THANK YOU P.N. COMMUNITY: got my 5D Mark II. Now...

<p>I wish to thank all the PN members whose helped me to choose my first digital camera body. Thank you for your constructive and useful suggestions! I come from a Canon EOS 3 film body and all my shots were scanned with Nikon's 5000 ED scanner and digitally post processed (as you can see from my portfolio). Wishing to speed up my workflow and still keep high the quality level I was very undecided about the DSRL body I needed. I was so confused by the APS vs full frame debate and your help was so important to make me decide what best suits my needs.<br>

Finally I purchased a Canon 5D II with the EF 24-105 f4 L IS lens and I'm delighted by this new piece of equipment. From the first time I handled the camera I felt very comfortable with it, so Canon did a good job keeping the command logic through the digital revolution.<br>

Now, I understand the main differences between shooting film and digital capture, but I will be glad to read your suggestions about this matter, in particular regarding your exposure strategy. With film I used to spot meter to determine the correct exposure for my tripod shots in a fully manual fashion. Now I have basically the same tools plus the power of the live view and histograms... i'm very curious to know how do you achieve the right exposure with your DSRL on the field.<br>

Thank you again, PN Community!<br>

Alberto.</p>

<p>There is a huge amount already posted about this. For example, search on "expose to the right". There is a dispute about this strategy on this site, but most people -- for most but not all shots -- expose to get the histogram density fairly far right, without going so far as clipping, to maximize the signal/noise ratio.</p>

<p>Like you, I spent years using a spot meter and manual settings, and there is no reason to stop. You just have to adjust to the fact that the dynamic range of digital sensors is different than that of some films. Google 'zone system digital.' One strategy is to spot meter the brightest area where you need to keep detail, and then open up two stops. I still often do what I did back in the old days--spot meter off my palm and open up one stop--at least as a starting point.</p>

<p>One thing that is not frequently posted is that it is quite easy to blow the highlights in one color channel while the overall luminance histogram still looks dandy. I have this problem most often with red flowers, I think because digital sensors are sensitive to ranges of the red spectrum that we don't see. The solution is simple: set your lcd to show all three histograms, and don't let any of them clip at the top.</p>

Now, the next thing to do is purchase Adobe Lightroom for managing and processing your images

(captured as RAW, of course).

<p>Congratulations Alberto! . . . although envious, I would be curious to know how you would compare the "overall feel & function" of the 5D II to the EOS 3 with the differences in film vs digital aside?<br>

I too came from the EOS 3 to digital! And, at the time the 50D was within my budget, and appeared to have similiar feel & function. I have been tossing around the idea to update to at least the 5D. I miss the full frame sensation with the lenses that I have.</p>

<p>Aside from exposure differences, (film vs digital) what are your opinions about comparison's of the view finder, AF points, metering, and the overall feel of the 5D II's size, weight and control wheels?<br>

I have never had the opportunity to date to handle one!</p>

There is a lot to say and, has been suggested, much has been said in more detail elsewhere. A few points that come to

mind:

 

Learn to read, interpret, and trust the histogram display.

 

Digital capture has somewhat Different characteristics than film. Learn to understand and work with them rather than

lamenting that "I could do X with film."

 

For many moving from film to digital, getting the digital camera isn't the most difficult thing. The biggest change can be

switching to a digital workflow and mastering the software. Be patient and persistent.

 

In all but certain special situations, shoot RAW. You will have a higher quality original file and more flexibility in what you

can do with it.

 

Exposing to the right - avoiding under-exposure while generally just barely avoiding excessive blown highlights - is usually

an excellent approach.

 

Dan

<p>PS: in response to the posts above: having shot film for years, I agree with the other Dan that learning the new camera is the easy part. Learning the software 'developing' skills is the hard part and can take a long time. There are good tutorials on line for many of the packaged.</p>

<p>I also use Lightroom and like it a great deal, but the raw processing software that came free with your camera--Digital Photo Professional--is very good. In fact, there are Canon shooters who forgo the extra features of Lightroom because they are convinced that DPP does some things better. Lightroom adds excellent database functionality. I use it primarily because its editing tools, while limited, are sufficient that I often don't have to bother with a pixel-level editor like Photoshop.</p>

<p>Brad: just got it! It's fantastic!</p>

<p>Congrats Alberto, you're gonna love it. It's an incredible camera. Happy shooting!</p>

<p>"Expose Right". The reason to do it is that it increases dynamic range within your image. In RAW conversion you pull the brightness level down to where you like it, but got much more shadow detail and data to work with in your post processing.<br>

If you shoot digital as if you're trying to shoot slides, then you'll lose dynamic range to much less than the full potential of your wonderful camera. I routinely shooting at +1/3 to +1EV, but being aware of the potential to blow out highlights. Look at the histogram and turn on the blinker warning in you Preview screen and then dial down the EV, but only if needed.</p>

<p>Also, at high ISOs, underexposure will greatly increase noise when you try to raise the brightness level. Noise will be greatly reduced if you Expose Right, even if it means going up the ISO scale, and then pulling down the brightness a little in RAW conversion.</p>

Alberto, some new concepts for you:

 

Noise Reduction

 

Leave if off except when you know that you need it. Turn on long exposure noise reduction when your

exposures are longer than a second or two. Long exposure NR will not hurt the quality of your images, but it requires

extra time for processing between shots.

 

High ISO NR is more destructive. It affects sharpness negatively. You'll need to experiment to learn whether you like to

apply this in camera or use software to tame noise. I usually add some in camera when shooting at ISO 1600 or higher.

 

White Balance

 

This plays the role of the color correction filters you used with film. While not really necessary when shooting raw, in which case you can set the value during post

processing, experiment to determine when you prefer auto wb versus a preset. Learn how to set a custom wb also.

Custom wb is very useful when shooting indoors in artificial light.

 

Sensor Cleaning

 

If you start seeing globs of dust in your skies when you look at them at 50-100 percent, the sensor may need to be cleaned. I prefer to have this done at a service center, but many people do it themselves. Something new to learn!

 

Backups

 

All of your files are on your computer now. What happens if your disk crashes? Keep copies on a second hard drive and if possible at a second location in case your house burns down.

 

Sharpening

 

Too little and your photos look fuzzy. Too much and they look grainy. The method depends a lot on which editing software you choose. Caveat: don't mix Photoshop and Lightroom sharpening algorithms. They don't work well together. Kelby recommends one or the other, but never both.

 

 

Software

 

Software to edit. Software to view images. Software to convert formats. Software to combine multiple shots into a single image. There's a lot to learn! DPP which comes free with your camera is good for taking a first look at your photos to make sure that they're sharp and well-focused, but you'll eventually need something more powerful and flexible for editing.

 

Best wishes!

<p>Alberto,<br>

If you are using a 32 bit version of photoshop, consider getting Optipix refocusing software. It tightens the details without using a sharpening filter. It would be your choice to use both.<br>

I am not fond of the sharpening tool as it can be too harsh. The sellers of Optipix will be releasing a 64 bit version probably next year. The code writer waited until the CS-5 release before doing this update on the software. It will be done after he finishes the 64 bit version of George Dewolfe's Perceptool software for black and white images. I want Optipix for color and B&W work but the Perceptool for my black white IR conversions.</p>

<p>CHEERS...Mathew</p>

<p>Thank you all for your useful suggestions! To tell you the truth, I'm not so unskilled in digital post processing, because althought I shot film, I then scanned it to take advantage of digital post processing with PS CS3. What's new for me is the raw digital capture and dealing with raw files, but I'm learning Lightroom and I feel very comfortable with it: it's a powerful tool!<br>

James - you asked me about the differences between the EOS 3 and the EOS 5D II... Well they are both wonderful piece of equipment! I loved the EOS 3 bright viewfinder, but I don't miss it with the 5D II. The autofocus of the 5D II looks less sophisticated or basic towards the 5D II's one, but for the type of photography I do, I didn't use the powerful EOS 3's autofocus system at its fully potential, so althought it was superior to the 5D II's one, I like the 5D II simplicity. The weight is very similar, but the EOS 3 looks like a bit more bulky and maybe less ergonomic than the 5D II. The controls of the 5D II are excellent, in line with the EOS school, and the display is a real bonus to surf in the menus... I really love this new camera!<br>

Alberto.</p>

<p>Whow! This thread makes me wanna get another 5D Mark II... I shoot with both a Canon ELAN 7NE and 5D2. I enjoy shooting with both simutaneously and later making my digital images match the film ones in post. I then save these adjustments in Alien Skin Exposure ( Film Simulator). I have conversion templates for film\Black & White\Slide to digital match files in Exposure. Anyone who shoots film has to check out this program.</p>