again and again and again on whatever set of keys that were available to me. I want to capture the same way.</p>

<p>Yeah a backup doesn't have to mean two bulky D3s, so a smaller body (like your D7000) may be just fine, especially with the 17-55 2.8.</p>

<p>I know a lot of us would be THRILLED to have a $7000 budget to purchase camera gear. So I pray you got what you needed.</p>

<p>Curious to know what kind of life does the refurbished D3s have on it? Do you know it's use and/or actuations?</p>

<p>I think the flip screen is great. Especially for videographers, but maybe they could take a D800/D800E approach because not everyone wants to pay much extra for the screen. Especially focused photographers who would rather that extra money go towards lenses.</p>