Warning: The following is a stream of incoherent thoughts of a po' boy
attempting to find the right combination of equipment from his current
stable. If you've already "arrived", skip this post.
Since getting the DMC-L1 there has been substantial challenge to rework the
kit to find that right balance of functionality, coverage and ergonomic
freedom. To say it has been difficult is an understatement. Let's step back
for a moment:
For event shooting with film, I do two cameras. One with the 35-80/2.8 zoom
and the other with usually the Tokina AT-X 100-300/4 zoom. During different
parts of the event I might swap out the AT-X with some prime lens for
specific reasons, but with these two lenses I've pretty much got everything
covered. When combined with motordrives and flashes, this makes for a very
HEAVY kit, though. If I'm trying for the low-impact coverage, I might switch
off to an OM (non-motordrive, non-flash) with just the 50/1.4 or 35/2.8.
Overall, this is a decent setup and weddings, parties or similar events are
well served by this two-camera configuration.
Digital has been a bit different. For the longest time I've been using the
E-1 with 14-54. My second digital camera was the Minolta A1 with the 28-200
equivalent zoom lens. I'd switch lenses on the E-1 as necessary, but it did
force lens changes more often than not.
Now, with the second E-system camera I've been trying to find the right
equipment balance with it. This weekend I experimented quite a bit and did a
pretend event to practice my stuff. I think I got something--it's not
perfect, but it is quite doable.
The L1 with 14-50 is a wonderful kit--when it isn't fighting you. I'm
learning what settings work for what kind of things, but pretty much for
event work the L1 kit is pretty good and remarkably comfortable. Best of
all, it has a few checks and balances which prevent some mistakes which are
common with the E-1. For instance, if I'm using a flash, no matter what
shutter-speed I select, the camera will limit the fastest shutter-speed to
1/160. I can set slower, but no faster. A Vivitar 285HV with Lumiquest
LightDome diffuser on the L1 is a good combination and it is extremely easy
to control aperture, light-ratios, etc. I have found that the L1 is
uncomfortable to use on the stroboframe because of the overall grip shape
and lack of a shutter-release for verticals. I'm frequently using the
wireless trigger on the L1 for stand or clamp mounted off-camera flashes.
It's "OK" with the T45, but this camera really is designed for lefthand
balancing, right-hand guiding which precludes most bracket operations. The
camera is designed for low-profile handling. The 14-50 lens is simply
glorious at any aperture, so it's an easy decision to leave that lens on the
L1 where it functions best and gives the most ergonomic clout.
So, this means I have the E-1 to contend with. The L1 becomes the "primary"
camera for wide-normal-short-tele operation, but I need a camera/lens
combination for the long stuff. Now, understand that the following kit is a
tried-and-true combination which I've been using for quite a while now, but
just not officially as part of a defined kit configuration. The Zuiko
35-80/2.8 on the E-1 (with battery grip) is an immensely powerful setup.
This lens is easily shot wide-open or at F4. It's easy to focus and
amazingly stable. The look of the bokeh is unlike most lenses today and it's
a true F2.8 at 80mm. The lens is still a little short for some things, but
that's why I always pack a 100-300 or a set of 100/200/300mm lenses. It's
not the one-off shots I'm concerned with--it's the rank-and-file coverage.
As most events are dimly-lit affairs, unless I plan on blinding everybody
with flash all the time, I really need that lens-horsepower which means the
F4 and darker lenses need not apply. The 80mm (160mm equivalent) long end of
the 35-80 is a bit short, but the reality is, I can't successfully get too
many shots longer than that anyway because of shutter-speeds. The E-1 kit is
my right-shoulder kit. The L1 is hanging from my neck, the E-1 hangs
backwards from my right shoulder. This setup works for me and grabbing the
camera is an easy affair with one hand.
The 14-50 and 35-80 have a lot of focal-length overlap, but even in the
overlapping focal-lengths the lenses produce remarkably different images.
Also, the 14-50 shortens the focal-length at closer focusing. When shooting
at one-body length from a subject at 50mm focal length, the 14-50 is not
only restricted to a reduced aperture, but the focal-length shortens to
probably 40mm or so. The 35-80 at 50mm is producing a wildly different
result. So, because of the focal-length shortening, when at closer distances
the lenses don't have much overlap at all.
I've groused a bit about the DMC-L1 for various reasons, but the camera
really does deliver the goods. I feel like I selected wisely and am not
disappointed. That goes for the E-1 too.
AG Schnozz
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