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Old November 19th, 2008, 02:48 AM
Ben Rubinstein Ben Rubinstein is offline
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Join Date: Jun 2006
Location: Manchester UK
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Asher. this photo was shot with a 5D, the stitching was made of unbracketed, unpolarised and unmanipulated frames shot at mid day in the middle east. You see any problems?

So why the heck would I want a 6 megapixel camera from a dead end system when I have so much RAW highlight headroom with my 5D files anyway?

Harsh light is not ideal for 99% of the shooting situations anyway, in most genres of photography, even if you have a sensor capable of handling it, it still isn't what you want. To sacrifice half the megapixels and that incredible 5D sharpness for 1%?

If it ain't broke don't fix it!

I'm a wedding shooter by profession. The highlight information has always been in the RAW files but processing to retain both highlight and have the faces with the proper brightness has always been the problem. Now with ACR 5 and LR2 the new dodge and burn tools (local adjustment brushes) have made that problem disappear period. The information was always there but now we don't have to go into PS to get it! Just processed my first wedding with ACR 5. You may only need the tools in 5% of the pictures where the contrast range is too great but when you do use it you realise that all the information is there and you can now get perfect files straight out of ACR. The idea of having to use an inferior camera system just to preserve highlights out of the box that my camera does anyway does not appeal to me in the slightest. Although I in my time shot many weddings with 6 megapixels, IMO 12 is the perfect amount.

The Fuji is good for a jpg shooter from a previous generation. With the D700 having 5 stops of RAW highlight headroom, 12 megapixels and an incredible pro body (sealing/AF/features)- it, together with a RAW processor with dodge and burn is without any doubt whatsoever the modern perfect wedding photographers camera bar none.
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Ben Rubinstein
Website: http://www.timelessjewishart.com
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