Here's a few photos from the game I shot yesterday. Decided to change up my usual D800/D600 combo for the D3s/D600 combo. I wanted the D3s on the near court because I found the D600 focuses a bit more slowly and I was missing shots I really wanted. The D800 on the near end focuses faster, but for trying to do 2-3 shot burts, was very limiting. This is the one RARE situation where I'd REALLY like to have something like a D400, or full frame equivalent.
EXIF/IPTC data should be intact. Essentially D3s+24-70 and D600+300/2.8, ISO3200. Posted in Lightroom 4.3
>Excellent, as always. > >>EXIF/IPTC data should be intact. Essentially D3s+24-70 >and >>D600+300/2.8, ISO3200. Posted in Lightroom 4.3 > >Your D800 must be getting lonely!
Nah, I used it for a bikini shoot last week.
>Four of these came from the long lens, which I found >interesting. Do you carry both and switch back and forth, or >do you shoot a spell with each carrying only one at a time?
I shoot near court action with the short lens, far court action with the long lens. Occasionally, I carry up to 4 lenses and 3 bodies. I also had (and used) the 70-200 on this gig, but I will also sometimes use an 85/1.4 in hand or a 19-35 on the floor remote.
>I shoot near court action with the short lens, far court >action with the long lens. Occasionally, I carry up to 4 >lenses and 3 bodies. I also had (and used) the 70-200 on this >gig, but I will also sometimes use an 85/1.4 in hand or a >19-35 on the floor remote.
But all at once. Just curious as to the logistics, do you stow some at a media table, and carry one (or two) around, or are you always keeping it all with you as you move between locations on the court?
For situations when I am NOT using a floor remote:
I am seated on the floor (we are not allowed to stand) with two bodies + lenses on my right. I choose the camera I need for the situation, and shoot with that. During the transition of near/far court I put that camera down, and pick up the other one. If I am seated inside the key I use the 24-70 for near court. If I am seated out near the 3-point line, I use the 70-200 for near court.
I will sometimes have my 85mm behind me on the floor or to my left on the floor. I may change to that during a timeout for variety or if I am after a particular shot.
If I move positions (upstairs typically), the body with big glass goes with me, and all other bodies and lenses are placed behind the post in a secure location so no one steps on them. I retrieve them when I come back to the floor.
In scenarios where I have a floor remote:
I have one body with the 300 on it, and generally will have the 70-200 on the near court body. The 19-35 or the 24-70 will be on the floor remote. When I am shooting the floor remote, I don't move positions until half time.
In big conference college play you are not typically allowed to move, and in big games, you are assigned a floor spot and you and your gear are required to stay in that "strip" of space. At the bigger games, I am usually sharing space with 1-2 other Athletic staff shooters, the local paper, the school paper (1-2 shooters), AP, Getty, and US Presswire. There isn't much room to move around and floor space is granted by priority. This scenario is more common for men's ACC games and very rare for women's games, though I suspect things will get interesting when our women host North Carolina and Miami.
That's what I have been curious about. Where I've been shooting they let me sit on the baseline. Or put another way, I go sit there and no one complains. They gave me a badge, but zero information about what was allowed (or not), so am just feeling my way through it. I keep expecting someone to complain about having equipment beside me (i.e. hard things for a player to land on), especially if I have a longer lens. But sounds like that's normal.
I could find someone to ask, but I'm generally a believer in cases like that (i.e. where there may be a lawyer or policy director involved) that asking forgiveness is easier than permission; I might end up shooting from the stands.
Great action, Perrone. I love the shot of Sue Semrau in #6.
I was going to ask you about the D800 vs D600 since I'm thinking of picking up one to pair with my D3 and trying to decide whether the $1000 difference in price is worth it for the D800. It sounds like it may be, based on your comment about focusing speed, but I'd be interested to hear any additional comments you might have.
That shot of the coach was taken as she watched her team's double digit lead dwindle to 2 points. She was frustrated and she really wears her emotions on her sleeve. Very fun to shoot. Probably enjoy shooting her more than the game!
The D800 vs D600 is a real issue for me. Both bring something crucial to the table that the other doesn't have.
The D600 is absolutely PHENOMENAL in low light. Nearly the equal of my D3s. However, I've found that the focus speed is too low to keep up with ACC basketball. For other sports it may be fine. In fact, at Volleyball it did just fine, but the movements were generally slower and I was much further from the action in most cases.
The D800 is not as good in low light, but the focus speed is there. Sadly the frame rate is not. Basketball is one of those sports where you REALLY want that FPS burst from time to time. And you can't get it on the D800. So I find myself using the D3s with the 24-70 for close up action and either the D800 or D600 with the 300 on the far end.
What is PAINFULLY obvious and frankly shocking is just how much better the files look out of the D600/D800 than the D3s. It's unnerving really. I had stopped carrying the D3s for a while. And even now only use it if I am planted under the basket.
So you have a choice to make. ISO performance vs Focus speed. And if you need both, the a D4 has your name on it.
>Great action, Perrone. I love the shot of Sue Semrau in #6. > >I was going to ask you about the D800 vs D600 since I'm >thinking of picking up one to pair with my D3 and trying to >decide whether the $1000 difference in price is worth it for >the D800. It sounds like it may be, based on your comment >about focusing speed, but I'd be interested to hear any >additional comments you might have.
>Clearly Nikon has you figured out. They will ALMOST give you >what you need in numerous cameras, ensuring you buy several. >I sense a slight urge for a D4, and a definite yearning for >the D900 or D4x.
Honestly, were it up to me, I wouldn't even own any cameras outside of my iphone. Maybe my Nikon 1. Nikon has not yet built the camera I *need* to meet my client's demands. Each model gets me a little closer.
Given the choice between watching a movie at home, or going to shoot, I'd stay home every time. But I don't get paid to do that, so I shoot.
>So you have a choice to make. ISO performance vs Focus speed. And if you need both, the a D4 has your name on it.
Yeah, I was afraid you were going to say something like that. I can't really justify a D4. Maybe I'll just stick with what I have and wait to see what the next trick is out of Nikon's bag. A D400 with the IQ of a (cropped) D800 would be pretty sweet.
Glad to hear that the D600 is great in low light for hoops. That is my next camera, unless Nikon blows us away with a new crop sensor D400 that has the pro AF system and much better low ISO performance than the D7000.
Nice shots. We were just watching FSU football last night and commenting about the FSU colors for photography. Damn, those uniform colors are tough to make pop. In this game, against BC, it looks like FSU is playing themselves.
I thought the same thing while watching Stanford and Wisconsin in the Rose Bowl, but that red probably really jumps off the screen.