8
Working digitally
If you have only worked with film before, you will find that working with a digital back is
not so very different in many ways. Several changes in routine are needed and a certain
amount of experience with digital products and computers is advantageous to lower the
learning curve in the beginning. However, practically all of your analogue photographic
knowledge is still relevant to achieve optimum results.
The following is in no way intended to be a digital primer but simply aims to highlight some
main differentiating points to get started. There are many excellent books on the market
that explain in great detail the various aspects of digital photography and post-capture
processing.
1. It is absolutely essential that you ensure you have a fully-charged battery, a spare
fully-charged battery, access to battery re-charging or access to a computer, de-
pending on how you work. However, in the case of the 503CWD, a film magazine
can act as reserve for emergencies.
2. If you intend to work with a CF card, you must ensure you either have enough
capacity on the card for the job in hand or have access to a card reader/separate
hard disk/computer to off-load the images.
3. The sensitivity (“ISO /film speed”) of the sensor can be altered according to cir-
cumstances just as you would choose a fast or slow film, thereby providing a range
of “speeds”. Just as with film, the lower “speed” settings produce finer quality.
4. Always check the three basic settings before starting:
• ISO (“film speed”)
• White balance (colour temperature)
• Media (where the captured images will be stored).
5. Remember the size of the sensor causes an ‘increase’ in the focal length of lenses
in practical terms. Compose within the masking on the focusing screen.
6. Remember there can be specific restrictions regarding longer exposure times and
working with flash.
7. The monitor produces an image as a visual guide only. A histogram display will
provide you with the technical information about the optimum exposure.
8. Minor colour casts on the monitor can be ignored as there are opportunities to
adjust the files later in processing.
9. Be extra aware when photographing surfaces with a small regular pattern in the
colouring or structure (for example, fine-weave fabrics) as a moiré effect can be
produced in certain circumstances.
10. Most other usual photographic practices apply such as using a lens shade, using
a tripod when you can, checking for depth of field etc. However good your post-
capture skills are on the computer, for optimum results you should still aim for
optimum image capture!
