My advice is no different from Moose's. But I would ask what do you
consider "commercial work" and what do you think you need equipment-wise
that you don't have and why? But however you define "commercial work" I
think it's fairly safe to say that you don't need high frame rates or
super fast autofocus (as in sports) and you don't need low noise, high
ISO performance. Maybe what you need is a 4x5 view camera. Just
kidding but that's certainly possible.
Chuck Norcutt
Moose wrote:
> Matthew Granger wrote:
>> I have only been shooting a few years, and chose the E500 mainly due to
>> budget, it has international warranty and the option to use my fathers old
>> OM lenses.
>>
> Brass tacks? It's more the photographer than the equipment that leads to
> great images. Lists like this tend to accumulate gearheads like me.
>
> The E-500 is rather pedestrian camera, with limitations for some
> particular types of photography, like anything that requires high frame
> rates, for example. It is capable of excellent image results and there
> is no reason to change unless you need to do something it won't or
> decide on another system altogether.
>> As I get more and more into photography, and my budget increases, I am keen
>> to move up the ranks a little. I don't want to sink too much into
>> accessories that would then need to be sold off second hand if I jump ship
>> to Nkn or Cnon. I would like to get something that has a good array of
>> second hand lenses, and will bridge the gap between enthusiastic learner, to
>> true enthusiast (with aim to do some part time commercial work). My LONG
>> term goal is to skill up and hope to move into it as my primary work – at
>> which stage I would want to be using a system that goes right up to
>> professional – which is how I got to Nkn or Cnon.
>>
> Again, and I haven't seen your work, so this is based on assumptions
> from your posts and questions, it sounds like you haven't come close to
> exploring the capabilities of what you have.
>
> And you haven't defined what type of commercial work. Product shots have
> a different skill set and require different equipment than journalism,
> than event photography, than fine art, than.... You get the idea. There
> are, for example some kinds of work where it is client expectations, not
> equipment capabilities, that determine what one needs. If you don't have
> the right, expensive kit, you don't get the job. But you are far from
> those sort of problems.
>
> You want to become a good photographer? Forget about fancy, expensive
> equipment, read tutorials, look the work of others, and wear that E-500
> out taking pictures. Learn how to post you pictures, here and elsewhere,
> and solicit comments. Learn to listen to criticism, and praise, which is
> harder, 'cause it can blind you, as a means of seeing more clearly how
> others respond to your work, not to slavishly please them, but to help
> you define what you value in it, where you fall short of your own
> standards and how to improve.
>
> Another young Aussie photographer who used to be on this list did just
> that, and was soon producing images with his cheap, second hand, 'second
> tier" equipment that was a lot better than most stuff done with the best
> equipment. I believe he is off in pro land now.
>> My heart was stolen by the Nkn D200 at the time I got the e500. As the price
>> drops I am really considering it.
>>
> If you expect that a D200 will make better pics in your hands than the
> E-500, you are either already a much better photographer than you make
> yourself out to be, or subject to gearoholism.
>> I would love people's advice– how does the olymp range match up to 40D / 5D
>> etc, or d200 D3 etc?
>>
> It would be nice if it were that simple (well, not really), but the
> truth is that all of those, and the Pentaxes and Sonys, are capable of
> absolutely stunning images.
>
> I'll let others tell you all the reasons you should buy brand x or or....
>
> Post some pics. Take more pics.
>
> Moose
>
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