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The analog to digital trap, no... you can't run before you walk..

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Now, looking forward to shooting with far more purpose and control rather than winging it.

All high-end digital cameras can meet that need for control, but most of them, like mine, have a simple "A" setting for times when you will be happy enough with just using the factory default, "ball park", settings.
 
I might have high levels of:

"Animism/Anthropomorphism: This is the tendency to attribute human-like qualities, emotions, or consciousness to non-human things."

I believe that explains the camera in your avatar......
 
Feeling like I've broken through some serious roadblocks. Here is a re-shoot of the window scene from today. More to come, had a good shoot in perfect light today :smile:

rags-med-web-final4.jpg
 
Weird. I hiked 10K yesterday through a snowy forest and took 3 photos.

I had a camera with a shutter that acted up like that! 😜

Reminds me of the joke about the farmer from Vermont talking to the farmer from Texas, about size of their respective farms...
(farmer from Texas) "I'd get up in the morning and drive out, and I'd not get to the end of the farm by the end of the day"​
(farmer from Vermont) "...yeah, I had a car like that once!"​
Back on topic of thread, I recall the conversion to digital entailed reading to understand some basic concept difference (or similarities) to film, the then-current idiosyncracies of digital sensor behavior (now all that is different than in 2003), but after the intial orientation, the similarities were apparent, and more learning to take better advantage of the benefits of digital.
I recall a lot of testing done by me (over time), to prove out the 'same, but different' characteristics of shooting digital vs. film. Then I got to appreciated the ease (and lack of expense) of digital in testing many different matters that photography can encompass, it actually improved my knowledge, in spite of almost 40 years of experience/knowledge already accumulated.
It seems not much time has been needed for you to transition from perplexity to confidence, Sean. Congratulations, now grow your photography even more.
 
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Here is a re-shoot of the window scene from today.

Really nice; I see you've now lost all of the green cast, with the overall balance tending towards the warm side. It's very pleasant, although I have to say that the previous version had a certain tension to it. This version is much kinder; less friction.
 
I am all for trying to "get it right in the camera" but one thing that is very hard to do in-camera is local adjustments. That is, how to control selected areas of the scene that are relatively too dark or too bright? You can use a graduated neutral density filter to tame down a bright sky or a snowy foreground -- but other than that, you would have to mess with lighting and reflectors to bring up the shadows. Easy enough in a studio, but outside of a studio, can turn into a real chore.

Film shooters are able to help even out bright and dark areas in the darkroom by dodging and burning the print -- and digital shooters can do the same with most (but not all) post-processing software.

As demonstrated by the Croatian cat, trying to bring up darker areas using global adjustments like exposure and levels can blow out highlights. The ability to select certain areas of the frame for making local adjustments is a must-have tool that gets used on almost every digital photo I make.

Couldn't agree more. Get it right in the camera.

I learned to get it right in the camera when I was using slide film. After a slide is taken other than cropping and adding filters, there is little for one to do.
 
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