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73 of 77 people found the following review helpful:
5.0 out of 5 stars
Within its limitations, produces stunning images, May 22, 2003
This review is from: Canon PowerShot G3 4MP Digital Camera w/ 4x Optical Zoom (Electronics)
I am a long-time user of highly responsive film SLRs and professional quality external flash equipment, just so you know my bias. I have been watching the development of digicams for years, waiting to make my first move. What I really want is a $1,500 digital SLR with a full frame sensor that will take my Nikon lenses. I figure that is at least three years off, and I am getting impatient. Hence I decided to spring for a "point-and-shoot" digicam that that would have features that would let me get around their inherent limitations. I chose the G3 because of its reputation for very high quality, clean images. The two limitations I knew I would have to deal with are the very long lag time before it focus-locks (even in bright light), and the unsatisfactory light quality of the built-in flash. As of this writing, technology has not solved the focus-lock lag time problem for point-and-shoot digicams and anyone who is satisfied with it simply has never used a modern film SLR. At least once you've got focus lock, the shutter release lag time for the G3 is about 1/10 of a second, which from what I've read, is better than just about anything else available. What makes the focus-lock lag time something I can live with is the extreme depth of field obtainable with these point and shoot digicams at f8. Once I get focus lock, I can then wait until my restless subject (a pet or a child) strikes an amusing pose and then fire the shutter with some reasonable probability of getting my subject still in focus. Now what about the flash problem? Relative to what I can easily achieve with external flash on my Nikon SLR, the internal flash on the G3 produces harsh, flat images with ugly hot spots. Fortunately, the G3 has a hot shoe that can take an external flash, and fortunately for me, I already owned a one of the highest quality external flashes that money can buy: the Metz 60 CT-4. I can't use my Nikon external flash on a Canon camera, but I CAN use my Metz, with the proper Metz module and extension cord connected between the G3 and the 60 CT-4. For those who have this Metz flash (or the 45CL-3) and would like to get the absolute ultimate quality out of this G3, the Metz module you need is the SCA 3102 and the connector cord is the SCA 3000C. In order for this to work, you have to set the camera to manual mode and set the shutter speed and f-stop yourself. Contrary to what I've read elsewhere, the G3 DOES sync at 1/250 of a second with third-party flashes, just as it does with the dedicated flashes from Canon. You also have to set the G3 to second shutter sync, which is what you'd want to do most of the time anyhow. Then just forget about all the controls you have on the Metz flash head itself and the SCA 3102 control panel, because they are all IGNORED. The G3 completely takes over controlling the duration of the Metz flash, and most of the time, the exposure is spot on and when it isn't, it's because you've exceeded the range of the Metz flash itself. This might happen if you get too close to the subject and you are not bounce-flashing, or if you ARE bounce flashing and the walls are simply too far away. Unfortunately, the neutral density filters for the Metz flash are no longer available, so the first problem can't easily be solved. The second problem is solved by more direct lighting from the Metz (with the attendant shadows unfortunately). But once you've got your exposure within an acceptable range, the G3 is shown to produce utterly stunning images that I can hardly get with my Nikon F100 film camera. The 60 CT-4 flash head can actually be reversed 180 degrees and then tilted, enabling you to bounce the flash off the walls behind you. The results are shadow-free images that look as if they've been exposed with the gentlest natural light you could imagine. Now there is one more complaint I have about the G3 and that is the software that comes with it for processing raw images (I only shoot in raw image mode and the first thing I did was replace the 32 MByte CF with a 512 MByte CF, which gives me 130 raw images, as opposed to 7!). The Canon software for raw images does not present you with a raw image AT ALL, but the raw image after it has been processed by all the image-affecting settings in the camera. I believe this is enabled by a second file that comes out of the camera that stores all this information. Maybe if you delete those files before you looked at them with the software, you'd see the true, raw image that the camera actually produces. I didn't wait to experiment. Instead, I bought the Adobe Photoshop Camera Raw plug-in. What this plug-in reveals is the truly stunning quality of the raw G3 hardware. Without any tweaking at all, if the exposure is accurate, the colors are as realistic as I've ever seen produced by film, and this is a raw image! The Adobe Camera Raw plug-in shows once again that hardware is miles ahead of software. What the G3 raw image software gives you is a fantasy world designed to please the uncritical. What the Photoshop plug-in gives you is REALITY, and then if you want fantasy, you can use Photoshop to create it. But at least you're starting with the most photorealistic images I've ever seen from a camera. I am stunned and amazed at the quality of the raw images I am getting from this G3 (in conjunction with my professional flash system), and can easily put up with the camera's limitations, because I've never seen anything better within its resolution limits.
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