Just curious as to what is fiddly? What didn't you like about the Zoerk and Pentax combo?
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For me the inability to frame the entire image through the viewfinder was a huge issue. I got around it 2 ways... one by mounting my 17-40, setting up the shot, then swapping out the lens. That's fiddly because its multiple steps, and the tripod mount for the zoerk would move my composition. I also picked up an external wide viewfinder, that helped quite a bit with this. Still not very exact though, particularly if you are backed into a corner trying to catch the edge of a kitchen cabinet or something.
On large shift the viewfinder of the 5D was atrocious. Meter didn't function well either, which wasn't such a big deal, unless you are trying to work quickly.
If you were stitching mutliple frames, not only did you have the post production work of merging the frames, but if you had to bracket (say some blown out windows for instance), that would be 3 frames shot, shift, 3 frames, shift, 3 frames. Even with a fast computer, this is a hassle! Also, what if your strobes are slightly inconsistent? Stitching frames gets worse...
Another niggle is perception. Working with an art director, you cannot show the image you are taking. Yes, you can explain what is going on, but for the most part people don't really get it. Show up with a 'blad and a macbook pro, and the client gets a substantially different perception. I purchased my mfdb last week, have run 2 shoots, both with a long term client, and they were very impressed by the equipment... Yes, I know it means nothing, quality work can be done on a 5d, etc, but impressing clients is a GOOD thing.
Now, after all the bitching about it, if you can master it, and deal with the niggles, it will produce MFDB quality, no problem. The pentax glass was fantastic (why did the 645d never happen, pentax?) It got me through enough jobs with high enough quality that I could afford to move to a (refurb, yes) H3D. Good enough!
I do miss having shift now though... gotta book some more jobs and pay off the back at this point before making another move. The 28 & 39mp back allow enough quality and resolution that for my clients I can cheat by using 'crop to rise' and or crop to a longer focal length.