I also set my 5D II at -2/3 most of the time and found the exposures were
more close to my requirement but I don't know if MF lenses has anything to
do with the accurate of exposure. On the other hand I don't see big
influence on side light entering viewfinder eyepiece.
For highlight rendering, no matter how the test reports say I found much
more highlight hard clipping with the Canyon than my E-1, I mean when the
subject is under right exposure you will found more clipping on bright
elements of the pictures. This was further confirmed with the histogram of
the images from both cameras.
Even I finally settled with a FF Canyon I'm not really happy with the tonal
rendering of the images, they need a lots of post processing (curve/level)
to look good. For mixed light I even have to go to the color palette to
balance the color.
As for the images from Moose, I have the same feeling as you, they are
missing the richness I generally preferred. At the mean time I found they
are a little harsh and over sharpened to my eyes. Just like the below
sample, it seems too much LCE were used and the color/tone is a bit odd:
http://galleries.moosemystic.net/StrybingArboretum/slides/_MG_5731ia.htm
Other than these the images were nicely captured and composed.
C.H.Ling
----- Original Message -----
From: "Ken Norton"
> Moose,
>
> No, there was absolutely no "anti-Canon" thoughts in my mind when I asked.
> It was an honest inquiry.
>
> Based on your comments, I'm seeing several things that are coming to mind.
>
> 1. The Olympus E-1, specifically, and most 4/3 cameras in general, tend to
> "underexpose" the scene. Needing to further dial down the exposure
> compensation is unneeded in this lighting condition and in fact many
> people
> actually go the opposite direction.
>
> 2. Glasses and eye-distance from the viewfinder do matter. I can get the
> E-1
> to swing a stop in some situations just by where I have my eye or whether
> or
> not I have my sunglasses on.
>
> 3. Today's "matrix" (or whatever each brand calls it) metering is applying
> artificial intelligence to the metering and making guestimates as to the
> scene. For example, my A1 does fine in bright sunlight, unless I put a
> polarizer on the lens, then it completely misreads the scene. This is
> because the camera KNOWS when it is in bright sunlight because of the EV
> values in the matrix. But by placing a polarizer on the lens, the EV value
> drops and the matrix is unable to compensate. It either applies the wrong
> program or defaults back to centerweighted mode. These algorithms are
> pretty
> specific and something as simple as a polarizer can screw them up.
>
> 4. User preference. Obviously this is something that each of us applies to
> our way of shooting. However, even with the -2/3 compensation, I still
> thought Moose's images were a touch on the high side. But that's my own
> preference for a richer (darker) scene.
>
> 5. Manufacturing variability. I keenly recall how the Nikon F4 was all
> over
> the boards. John Show, for example, had almost 1.5 stops of variability
> among three of his F4 bodies.
>
> 6. Exposure lock vs. live exposure. I do not have my cameras set up for
> half-press exposure lock. Others do. I discovered that when I half-press
> and recompose that more often than not my exposure is incorrect for the
> recomposed scene. If I want to lock exposure, I'll press the AEL or will
> shoot manual exposure mode. Part of my preference on this is the use of
> the
> OM bodies which are live exposure. Since I go back and forth between
> systems, it's better for me to use a single style of auto exposure.
>
>
> What all this proves is that there is no way you can just pick up a camera
> and start shooting and expect it to perform exactly as desired without
> testing, observation and analysis. What works for one person won't for
> another and what works for one camera won't for another.
>
> AG
--
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