Digital Camera Advice - JPG

[Vivid Lizard]

Hi. I'm brand new to this forum and thanks for reading this inquiry.

I'm a location scout for film and TV and am trying to find a second camera that fits my needs for better "quick" photos with less need to post process.

Right now I have a full frame Canon EOS RP camera which I enjoy for various reasons but the images need a lot of post processing. Also, the HDR function is useless since it requires me to wait 10 seconds each shot to process, and the camera is completely locked down during that time.

It's fairly straightforward to get a good HDR image by combining multiple, bracketed RAW photos (which I do), but if I'm on a scout I can have a hundred or more photos to process and sometimes the client can't wait.

So, I'm looking for a versitile camera that doesn't cost an arm and a leg, has acceptable noise characteristics, and can either take various lenses (Canon RF full-frame or Sony E APS-C since I have those already, but willing to start over) OR has a large angle range if it has a built-in lens (with at least a 24mm equiv. on the wider end... less would be better).

But most important is what it's JPG's look like right out of the gate. This is the crux of my inquiry... if I can get JPG's where the blacks aren't crushed and the whites aren't blown out, AND the image has a pleasing brightness and contrast to it, I would be a happy camper. This is so I can simply get my images processed and sent to my client with little fuss.

Heck, my older Samsung Galaxy S20 Ultra phone does a pretty good job with it's "HDR" images (although they are probably simply stretching the dynamic range from RAW info). But using my phone on a pro job isn't good for me... shots taken from a low angle are an extreme PITA plus other reasons.

Thank you... any advice would be appreciated.

 

[JoeW]

Let me offer a couple of thoughts.

First, since this is for work purposes and you're on location, whatever camera you get, I suggest you get one with two card slots. I know, I know, you've probably never had a card fail (or get lost or get crushed). But if a tourist loses a card, it's just a few memories. If you lose a card then you're screwed work wise. So start with the assumption that anything you get will require two slots.

Second, the camera you've got has a number of pluses. But when it came out it was noted for exactly the problem you're having with it--lots of blinkies because it doesn't hand lighting extremes. No dynamic range. Ideally you want a camera body that will give you a range of 12-13 stops. However, research that just a bit--you may need to go to 15 stops.

I'm a Nikon shooter so that's what I"m familiar with. Nikon bodies (I'll just mention mirrorless since I suppose that's the route you want to go) that will easily give you 12-13 stops are: Z7 (14.6 stops), Z9 (14.4 stops). Even the Z6 (which is no longer produced and only available used) is 14.3 stops (but it only has one slot).

Also, these days with Topaz AI software, you really don't have to worry about noise. I know you don't want to go in and post-process 500 photos. But the reality is that you can do batch processing.

Finally, one shooting tip: underexpose. Use your exposure compensation and shoot at a faster exposure. Think of shooting the opening to a cave with the outside in bright, cloudless sun. So underexposing is an approach to consider. Yeah, then you'll end up with a lot of black. But a highlight that is all white is lost--you'll never recover from that. And you can dodge the opening to the cave to get detail. The key point here is that when dealing with extreme light on both sides (pitch black and bright sun), underexpose and you can then adjust afterwards.

 

[Vivid Lizard]

Thank you Joe. You make some great points! Regarding the two card slots... while I have one card slot cameras, I've been checking every ten or so shots to make sure that the images are being saved, then after a bit I copy/paste those images into my phone so I have a backup. Pretty much a hassle. Two slots would definitly be easier and safer.

 

[smoke665]

But most important is what it's JPG's look like right out of the gate. This is the crux of my inquiry... if I can get JPG's where the blacks aren't crushed and the whites aren't blown out, AND the image has a pleasing brightness and contrast to it, I would be a happy camper. This is so I can simply get my images processed and sent to my client with little fuss.

The rules for SOOC images don't change for JPEG or RAW, nor camera brand/model for that matter. It starts with a full exposure and data file. Lighting will always be a factor on location shots. Choosing your times and having a couple of speedlights with off camera capabilities will help, as will prudent use of the exposure triangle (shutter, aperture, ISO). When mixing speedlights with ambient don't forget your cto/ctb gels. Knowing your camera and the menu settings will help. IE: I know on my cameras, I can push the exposure to where the blinkies are starting to show without blowing the whites.

Whether you need post processing or not depends on the quality of what your customers want. For a more polished image set, I try to standardize my sets as much as possible. I import into LR do all the basic edits on the first image, then hit Synch, it only takes a few mins to edit a 100 photos. Again fast editing starts with the best SOOC image you can get. Standardization of settings across a set also helps. Changing light temperatures, blown highlights, under exposure, shadow recovery, all add time to the editing.