Chris Ross Leong
New Member
Glad to hear that the MF family is still alive and kicking - I was even still registered and my old password still worked. Yipee!
Great to be here.
In the intervening years since my digital Hasselblad adventures (been and gone now), I have gone back to 120 film - with a Bronica ETR for portraits and the nifty Fuji GA645Z.
That plus the now state-of-the-art drum scans mean that I can get up to around 300MP from each negative, should I want to.
Since the color and gamma data is at the molecular (emulsion grain) level of detail, and since transparencies I shot in medium and large format perhaps 50 years ago are still good to go, all I need is to shoot with the film discipline and knowledge gained all those moons ago and my shoots are sill, relatively speaking, on a par with anything digital these days, even as far as cost effectiveness goes.
Yes, perhaps if and when the time comes I shall go back to digital (heh heh!) for work purposes. However, I don't see it happening for my personal and stock library work. I shoot tests and location scouting shots with my iPhone and then when the time is right, I go back there with my trusty old 120 film cameras or my Crown Speed Graphic with its 120 back or 4x5 backs, and nail the shot properly, as I was trained to do.
About the only time I wouldn't do that is if a pixel-peeping client were sitting next to me and steering the shoot through me. Which, as we know in the professional world, has been known to happen.
At which time I'd expect said pixel-peeping client to be paying through the nose for that privilege, and I'd be renting the best of digital equipment that money can buy. Only I'd not be buying it for myself, the cost doesn't justify that kind of expenditure.
Oh, I do own an older D800E and a D600 as well now, to take care of those 24/36MP clients in the meantime. But they just think they're getting great shots, and don't really care, if it's above 24MP, about how many extra MPs there are per shot.
Glad to know us lads and lasses are still hanging in here!
Cheers
Chris
Great to be here.
In the intervening years since my digital Hasselblad adventures (been and gone now), I have gone back to 120 film - with a Bronica ETR for portraits and the nifty Fuji GA645Z.
That plus the now state-of-the-art drum scans mean that I can get up to around 300MP from each negative, should I want to.
Since the color and gamma data is at the molecular (emulsion grain) level of detail, and since transparencies I shot in medium and large format perhaps 50 years ago are still good to go, all I need is to shoot with the film discipline and knowledge gained all those moons ago and my shoots are sill, relatively speaking, on a par with anything digital these days, even as far as cost effectiveness goes.
Yes, perhaps if and when the time comes I shall go back to digital (heh heh!) for work purposes. However, I don't see it happening for my personal and stock library work. I shoot tests and location scouting shots with my iPhone and then when the time is right, I go back there with my trusty old 120 film cameras or my Crown Speed Graphic with its 120 back or 4x5 backs, and nail the shot properly, as I was trained to do.
About the only time I wouldn't do that is if a pixel-peeping client were sitting next to me and steering the shoot through me. Which, as we know in the professional world, has been known to happen.
At which time I'd expect said pixel-peeping client to be paying through the nose for that privilege, and I'd be renting the best of digital equipment that money can buy. Only I'd not be buying it for myself, the cost doesn't justify that kind of expenditure.
Oh, I do own an older D800E and a D600 as well now, to take care of those 24/36MP clients in the meantime. But they just think they're getting great shots, and don't really care, if it's above 24MP, about how many extra MPs there are per shot.
Glad to know us lads and lasses are still hanging in here!
Cheers
Chris
