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02-03-2012, 06:24 PM   #16
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I thought that professional cameras use CF memory

02-03-2012, 06:35 PM   #17
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QuoteQuote:
I thought that professional cameras use CF memory.
Sheet film.
02-03-2012, 06:45 PM   #18
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QuoteOriginally posted by mysticcowboy Quote
Professional means a set of skills not a particular camera system.
Professional equipment, which is what the thread is addressing, is reliable near fault free equipment that is going to get you through a shoot problem free (at least 99.5% of the time) - we can only hope that QA will improve over time and better equipment released. BTW: Sports photography (if I am not mistaken) takes up the largest group of photography professionals...
02-03-2012, 06:46 PM - 1 Like   #19
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Despite the abuse of English foisted upon us by marketing departments, mere equipment cannot be professional.

Only people can be professional, since this state requires a code of ethics. Any other definition is meaningless, as we can see from endless arguments and one-upmanship back and forth.

02-03-2012, 06:56 PM   #20
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True about what a "professional" is.
When I am out and about, and people ask me, my canned response is "Only when I get paid".
That actually works wonders, since "professionals" usually have to pay an additional fee or are excluded from the places I go.
02-03-2012, 07:10 PM   #21
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Theoretically, a pro camera is built and calibrated such that it keeps its performance under heavy use w/o a need for servicing. #actuations is only one measure. The need to recalibrate the AF or focus screen would be another. And a pro camera should leave the fab calibrated like after servicing.

In practice though, 35mm dSLR pro cameras don't exist. At least, this is the impression I get from feedback for $5000 cameras.

As for the definition of pro equipment: well, it simply means equipment made for pros, intended to be bought in majority by pros.

Feature wise, pro equipment often is not top notch in features.
02-03-2012, 10:23 PM   #22
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Don't get caught up with adjectives to sell the cameras, you just use what's within your reach that gives you satisfying results; that said, there is a reason P&S cameras outsell all the "professional " ones year after year.
02-03-2012, 10:41 PM   #23
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QuoteOriginally posted by rparmar Quote
Despite the abuse of English foisted upon us by marketing departments, mere equipment cannot be professional.

Only people can be professional, since this state requires a code of ethics. Any other definition is meaningless, as we can see from endless arguments and one-upmanship back and forth.
I rarely read this essential qualification. I wish it was routinely stated.

02-03-2012, 11:29 PM   #24
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Ever seen a side by side comparison of the IQ between full 35mm size sensors and APS-C? No APS-C camera will ever be a pro anything as far as I'm concerned.
02-04-2012, 01:11 AM   #25
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QuoteOriginally posted by Adam Quote
The 645D is a professional studio camera.
Without supporting tethering?
I don't think so.

As Falk wrote "Feature wise, pro equipment often is not top notch in features.", but pro-equipment always features functionality that is essential for pro work.

For certain studio work it is an absolute must that the art director can directly see what the photographer is shooting. The 645D does not support this functionality and I doubt that there is a professional support program in place for it.
02-04-2012, 06:33 AM   #26
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QuoteOriginally posted by PPPPPP42 Quote
Ever seen a side by side comparison of the IQ between full 35mm size sensors and APS-C? No APS-C camera will ever be a pro anything as far as I'm concerned.
How about comparing it with medium format or large format sensors? Not all pros are limiting themselves to 35mm format.IQ is only one variable and not always the most important. If a "pro" is shooting outdoors, weather sealing and low temp support are far more important to make the shot.
02-04-2012, 08:56 AM   #27
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I should mention that I am definitely not a pro so my opinion is just an opinion. I would agree with you about medium and large format sensors being clearly superior, but I think there will always be a market for pro full frame cameras since I have seen smaller almost aps-c sized full frame cameras but never a small medium format camera, I would consider them rather large for toting around town. Pro aps-c on the other hand just seems an unnecessary sacrifice in quality for a serious pro with no gain other than low cost.
My K20D has weather and dust sealing to a reasonable extent and I use it in Minnesota and Wisconsin winters without issue so far, but I suppose I wouldn't trust it in Finland or something mid winter, its clearly not a pro camera though.
02-04-2012, 09:27 AM - 1 Like   #28
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It's not the equipment that makes the person a pro, it's the person that makes the equipment a pro. A good photographer can make use of the equipment he has to get the results he needs. Great photographers have used old Kodak box cameras to win contests, to show that the talent is in the person.
02-04-2012, 09:59 AM   #29
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QuoteOriginally posted by PPPPPP42 Quote
Ever seen a side by side comparison of the IQ between full 35mm size sensors and APS-C? No APS-C camera will ever be a pro anything as far as I'm concerned.
Olympus have been making full blown pro cameras for years ! They are only a four thirds sensor. Last time I looked its hard to tell the differance of IQ at base ISO.
The ultra fast autofocus and Increased depth of feild from such cameras are paramount to there use.
as is there inbuilt by design use of being able to use fast lenses wide open etc. I find the APSC a perfect compromise though. They offer outstanding quality.
02-04-2012, 10:03 AM   #30
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QuoteOriginally posted by PPPPPP42 Quote
Pro aps-c on the other hand just seems an unnecessary sacrifice in quality for a serious pro with no gain other than low cost.
My K20D has weather and dust sealing to a reasonable extent and I use it in Minnesota and Wisconsin winters without issue so far, but I suppose I wouldn't trust it in Finland or something mid winter, its clearly not a pro camera though.
Is a K20D a pro camera when used by a pro? At one point Benjamin Kanarek owned three K20D's. Last year he shot a 12-pg spread for Vogue Portugal using a K20D with FA 31 and DA 40 lenses.
https://www.pentaxforums.com/forums/professional-photography-publications/152...ne-pentax.html

About Benjamin Kanarek
Fashion and Beauty Photographer. Some of the magazines I have shot for include: VOGUE (Italy, Paris, Brazil, Mexico, Latin America, RG VOGUE), Harper’s BAZAAR (China, en Español, Hong Kong, Italy), L’Officiel Paris, New York Daily News Fashion, New York Times Magazine – Fashion Supplement, Women’s Wear Daily, Cosmopolitan (France and Italy), Elle (Spain, Portugal and Greece editions), Madame Figaro, Votre Beauté, “W” Magazine UK, Flare, Chatelaine, Glamour (France), Biba, 100 Cose, Dealer Deluxe, Oyster, Deutsch, Icon, Issue One, Tank, West East, Jardin des Modes, Dépêche Mode…
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