Detail of a small section of the Palace of Fine Arts, San Francisco.
Perhaps I was channelling my inner Atget when I made this photograph a few years back. I was wandering around San Francisco with a camera — a favorite activity in non-pandemic times — and I ended up at the Palace of Fine Arts near the waterfront. It is a remarkable place with a remarkable history. Originally constructed as part of the 1915 Panama-Pacific Exposition, it was the only structure that wasn’t taken down afterwards. Originally meant to be a temporary feature of the Exposition, it deteriorated and was eventually completely taken down in the 1960s and reconstructed by the mid-1970s. .
Something in the photograph illustrates how I do (and do not) see when I’m making photographs. One one hand I and other photographers often see things that others might miss. On the other hand, because we are focused on one way of seeing our subject we may entirely miss things that are completely obvious to others. Sometimes we “discover” these elements of our photographs later. (Someone pointed out that a difference between photography and painting is that the photographer cannot know everything in the image.) In this case, it was only years later that I noticed the rather striking symbols that appear on the surface of this building — symbols that no sane person would include today. This led me to some quick research that suggests that in 1915, and before the atrocities of WWII, the symbol in question had an entirely different meaning.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
An interesting little article at site-sponsor B&H Photo (“History of the Canon 5D“) got me thinking back on this camera a bit today. The 5D was my first full-frame DSLR, as it was for quite a few other photographers. It was not the first full-frame DSLR, but the earlier models arguably made much less of an impact, either because of design issues that prevented them from being as successful or because their cost was simply prohibitive for too many photographers.
Canon EOS 5D
Today the 5D may seem dated by comparison to more recent cameras with higher megapixel sensors, additional useful features (dust reduction, video, live view, and more) and sometimes lower prices, back in 2005 the 5D seemed like quite a remarkable development. At this time, almost all photographers were shooting cropped sensor DSLRs and the MP level of sensors was universally a lot lower than what we regard as normal today. So a 12.8MP sensor full frame body seemed – and was! – state of the art in terms of potential image quality. And the price was a “mere” $3299 list – no trivial amount but much less than the price for the equivalent Canon 1-series full frame model that was the likely alternative. Far more people could find a way to afford the $3299 (or, as the price softened, $2500) camera than a $8000 camera.
Of course, the $3299 model was not the $8000 model. The 5D construction, while just fine, was not equal to that of the legendary 1-series “tanks.” Of course, this also meant that the camera was smaller and lighter – something that quite a few photographers found to be pluses. This was especially true of the large number of landscape photographers, who often carry the gear away from roads on their backs. The AF system was, again by today’s standards, nothing special. But the image quality was as good as it got nearly a decade ago.
I moved up to a 5D Mark II about 3 or 4 years after the introduction of the 5D. The 5DII was a worthy successor to the 5D, nearly doubling the pixel resolution to 22MP and adding a bunch of useful features like live view (which I cannot live without now!), a better display, excellent video quality, a functional dust reduction system, better high ISO performance, and more. In every way the 5DII equals or exceeds the performance of the 5D, but…
The 5D is still as good of a camera as it was back then, photographs made with it still hold up beautifully.
(I have kept my 5D for the past 4 1/2 years or so since I got my 5DII, primarily as a back-up body but occasionally to let me shoot with two cameras at once. That said, the time is finally coming to sell it. I haven’t quite put it on the market yet, but if you are a San Francisco Bay Area photographer who is looking for such a thing, let me know. I’ll also be selling a copy of the Canon EF 70-200mm f/4 L lens – the non-IS version.)
Update July 26, 2014: The 5D body has now gone to someone else who should be able to get good use out of it. Since I occasionally read posts from people thinking of buying one today, I thought I’d finalize this story with some thoughts on that topic.
If you can find a good copy of the original Canon 5D (which some refer to informally as the “5Dc” or “5D Mark I”), it should produce photographs as well as it did when it came out about a decade ago. Many of us used the camera to produce some very wonderful photographs, and it can produce good sized prints if you shoot and post-process with skill and care.
Is it a worthwhile purchase today? That is a complex question.
With current prices floating around the $500 mark as I write this, the thing is certainly inexpensive. It is quite likely the least expensive entry point to full frame DSLR photography. People used it to make good photographs when it first came out, and a good unit should be capable of the same quality today. However, I do not recommend buying a used 5D to very many people. Here’s why…
While the 12MP full frame sensor was remarkable in 2003, today that is more than a bit behind the curve. So while you potentially gain something by moving to the larger sensor, when it comes to system resolution you also lose something to the lower megapixel count sensor. Today typical cropped sensor bodies have 50% more photo sites. In addition, even the least expensive cropped sensor bodies today have a better AF system, better low light performance, faster operation, sensor dust reduction technology, useful features like “live view” and video that are missing from the older 5D.
What if you really need full frame and cannot afford it? This is a tricky question. First, I think that quite a few people who are convinced that they “need” full frame really do not. Current cropped sensor cameras can produce truly excellent image quality. Unless you do some very specific things in your photography, the odds are that you will not get better image quality from the 12MP 5D than you would from even an entry level contemporary cropped sensor DSLR. But let’s say you are still convinced that you need full frame but are on a budget. What are you going to do for lenses? Clearly, you are not going to get the advantages of full frame if you cannot also get good lenses.
While I can imagine a very, very small percentage of camera users for whom the value of the full frame sensor might be great enough in comparison to the many other features that you give up with the 5D, for most people it just isn’t a great deal. And keep in mind that the price of the much more capable Canon 5D Mark II (which adds the features from my list a couple paragraphs up) with its 21MP sensor is rapidly dropping toward the $1000 point as I write this. Between $1000 on a 5DII (which is still my primary camera), and $500 for the 5D, I would think about delaying a purchase and saving a bit more.
YMMV, so feel free to leave a question or comment below.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
A boy walks up a steep sidewalk past iconic though dilapidated San Francisco buildings.
Shot in not the absolute greatest neighborhood of San Francisco – but not the worst either. Initially my main subject was this very narrow and very worn looking building – a typical San Francisco structure. I also liked the very muted color palette of the scene – most browns and tan with abit of white and some gray from the sidewalk and street in the foreground, with everything lit softly – no direct light – by the open sky and reflections from buildings on the sunny side of the street. Of course, I wanted a person in the frame, and I quickly spotted this young fellow walking briskly up the hill. A small detail: I like the way that the angle of his back is parallel to the one spot of red color on the wall above him and to the fire escape ladder higher up on the front of the building.
This photograph is not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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