Thanks for your very interesting post.

In most European theatres, any camera noise is forbidden. That’s the attraction of the LX-3. Although you are right. I’ve reviewed what the image quality I can obtain on my 20D and it’s a lot higher than the LX-3.

The Lumix LX3 would be a backup for the main DSLR (20D or otherwise) when I am in a situation where all noise is forbidden.

I’d heard that there are still focus problems with the 1D Mark III – at least in sport (according to Rob Galbraith). Glad to hear that the 1D Mark III focus works for dance at least.

I have a lot of great 20D shots to get posted in the meantime… I am surprised about how well the 20D has stood the test of time. Apart from a slightly louder shutter and a few pixels, the 20D only cedes two stops of usable ISO (I max out at 800 on my 20D and would stop at 3200 ISO on a 5D Mark II or even a Nikon D700).

I am glad to hear that silent mode works well, although as you point out, it’s for single shots. We still desperate need the non-SLR digital camera with a big sensor. I might try to hold out for that one. In an extreme case, one could take video with the 5D Mark II and pull stills. That would be just a single mirror slap for 60 frames of continuous action. Small pictures for large printing but fine for many purposes.

Great shots, wonderful job at capturing the emotion. I also like your compositions, they are complex and have many levels to them, which is important in what seemed like a complex performance.

I read your article and I find it interesting. Your views are certainly bold and unique and I aplaud you for them. I don’t know many who would even consider seriously shooting dance with anything like an LX-3 (although it is one of the best compact cams out there). As I am not sure exactly what you are shooting or in what kinds of situations it’s hard to fairly judge but I’ll share a few thoughts.

First your main complaint about shutter noise is a good one. I used a 20D primarily for 3+ years and it truly is the loudest you can get; however there are ways you can avoid it. First and foremost the best solution is to simply back away from the performance. I often shoot in cat walks, sound booths, light booths, the pit, and even on stage but most often I try to be far enough away where I know my shutter sound won’t bother anyone. If I am using my 20D and I am in ear shot (such as on stage) I mostly do what you do, you plan your timing and get that one shot. Although I usually only shoot onstage during rehersals where the actors are less concerned with outside sound. So during a performance do your homework and try to find some place out of the way and get yourself a fast tele. If you have the money the Canon 70-200 2.8 (with or without IS) is the perfect lens. It’s share, fast, and covers the perfect range which gives you the reach to back out of earshot. Also the IS gives you a bit of extra shutter stops although with high actions it’s usually not a problem. Although for about $600 you can get the Canon 200mm 2.8 prime lens. It’s fast and sharper than the 70-200 but your also stuck that focal length.

Lastly I’d say that at least for me I have found the perfect camera. It’s the Canon 1D Mark III (non s version). Yes, it’s pricey but it culminates in all you want. The AF is about the best you can get, it’s got great ISO up to 3200 (I only use 6400 in a pinch), it’s got a 30+ raw buffer and 120+ JPG, and at 10FPS I can always get the moment I need to. At 10FPS it is loud (still much quieter than the 20D) but if I am in a light box or something it doesn’t matter. Best of all the Silent shooting mode is nearly that, silent. The initial click of the shutter is barley noticable withing 5ft. and you can wait for the mirror to slap back down(again it’s muted) during a less noticable time. Shooting in the silent mode I have no problem being on stage or near the auidence and getting the shots I need. I would start out with a fast tele and just go from there, experiment and see what you can do.

Those are just my thoughts and experience. You can see some of my dance shoots on my web site but most of my theater shoots can’t be publicly posted. Take care and good luck! I can’t wait to see what the quality of a compact lets you pull off.

Larry

Thanks for your comment. I made a mistake on my notification address so I just got it this week.

I find that my Canon 1.4mm is much better at 2 or 2.2 than any other 1.4mm I’ve tried. I’m thinking about grabbing the 85mm 1.8 as well, as my fastest lens over 50mm is 2.8 now.

Still wondering if I should move to the 5d MkII or the 40D that you have, or carry on with the 20D (if I didn’t have a small amount of front focus, I’d probably do that) as I’m able to get amazing pictures already with the 20D.

Moving to Nikon would be better short term for the low noise at high ISO but in the medium term Canon should be able to match Nikon’s high ISO performance. I don’t really want to learn a new system.

The problem with spending a lot of money on photo gear is that makes it even more difficult to take the photos you want as you have to be busy earning money to pay for that gear. I also like that I don’t have to worry too much about lugging my 20D lose without even a cover. The 20D is effectively worthless now (200 euros) so I can take risks to have my camera handy.

With a 5d Mk II (or Nikon 700) I’d be busy babysitting and protecting it from damage.