david_haynes

Hi Kathryn,

This morning presented a good reason for my keeping the G5. I have also the Leica

and Canon 1D and 10D dslrs, but none of my other cameras could have taken this

photo...

http://studioblountsprings.com/canoe.html

I noticed some leaves in the end of my canoe where it hangs upside down underneath

a carport area and got on a ladder to investigate. Sure enough birds had built a nest

and there were these 4 baby birds inside.

From the ladder, using a flashlight, I could not see inside the nest because of the tight

angle. However, the G5 with its tilt-and-swivel viewfinder, combined with the MR-14

ringlight's focus aid light, allowed me to take the shot.

Same is true for macro shots close to the ground (mushrooms, toadstools, ground

bugs, etc.). The G5 (or other P&S cameras with this kind of finder) allow you to

compose without actually wallowing in the muck.

This finder is particularly good for candid photography. Sometimes I'll flip the finder

out to 90 degrees and compose a photo "sideways" and because the camera is small

and black the subject never knows I'm doing anything but checking a setting or

something on the camera.

Hi Kathryn,

I've had a G5 since last August and it is a wonderful little camera.

I recently bought the Leica Digilux 2 (also 5MP) and had intended to sell my G5 and

accessories, but I just haven't been able to part with it. The tilt-and-swivel viewfinder,

wireless remote and built-in ND filter, plus its ability to do great closeups without

additional accessories make it a very usable camera.

Plus, I use it to do IR landscape photography with a Hoya R72 filter.

I also have the wide-angle conversion lens (which translates to around 24mm in

35mm format) and it's quite nice, but a little bulky.

If you get a G5 (or G3 for that matter) I'd recommend one of the Tamrac belt pouches

to keep it in. In a second or two you can clip this thing to your hip and you never even

know its there (so you'll always have a camera with you).

As they say... f/8 and be there!

Taken at ISO 100, f/2.4 @ 90mm (equivalent). This photo was

not manipulated in any way for color, contrast, sharpness,

brightness, etc. Aside from resizing it's exactly as the camera

processed it.

http://www.studioblountsprings.com/digi2.html

Peter,

I got my G2 over two years ago and the G5 last summer and both

cameras (and the T&S viewfinder) have been used and abused

continuously, with never a problem.

I also know 5 or 6 other folk with these cameras and I've never

heard of that kind of problem. Every mechanical thing could have

a mechanical problem, but if we worry too much about wheels

falling off we'd never get anywhere in a car. The viewfinder's

features are one of the most desirable features of the G-series

cameras and should be taken advantage of.

To not do so would be like driving a Ferrari only 10mph to church

and back on Sunday. What fun is that?

I had the G2 and now have the G5 and the latter is much more

versitle.

This past week I was part of a two-person still photography team

on a 6-day shoot working with a film crew shooting up to 35mm

Panavision. The art director asked me to do behind-the-scenes

candids of the crew and agency people, so I kept my G5 in my

pocket all week and grabbed shots in between.

Some observations about using the G5 for candids...

-ISO speed/lens speed/DOF made getting sharp images easy

-AF speed was hardly ever an issue.

-The tilt-and-swivel finder makes it possible to candidly frame

people/scenes at a 45 degree angle so they are completely

unaware they're being photographed... a great asset

-The ability to save in RAW if you get a great shot is very useful

-With the camera generated sounds turned off, the camera is

VERY quiet. I was shooting often while the film crew was rolling

cameras with sound and no one ever knew it.

Your questions...

JPG/RAW formats - I'm not sure whether it's possible to save

RAW from lower rez JPGs because I always shoot highest

rez/lowest compression JPG. I think there's an online G5 manual

available for download in PDF format.

Shutter Lag - Once the camera locks focus, no shutter lag. My

way of working is to lock focus then recompose and shoot at

peak moment.

Delay between shots - I've hardly used it, but I think you can take

about 3 shots at 2.5 fps.

Purple fringing - Yes, there is some, especially at wider

apertures near the edge of the frame when high contrast (tree

limbs against the sky) is encountered. I use theimagingfactory's

Debarrelizer PS plugin to correct this when needed. It has

sliders for red and blue channels and a very fast preview

window.

Other recommendations - I've really only used the Canon P&S

digicams (also have Canon dslr's so it was a no-brainer to buy

the G2/G5, since all my flash stuff works with them too).

However, I'm taking a very hard look next week at the Leica

Digilux 2. While it lacks the tilt/swivel LCD and has no RAW

buffer, images I've downloaded from the web from this camera

far surpass any I've seen from a P&S, that is if you can call an

$1,850 camera a P&S.

Hope this helps.<div></div>

Thanks, Mike! I appreciate the help.

dh

Until recently, I was working in OS9.2 on my Mac in PS7 due to

the lack of an OSX driver for my Epson 5500.

Last week I saw that the Epson driver was finally available,

downloaded it, and also installed PS CS so I'm only working in

OSX now.

But I have a problem in that every time I go to download via the

PCMCIA slot iPhoto launches whether I want it to or not and there

is a long delay before I can copy images to my computer.

I've looked in Mac help and iPhoto help in vain to find it how/if this

can be turned off.

Anybody out there know how?

P.S. - I'm currently running OS 10.2.6.

Thanks,

David Haynes

I've been looking at software to reduce image noise in my G5

P&S at higher ISOs and have found that two recommended

programs... Neat Image and Noise Ninja, will not work with Mac.

Anyone have an alternative suggestion?

Thanks,

David Haynes

Actually, after downloading three images from the review linked

above (Nikon 8700, Canon Pro 1 and Sony 828) of an identical

subject, I was impressed with all three images. And even after

putting all three up in 4x4-inch windows on the screen together

and pulling around and comparing in photoshop, I was had

pressed to see a clear advantage from any camera. I personally

liked the reds in the Canon better, but even that was a subtle

difference.

EXIF data on each showed use of ISO 50 and 64 (Sony), but

that's where my G5 and previously my G2 stayed anyway.

I see the Pro 1 as an improved do-it-all carry around that is an

incremental improvement to my G5, which BTW I really like for

what it is. And for me it's a no-brainer because I already have

Canon accessories (MR-14 ring lite, ST-E2 IR flash trigger and 3

550EXs) all of which work seamlessly with the Pro 1.

No, these cameras are not equal in quality to a $4-5K DSLR, or

even to a comparably priced 300D or D70, but for lens range and

carry-along convenience, there is a place for them. I'm still

waiting for the perfect camera for all tasks. I don't believe it's yet

been made. At least I haven't seen it.

Remember, f/8 and be there.

I have and use this lens on my G5 and am generally quite

pleased with it.

It is quite large-ish and with the lens adapter approximately

doubles the size of the camera. There is a slight falloff in

contrast as would be expected from an accessory lens, but

sharpness is good and depth of field is exceptional even at f/2.

There is noticable barrel distortion when using this lens so

whenever I'm using with architectural subjects I run the images

through a debarrelizing plug-in, which can be had as free

downloads (Panotools) or for a cost (I use theimagingfactory's

"Debarrrelizer")

I've attached a camera-on-the-floor shot with the accessory lens

of my Golden Retriever.<div></div>

My first LF camera was just like yours (45E) and my first use of

the camera resulted in just such damage.

It was 1989 and I was trying out the camera to see if I wanted to

buy. I went to a covered bridge near my home, set up the camera

on a Bogen tripod with a hex QR and promptly knocked the

not-coupled camera front first onto some rocks 2 feet below.

The composite material on the front standard was cracked... a

clean break.

I immediately went to a convenience store and bought a tube of

"Crazy Glue" and followed the instructions (couple of drops

spread thin), held it in place for about a minute and then drove

home.

I was so embarrassed that I'd dropped the camera I bought it (kit

with camera, case, two lenses, pola back, film holders, etc.)

instead of telling the guy I was buying from.

Ironically, if I had not dropped and broken the camera I probably

wouldn't have bought it and might never have gotten into LF

photography.

Anyway, when I sold the camera five years and hundreds of

exposures later, the repair was still holding just fine.

Good luck!

10D & EF 50mm f/1.4 is a sweet combo; My standard setup for

portraits, both available light and flash.

Attached is a portrait with 10D & 50 of my daughter.<div></div>

I've had a G5 for about 6 months and the focus assist light is a

moot point for me as I have a lensmate adapter that blocks the

AF assist light anyway.

But I don't and never have expected the camera - or any p&s type

- to have instantaneous AF in dim or low light. I just accept this a

part of the operation of the camera.

As to the light being off center, I don't know, but I'd speculate that

it would be more effective (i.e. - create more contrast for focus) if

it were not dead center because with the light source originating

so close to the lens-subject axis it would produce a flat light and

little contrast. Again, this is just a guess (BTW, I checked mine

and it is not centered either)

That said if ever I can't lock into focus in a timely manner on the

G5 I use the manual focus (MF) button on the back of the camera

and focus manually. It works surprisingly well, especially

compared to my G2. But rarely has this been a problem.

I see cameras like the G5 and its bretheren by other

manufacturers as better-than-average snapshot cameras with

lots of extra controls. I do not expect professional features found

on dslrs, such as extremely fine tuned AF in low light. In fact, one

of the reasons I paid more for with my 1D compared to my 10D

was the vastly improved AF on the 1D. That doesn't mean that my

10D is a bad camera or has a problem, it just means that I try to

select the "best tool in the box" for the job at hand.

It'd be nice if one camera could be all things to all people, but so

far that camera hasn't been designed and built. I think the G5 in

a great camera as a carry-around-anywhere buddy capable of

nice images within the range of photo-ops where it's

appropriate.

Just my 2¢

Does your camera focus in low light? Have you had problems

with focus?

You'd have to add a stack of close-up accessory lenses to get

true 1:1. but could get very close with excellent Canon 250D on

the Canon Powershot G5.

I have two Canon DSLRs (1D and 10D) but actually prefer to use

the G5 in many macro situatiions, particularly for subjects close

to the ground. This is because the twist-and-rotate LCD screen

allows easy composing/focusing/reviewing without wallowing on

my belly for that shot of a bug on a toad stool, etc.

I also use the Canon MR-14 ringlight flash (snaps right onto a

grove on the auxiliary lens adapter), which in turn can control

one, two or more Canon 550EX slave flashes for outstanding

lighting effects.

The short focal length of the lens compared to a standard SLR

macro lens also provides additional depth of field in many

situatinos.

I've attached a photo made last year of a honey bee on a spider

wort bloom (3/4 inch across). This was made with ringlight on

camaera held in right hand at arm's length, using the viewfinder

flipped out to side, plus a slaved 550EX above and behind to the

left held in my left hand. The ETTL flash metering makes

accurate and consistent exposures very easy.

Last time I looked, B&H had the G5 listed for just $529 (I paid

$689 just last summer and think it was worth it at that price). The

lens adapter I use is from Lensmate and the Canon 250D

close-up lens is about $60, although single element sets can be

had for much less.

Happy shooting!<div></div>

I've been quite happy with night exposures with my Canon 10D

(although my 1D is a dog for this).

About a week ago on the last full moon I did a test (it was cold...

about 20ºF) to check for noise in cold weather. I did a 30 second

exposure at f/2.8 of a lake scene lit only by the full moon and

there was no noise or stuck pixels.

Summer exposures with higher temperatures results in stuck

pixels and some elevated noise levels. That is my experience

with Canon (D30 & 10D) cameras.

So based on this I'm more likely to try long exposures during the

winter months.<div></div>

If you can get a G5 for below $500, I think that's a good buy. Last

time I looked B&H's price was about $530.

Last summer I upgraded from my G2 to the G5 and couldn't be

happier. Sure there is some purple fringing in certain situations,

but I'm likely to use my 10D or 1D or Deardorff for landscape

shots where this is most often a problem anyway.

As for the noise issue, any of the Canon 50-400 ISO cameras

will have objectionable noise at 200 and up. I can't see any more

or less in images from the G5 than was present on the G2. As

mentioned above, there are software remedies for much of the

noise if you need it.

Any camera or tool will have its strengths and weaknesses. For

instance, I much prefer to do close-to-the-ground macro work

with the G5 to my 10D or 1D, just because of the tilt-and-twist

viewfinder. If you shoot at ISO 50, know how to get the right focus

and exposure and know your way around Photoshop, you can

easily pull 11x14 prints that will rival those from a 1D or 10D,

IMO.

If your budget tops out at $500, the G3 may be a worth a look.

Operationally and feature-wise, it's identical to the G5 except for

the 5MP sensor and black body. And reviews I've seen say it has

less purple fringing in high contrast areas than the G5.

Compared to the S45, the hot shoe makes it a much more

versatile camera. I use mine often with the ST-E2 wireless IR

transmitter and one or two bounced 550EX flashes. Exposures

are always dead-on.<div></div>

For me, a working professional photographer, the G5 was a

no-brainer as it interfaces seamlessly with many of the batteries,

flashes and accessories I already had with my dslr's.

I'm sure a nikon shooter would feel the same about the coolpix.

That said, I couldn't be happier with the G5 for what it is intended

to do. It goes with me everywhere and is a pleasure to use.

Before the G5 I owned and also loved my G2 Canon.

To me one of the best and often overlooked features of the G5 is

it's "innocent" demeaner. By that I mean that to most who are not

photographers it would appear to be a toy camera. This allows

people to relax easier with I'm photographing them. For candid

photography I have found no equal to the G5, particularly with the

f/2 lens.

I have the Canon WA converter lens for the G5 and with it I can

have equivalent coverage to a 24mm on 35 format, shoot at f/2

handheld down to about a quarter or half second, and because

the lens is so short, rely on depth of field to keep everything in

focus.

I also use the camera with a variety of Canon flash, incluing the

MR-14 macro ringlight, 2 550EX's and the ST-E2 IR transmitter.

For Christmas snapshots this year, I sat two 550EX's discretely

on either side of our living room, pointed into the ceiling, set the

lens to f/2 with the WA adapter lens and used the ST-E2 to

trigger the slaved 550EXs. Not once did it fail to fire the slaves in

well over 100 images and every exposure was dead-on perfect.

G5 is a great camera. The hot shoe alone makes it a much more

versatile camera as you can use with any canon ETTL flash. I

use mine all the time with multiple flash setups including macro

ringlight. Dead-on exposures 99% of the time.

The faster lens is also a big plus, especially if you're wanting to

do available light without flash.

The G5 will set you back about $600; A80 around $350. A good

in-between camera to look at is the G3, which is identical to the

G5 except it has a 4mp instead of a 5mp sensor, and body is

champagne/silver instead of black. These can be found new for

less than $500.

Really I think the G5 is a small step up from the G3 in terms of

image quality, and the G5 actually suffers from more purple

fringing in strong backlit/high contrast (tree limbs against a

bright sky, etc.) than does the G3.

Before getting my G5, I used and loved the 4mp G2 for almost 2

years. I've made beautiful 11x14 prints from G2 files in b&w and

color.

I've attached a photo taken with G5 and two slaved Canon 550EX

flashes (one in softbox and another into an umbrella) and

triggered by the Canon ST-E2 wireless transmitter (on the

camera's hot shoe). The ease of using this camera in

complicated lighting setups is nothing short of phenominal, IMO,

especially for a point-and-shoot.<div></div>

A little over two years ago I bought a generic battery just after I got

my D30 and battery grip. I've used it interchangably in the D30,

Canon G2 and G5 and 10D. For the first year and a half I could

see no difference whatsoever in it and the Canon 511's I had, but

in the past several months this battery will neither take or hold a

charge. All the Canon batteries I have (4 other ones) still work as

well as when I bought them.

So, I'll be buying the Canon ones in the future.

Just my 2¢

If you end up with Canon gear, the MR-14 Canon ringlight ($450

@ B&H) is hard to beat.

I have the 10D, 1D and G5 and the unit works seamlessly with

all three in E-TTL mode. Additionally, the ringlight can serve as a

"master" unit for any number of "slaved" Canon 550EX's with

individual control of the power of each unit relative to the other.

My way to use it typically with the camera with ringlight in my right

hand and a slaved 550EX in my left. I can hold the slaved flash

above and/or behind or to one side for a separation light effect.

For example, when shooting a honey bee the slaved light puts a

nice rim of light and adds to the translucent look of the been's

wings.

Exposures are uncannily accurate with all three of my Canon

cameras, even the G5.

Hope this helps.<div></div>

Don't know for sure about the 420EX, but many times I've used

my 550EX as a slave trigger for a monolight with optical slave. I

just set the flash to manual mode and power down to 1/32 or

1/64. Maybe the 420EX doesn't have this capability, but this

works great for me.

For me, the combo of a rangefinder Super Speed Graphic with

135 Rodenstock plus my trusty Metz 60-CT1 made a great indoor

bounce flash system. The head tilts up to 90 degrees and

rotates 360 degrees. The flash AE sensor is usually accurate

and unless shooting in a very large room you should be able to

shoot at f/8 with ISO 400 film.

IMO, the sensor swabs are a ripoff at $4 each or whatever. You

can make them yourself for a fraction of the cost that actually

work better than the store-bought swabs.

Using the method described in an earlier post using a modified

rubber spatula wrapped in Pec Pads and Eclipse fluid, I have a

very easy time cleaning my sensors. First time or two is

nerve-wracking, but it's not rocket science and after a while

there's really nothing to it.

Here's a link to an excellent tutorial on this homemade system

(The link is for the first of several pages in the tutorial)

http://www.pbase.com/image/15471306

Good luck!

To be safe, you might also want to check the flash trigger voltage

and the camera's maximum safe trigger voltage. On my Canons

it's said to be 6 volts and many of my older shoe-mount flashes

exceed this. For this reason, I bought the Wein "Safe Sync"

hotshoe adapter that reduced the trigger voltage to a safe level.