|Digital original, 6 image stitch|
One of the first comments a friend made when I told him I was
considering replacing my medium format system with a digital SLR for my
second-line camera was "Oh, but a digital camera wouldn't produce those
luminous highlights you are so used to!" Happily, I can report that I
have more than proved my friend's concerns were unfounded - even before I
owned the EOS 10D, I suspect it wouldn't be a problem, based on some
earlier testing. Now that I actually own the camera, and can experiment
and test, I have learned well the lengths to which the camera can be
|Digital original, 5 image stitch|
As much as I enjoy the magic of working with new models,
there is a great advantage to long term relationships with models,
including their tolerance for testing. In this case I wanted to see how
functional my image stitching technique (which I have been quite
successful with outdoors) would be in a more constrained space. Miranda
was more than willing to put up with the longer poses this approach
requires, given the trust in the end results that had built between us,
over the many sessions we've worked together.
Stitching images aside, the session flowed quite well; it was my first chance to use a new 17-35mm Sigma zoom lens (the first zoom lens I have owned in more then a decade), and I was quite pleased with its performance; several images relied upon the distorted perspective it provided at its widest setting (equal to a 28mm lens on a 35mm camera). As I suspected, the temptation to interrupt the flow of the session to share a particularly successful image with a model was nonexistent - in fact, I only glanced at the post-view image the digital camera provided briefly after each image, to check the exposure via the histogram view, before moving on to the next composition.
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