Yesterday I got to use my new D7000 and TC17eII in the morning and my D300 and light kit in the afternoon. Both experiences were thoroughly enjoyable.
I climbed onto the roof carrying the D7000 and 70-200 f/2.8 with the TC17IIe after I heard this red-shouldered hawk screeching. I'm still sorting through the images, and I still need to work on my technique to produce properly sharp images with this gear. As I've said before, if I wouldn't handhold a 500mm lens, why do I handhold a 340mm lens on a 1.5 crop sensor?
In the afternoon I went to the Elite Theatre Company in Oxnard to get some headshots and a couple of PR images for their upcoming production of Life Support. I used a gridded SB600 to produce the accent light behind director Howard Leader, and a shoot-through umbrella with another SB600 as the key light at camera left. Fill is provided by an on-camera SB800 with a Gary Fong Lightsphere.
The PR images were tough to set up and light. The entire play takes place in a hospital waiting room, and there are only two characters. I tried to use the coffee machine as a tertiary subject, but its highly reflective surface made it difficult to light both actors.
I'm always desperate to get a sense of depth, so I experimented with different angles, but most views seemed too contrived to me.
This is my favorite, because of the exaggerated depth and the more dramatic lighting, but I suspect the newspapers will opt for an image that shows both faces.
After a couple of weeks learning the D7000, it was really nice to pick up the D300 and shoot with my speedlights. When I saw the first few images from the D7000, I decided to sell the D300 and buy another D7000, but I’m glad I did not act in haste. The D300 is still a great camera that I enjoy using, and each camera has different strengths and weaknesses. I suspect the D300 will be my main studio camera, and the D7000 my main performance camera. “Make new friends but keep the old; one is silver and one is gold.”