I agree. But I use the camera that I have available at the time. One is a Certo SuperSport Dolly which is very quiet, but somewhat cumbersome.
Originally Posted by AgX
I just find the whole discussion amusing because when I started taking an interest in photography in the late 1950's this was a hot topic in "Modern Photography" and "Popular Photography". The amusing part, for me, is that all the comments made today are the same as those presented then. Hence, "There is nothing new under the Sun." or "Technology changes, people do not."
Besides I love the sound of my 500 CX.
Warning!! Handling a Hasselblad can be harmful to your financial well being!
Nothing beats a great piece of glass!
I leave the digital work for the urologists and proctologists.
If you want absolutely dead effing silent try a Black (e.g. early) Konica Hexar AF with silent mode on. Comparatively an M6 sounds like a 12 gauge. The 35/2 isn't the equal of a Leica ASPH, but folks say it's as good as the last pre-ASPH 'cron.
If you're doing weddings, shooting during the ceremony, a quiet shutter is certainly an advantage. It's really surprising how loud even a Leica is during a church service. Otherwise, probably doesn't matter.
OK, I learned my lesson!:rolleyes:
Moderators: if you want to shut this one down it's all right with me!
With best regards,
Stephen S. Mack
How is your suit doing, Steve?
I often shoot in environments where I am trying to be as unobtrusive as possible, chiefly quiet acoustic performances and candids. As an audio engineer and acoustician by trade I began to notice the importance of the reflectivity of the space. In very live spaces like some churches, halls, theaters, etc. that are designed for lush acoustic reverberation, the sound of the shutter, regardless of its volume, can hang in the air for a second or more.
In the beginning I used an F4e only because it was what I had available to me. Like the Konica Hexar and others, it has a "silent" mode that dampens the mirror and reduces the motor noise. It was quiet enough for what I was doing at the time but after experimenting with some different cameras, I found the cloth shutter to be the most desirable. Its intensity varies from camera to camera of course but to my ears it still has a softer sound than most metal shutters.
One also learns to adjust their technique as needed. For particularly quiet performances/spaces, I try to line up my exposure with noises already occurring within the space. If there are music cues or a spot of crowd reaction I try to exploit that and shoot then. Of course, there are still plenty of moments when the right time is the quiet time and then it's just a matter of courage.
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