Arizona is such a wonderful Old School State. Tempe is such a great alternate destination for a visit. Especially Spring Training. Thanks for reminding me that we're overdue for our next Winter Break.
C

My solution to the downsizing issue was to add a near-normal focal length pancake lens to my kit. I then carry it mounted onto my APS-C Canon body--the EF-S 24mm f2.8. It makes a lightweight, similar sized to a Bridge camera package. The 24MP sensor gives me images good enough to crop and enlarge with results similar to the small sensor bridge cameras offer. For serious work, I often pack my Sigma 17-70 f2.8-4, and may or may not carry it with me on walks, etc.. While heavier and larger it produces top results, great portraits. But for "walking around" and not stopping and composing the heck out of a subject or scene--the 24mm is an easy way to go, while preserving an ability to produce better results with the better and more versatile lens when so inclined.

I suggest that you try the same strategy with your 5D-V and the EF 40mm 2.8 Pancake. Then pick a light-weight "normal zoom" for more serious or golden hour stuff and you've given up nothing. You approximate the small package with the pancake, but still have the horsepower to create good images when you want to. Your 5D-V will certainly stand up to quite a small crop, to "simulate" a longer lens as well as eliminate distracting elements.

Rather than rent the Bridge, rent the pancake for less $$ I presume, and give it the "Stroll" test around town and see if my experience matches yours. While the 5D-V out weighs and out guns my 77D, you're still ahead, if it works for you

Bet you keep the 40mm pancake in any case.

C

I spent a week nearby and hiked to the top of that Ski Area. There is a circular shaped restaurant and BAR!!!. A very welcome amenity. I can attest that the start of that slope seems nearly vertical. One gets the sense that if a skier leaned too far over his tips, he'd tumble.

This was, for me, the most beautiful part of Switzerland I got to see during a month long trip back at the end of the last Century.

In Nevada and California, and I believe Utah West of the Wasatch The Lincoln Highway is US 50. Interestingly, Dwight David Eisenhower, back when he was a Major was part of the effort. As President Eisenhower, his lasting achievement, (beyond a bewildered Soviet Union) was the Interstate Highway System, of which I-80 is a major Artery. It passes 2 miles from my home on its Journey from the George Washington Bridge in New Jersey to the San Francisco Bay Bridge.

A compelling story captures in several books and video productions.

C

Who sez it's a two dimensional medium!? Love it--the essence.
C

Me too, and I drooled. I occasionally carpooled in one with an exotic Car lover--Programming manager who had a loving wife and NO KIDS!
C

Our favorite afro hair-doo'd Photographer, Jared Polin, has promoted a free phone app called My Gear Vault. It gives you a current record, if you keep it up, of all your gear, purchase dates and serial numbers. It is intended to facilitate getting just the kind of insurance quote you're seeking. Check it out. PPA is a good way to go and it is truly specialized coverage.

Key issue is depreciation and deductibles, like any insurance purchase.

This is a recurring discussion here. I think that SOOC is an old term that was used as far back as the film days to indicate the scene wasn't altered or processed in any way, other than standard developing times and solutions. Using the term, today, to include extensive in-camera processing manipulations distorts the spirit and meaning, for me, of the term Straight Out Of Camera.

The request for a Nikon specific Jpeg workflow is a legitimate one. However, it strikes me as similar to using or making and using "pre-sets" as they're called in Lightroom as starting points to RAW post processing. Granted, one is more time saving, at the price of a better controlled RAW workflow.

I'm still firmly in the camp that processing is part of the image making process. How one photographer gets from Visualization to Print is that photographer's choice. The final product in almost all cases is a jpeg file that is submitted to a Printing Device--which, by the way, is usually programmable. And, further, gives the photographer/printer the choice of ink type, formulation and color(s).

To expect to create an image that is true to a photographer's visualization (vs. vison) automagically trough the application of in camera processing modes, without actually critically evaluating an image file, to me is extraordinarily optimistic. Or, perhaps,
Controversial.
C

But, remember free opinions are value priced and come with no recourse. If you need an attorney, hire an attorney and pay for and rely on the work-product. If you want information to be informed, but not to act and rely on, read a book or do an internet search.

I think shooting Soccer, like Basketball and Hockey, is best done from the corner of teh court/field (pitch). Using the 1.4 or 2 tele-extender on the existing 70-200 on an APS-C body will bring the best images. In fact the best shots will be no longer than 5-0-100 feet away.

Switching ends for photos is best.

The question about seating and field accessibility is crucial. If you can't get within 10 feet or so of the sidelines, your chances of an unobstructed, by spectators, shot are small. Midfield shots seem somewhat boring because they plays are usually short passes and the players are looking downfield or away. You want them coming or facing toward you--unless your player is a defensive player--Fullback or Keeper.

Unless you're an accomplished Sports Photographer, yielding, even a compact 500mm lens, is a skill to be developed before you show up at a tournament.

Have fun and capture the players making a good play, showing their faces and having a great time. Don't forget the spectators, they're as interesting as the game.

Remember, fill the frame with faces and action.
C

I used that lens once at a Sigma sponsored workshop. My limited usage yield a limited opinion. The results were sharp, bokeh was at a level that was unattainable with other lenses on an APS-C body. So, separation of subject and background was attainable. BUT, at those focal length, and the environment of my shoot (car dealership and models) The compositional opportunities didn't really present themselves to me.

NOT opinion: this lens is quite heavy!

My budget for $800+ lenses would lead me to other choices. I'd choose f2.8 or f4 for the 15-40mm range and save the money and extra weight.
C

i love your veteran answers. I don't remember any mirrors on a view camera--perhaps the basis of photography is mirrorless after all!

Although the giant Camera Obscura, early vintage equipment near the Cliff House in San Francisco has a pretty big mirror to display images in he room size viewing area.

Easiest way! With the -2 flash compensation, you shouldn't have the lens barrel shadow cast onto the subject. But beware of the possibility by checking your screen. Most of the mid range wide-normal zooms get pretty big. A prime 35 or 50 mm (FF equiv.) won't cause this. It can be eliminated in a few ways. Experiment before you go. Small tip. put a tissue over the pop up to diffuse it. Also maybe tape a business card under or on top of the pop up parallel to the floor or vertical to counter act this.

Good luck and try make some friends.

They're still usable with a Wein Flash Sync or optical with slaves--same brand peanut optical, or radio triggers and slaves, for off camera use. Cheapest light after a window!

They're still usable with a Wein Flash Sync or optical with slaves--same brand peanut optical, or radio triggers and slaves, for off camera use. Cheapest light after a window!