EXCERPT page containing first few paragraphs. 2019-09-22 19:02:04
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One of my concerns with any camera is how it performs under adverse lighting. An example of this is canyon shade early in the day: extremely blue in color, as high as 30,000°K. With photographic film that color light left nothing but the blue layer on the film; absolutely nothing else was left and it was impossible to restore any other color whatsoever (I have such slides!).
A digital sensor has overlapping color filters and is far more capable of dealing with a wide range of lighting conditions than color reversal or color negative film could ever hope to do, though noise can intrude in extreme lighting (which is my concern noted above).
The photographer shooting raw format has a huge advantage in being able to choose white balance after making the image. The key is only to not blow past the recording capability of the sensor (too dark or too bright), thus allowing full adjustment latitude.
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Diglloyd Guide to Mirrorless offers comprehensive integrated coverage of most APS-C and full frame mirrorless cameras and lenses.
Special emphasis is placed on Sony full-frame, including Sony lenses and the high performance Zeiss Batis and Zeiss Loxia lenses plus Rokinon/Samyang and others. Fujifilm X, Olympus and Panasonic M4/3, Sigma dp Merrill and dp/sd Quattro are also covered in depth. Years in the making, it offers a wealth of material for choosing and using a mirrorless camera.
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