Lost a day’s shooting. When I downloaded the card, all shots were grossly underexposed. No warning, worked fine the day before. Thought it might be a failed card. Substituded a know good card. Test frames were underexposed. Recharged the batteries (use the grip, so two). Same problem. Changed lens, same problem. Had been using the P mode so tried the others including manual modes, same problem.

Have used this 70D for years (got it when it first came out) always reliable. If it really needs to be replaced or repaired will probably go to the 90D which is due for release in near future and repair 70D and pass it on to grandson.

Any thoughts on what I may be overlooking?

Thanks,

GilFrey

Size...

https://theonlinephotographer.typepad.com/the_online_photographer/2016/01/camera-sensor-size.html

Each of the larger formats from Micro 4/3 to medium format digital has a role to play in the photographic universe. None is intrinsically better at everything than another one. They, and all the cameras that use them, each have their niche markets.

Life is full of little trade-offs. You learn to maximize what you need and minimize what you don't. Sometimes, less is more. Sometimes, more is more. Sometimes, less is less...

The sweet spot for price vs performance is often APS-C, simply because it's the best-selling category.

The sweet spot for portability with decent performance is Micro 4/3, because a SYSTEM of body and several lenses saves 2/3 to 3/4 the weight over a full frame system. But you give up two stops of ISO in dim light...

The sweet spot for image technical quality is full frame. The lenses suck in twice as much light as APS-C, and four times as much light as Micro 4/3. So noise is less intrusive at high ISOs. But full frame gear can cost a LOT more than APS-C or Micro 4/3. And it can weigh a lot more, and take up more space.

You have to take a look at what YOU photograph, or want to photograph, and then find the best compromise for that subject matter that also meets your budget constraints.

I know, asking for opinions is different from asking for facts, but I've enjoyed the knowledge and perspectives shared on this board, so I'm hoping a few folks will pitch in with opinions. Well, other than, "Gee, that's not even a very smart question."

Background: I currently possess 2 crop sensor cameras:

Panasonic Lumix DMC-GX85 with 3 lenses:
Lumix G X VARIO 1:2.8/35-100 POWER O.I.S.,
LUMIX G VARIO 1:4.0-5.6/100-300, and
kit G VARIO 1:3.5-5.6/ ASPH. MEGA O.I.S.12-32mm (.02m/0.66ft-infinity)
(all purchased new a few years ago from Mikes Camera in Boulder, CO).

Canon EOS 60D with 2 lenses:
Tamron SP AF ASPHERICAL XR Di LD (IF) 28-75mm 1:2.8 MACRO (camera and lens bought inexpensively used in separate transactions locally) and
(freshly received from KEH) a nice used Canon 55-250mm F/4-5.6 IS II.
Camera inspected, cleaned, & adjusted by Key Camera in Longmont, CO - rated "nice".

Interestingly, I've learned that the crop factor on the Canon appears to be an industry-odd 1.6, most other brands being 1.5, but the Lumix (like Olympus) is even more extreme at 2.0. I think I'd like one of my two cameras - not really being able to make a case to own three - to be a full-frame camera. While I have well over $2k invested in the Lumix kit, I have only a few hundred in my old Canon stuff, so my obvious choice for replacement is the 60D.

Here's the question: IS THIS A GOOD MOVE? I have a chance to buy a professional's back-up Canon 5D Mark II with low shutter count for $600, and I would try to sell my 60D.

I'm enjoying the 60D. Purchased a manual for it. The 2 lenses are fine for this learning stage, though I'd need to add a nice wide prime before long, I think. But the flexibility of a full-frame, some greater potential in image quality and in landscape scope ...these things tease me toward trying the 5D, even if it is an out-dated one (though hardly more so than a 60D, I guess).

If I'm going to make the move, maybe now is the time before I invest in more EF-S lenses. What I have, I imagine I can sell. The Tamron, I think, should work on the 5D. He has a 24-70mm f2.8 L USM available too, but I don't think I can afford the price of both camera and lens at once. (Is $650 good for a properly used specimen? It's much bigger and heavier than the Tamron. And it didn't totally kill the Tamron in a head-to-head by Bryan Carnathan https://www.the-digital-picture.com/Reviews/Tamron-28-75mm-f-2.8-XR-Di-Lens-Review.aspx)

Sorry. Looong question. Any kindly opinion is welcome. A silent chuckle is OK too.

Hi:

It depends on whether you plan on photographing 2 separate places or scenes or people groups in different light conditions and do not want to change the lens.

When I am shooting an event, I use my 24-105 lens on my Canon 5D MIII and also take my second Mark III attached to either a 50 mm lens or a 70-200 mm lens depending on the event.

I am mortally scared of changing the lens in a hurry at an event at the risk of dropping the lens or the camera or taking too much time (>5 seconds!) and miss the photo.

Like I said, if you are doing a product photo or a landscape photo, you may have enough time to change the lens and could carry only one camera.

Cameraman

Whitt, I'm going to "attack" this from a different perspective. From your experience with sports photography, and the other good points on lighting, (I agree, get at least one flash off camera on a stand, you can get pretty creative with it) I'll assume you'll be fine with lighting and operating the camera.

What I want to touch on is what will make your photos worthwhile, instead of just a bunch of random photos of a bunch of people.

I go over this with any apprentice or second shooter. One or 2 wide angle shots of the entire reception is all that is needed. Any more than that will just be thrown in the trash or never printed or put in an album/. What you need to do is first, before everyone arrives, get detail shots of the tables, decorations, the cake, etc. During the meal, go to each and every table, and have the people all move to one side of the table and pose for you. Nobody wants a wide angle photo of several guests looking away, or shoving food in their mouths. A great table shot with all the people looking at you smiling, is something that will be treasured. Walk around and get as many shots as you can of people laughing, or whispering in someone's ear, anything that shows how much fun people are having. The best part of this is that you all but guarantee that you will get a shot of 99% of every guest at the wedding reception. If you wander around the edge of the room, just trying to snipe a photo here and there, you will end up with a bunch of unflattering shots of people, and only because of luck and numbers, may end up with a possibly good shot for the album.

Talk to the event planner if there is one (usually not these days), or the DJ (in the event of no planner, the DJ will set the pace for the evening as far as what happens when. (at least a good one will.)

Obviously, know when to be where by what the planner or DJ tells you, and be prepared for all the events. The cutting of the cake, don't just walk up behind the crowd and try to grab your shots. Let the couple know that you will need to be front row center, and don't start without you there. Once there, you take charge, you tell them when to cut the cake when you have the correct position (it is only done once, you can't just hang out and "hope" you get the shot) Let them know that you will count down for them to cut the cake, and I normally will do several of this part, so you get the knife at the top of the cake, and the looks on their faces as the knife hits bottom (they always tend to instinctively look at each other and smile after the knife goes down) get the "sports action" shots of them feeding each other the cake, and hopefully not smashing it in each other's faces, but be prepared for it.

Do the same with the bouquet toss and garter toss. TAKE CHARGE, let them know that you need to be in position, and you will tell them when it's ready to go. If you can catch sports action, you can get good shots of the bouquet and garter ready to be tossed, in mid air, and people trying to catch(or in the case of the garter, men running away from) the toss.

On the "special" (first, or other) dances, get a full body shot of each dance, and a close up of the faces of each person's face doing the dance, mother of the groom, father of the groom, and the bride and groom. These often show great emotion. No need to take 10 shots of each dance unless something really stands out. It just means more culling later.

For games, like the "shoe game" or whatever. Just a few shots that show what is happening, and then if you can get some reaction shots of the guests laughing, or a close up of the bride or groom as long as they look like their having fun, is all you need.

On the speeches, please, as someone who does a LOT of these and a lot of culling, one shot of each person giving the speech, one shot that shows the expressions of the couple looking at who's giving the speech, hopefully laughing or wiping a tear is plenty for each speech. I've had to cull/edit weddings with tons of shots of each and every person giving speeches, and 50 angles of the head table. It just takes hours to go through all that. Handing the couple a disk of images like that is also overwhelming. They only want the ones worth printing, or putting in a book, not 50 expressions on the same person's face, people yawning, or people shoving food in their faces.

On the dance floor. Get the couple dancing with each other, and with other people. One or 2 shots of kids dancing, kids are always dancing is enough. Grab a wide shot or two of the whole dance floor, and a few of people that are having a particular amount of fun. Again, from experience working with inexperienced photographers, don't just concentrate on the pretty girls. Us old fat guys on the dance floor can provide some memorable photos as well. HAHA.

The main thing to take away is, you need to take control, and don't be afraid to say "excuse me" and step in front of someone to get the shot. If you are "hired" to be the photographer, you can't be timid. Don't be rude, but they want you to get the shots.

Finally, you notice I keep saying album. I would suggest that if they are just getting disks of images from the photographers from the ceremony and formals, why don't you put together a nice wedding album for them with all the photos, and present it to them as a wedding gift? My kids and grandkids look at my parent's wedding photos, and my wedding photos (both before today's nice albums, just photos put in slip in sheets) The albums are something that can sit on a coffee table for 50 years, and people will still enjoy getting them out and looking at them. If they are on a disk, in a drawer somewhere, nobody will enjoy them. An album is the best gift of all.

Just my 8 cents. (a lot more than the 2 cents, I had planned on typing)

bk