Michaels comments about MFD

[Ken R]

I didn't realize this was being talked about here, I posted this initially on the about this site section, anyway, here goes:
Michael, I strongly disagree with your assessment that lower pixel count digital backs are becoming irrelevant because the pixel count increases of digital SLR's. As you say earlier in your article, it's about time people stop worrying about pixel counts and start thinking about quality and in that regard digital backs give a very different look than a DSLR. A 22 MP DSLR is about as different from a 22MP digital back as a 16MP DSLR is from a back, it's not the pixel count that you get a back for (though it can be useful) it's the different look. I'd be surprised if you didn't agree.
[a href=\"index.php?act=findpost&pid=172754\"][{POST_SNAPBACK}][/a]

Back in the film days I skipped the 645 format and went up from 35mm to 6x7. I found that while 645 offered a slightly different look than 35mm there wasnt as large a difference as with 6x7 (specially when using appertures in the f8-f16 range as I do with strobes) which did offered a significantly different look. 4x5 is still in a league of its own obviously.

But todays MFDB's dont even have sensors as large as a 645 negative let alone 6x7 so the difference in look (from a full frame DSLR) might be more due to sensor characteristics and processing (and lets not forget optics which vary from mfg to mfg) rather than a large difference in sensor format. Its pretty subtle.

At any rate, if you need/want to shoot ultrawide then medium format is a bad choice, was then, is now. For that 4x5 film is great and in digital obviously 35mm format DSLR's from nikon and canon are best due to the available optics.

[T-1000]

Leaf AFi brochure

22, 28 and 33 MP and I recommend testing the 33MP Vs 39MP sensors before discarding the former. It is the only sensor at the moment that lets you exploit the resolution of the Schneider AF-D lenses...

Yair
[{POST_SNAPBACK}][/a]

Actually, since the new Schneider AFD lenses work on the Rollei 6008AFD (I think), you can use a Phase One/39MP back with these sexy lenses.

[a href=\"http://www.captureintegration.com/2008/01/31/phase-one-comes-to-the-rolleiflex/]http://www.captureintegration.com/2008/01/...the-rolleiflex/[/url]

Good news for everyone.

[pprdigital]

Actually, since the new Schneider AFD lenses work on the Rollei 6008AFD (I think), you can use a Phase One/39MP back with these sexy lenses.

http://www.captureintegration.com/2008/01/...the-rolleiflex/

Good news for everyone.
[a href=\"index.php?act=findpost&pid=175817\"][{POST_SNAPBACK}][/a]

The AFD Schneider lenses will not work on the Rollei 6008. However, the original AF lenses (f2.8/50mm, f2.8/80mm, f4/150mm, f2.8/180mm, f4.6/60-140mm) will work, of course.

For fans of those lenses and that camera, there have been and continue to be interchangeble adapter options that allow you to mount Sinarback (54M, 54H, 75H, e54LV, e75LV) or Hasselblad (CF22, CF39, CF22MS, CF39MS) digital backs.

The adapters for the e54LV, e75LV are the only adapters that revolve without having to remove the back.

Steve Hendrix
www.ppratlanta.com/digital.php

[203]

OK, I have a question...

What the hell is an AD or CD doing looking over your shoulder in the first place!  YOU'RE the photographer...what do they hope to achieve other than pure intimidation? 
[a href=\"index.php?act=findpost&pid=173114\"][{POST_SNAPBACK}][/a]

I don't remember the last time I shot WITHOUT an art director breathing down my neck. I live and work in NYC, and that is how it's done for the most part - in fashion anyway. The fact is that this is a collaboration, and I'd rather that the A.D. know exactly what I am doing so that there are no surprises after the fact. We want to make sure we hit the target, not miss it. Like having the client sign a polaroid back in the day.
This is not an issue of trust, but of the complexity of a shoot. (Your web site doesn't seem to have any pictures on it so I can;t tell what you do, but I shoot fashion where there are many, many variables. You can not just plan the shoot in advance and expect you are going to know exactly what the outcome will look like...) You need look at the monitor and make adjustments as you go...and that includes the art director, client, stylist, etc.

[Dustbak]

I actually like an AD or Stylist to look down my shoulder. I more often have a stylist working with  me since I do mostly just the product (fashion as well).

Having an AD or Stylist working with you really takes a load of your shoulders. You have some more eyes to watch the details, you also know that you are working into the right direction (especially if the client is there as well). It does leave you as a photographer to concentrate on the photography part of the job.

There are a million ways of getting it wrong and just 1 to get it right, I like all the help that I can get to do it right so my client is happy with what he/she gets.

You can feel intimidated by that but you can also welcome it as a necessary contact that brings joy and is really helpful.

[godtfred]

What Sinar should do is to make a 28mm "DX" that would not work with film like the Hasselblad.
[a href=\"index.php?act=findpost&pid=175318\"][{POST_SNAPBACK}][/a]

I did not completely understand what camerasystem you wanted such a 28mm for, but:

If this 28mm is for the Hy6, it still has to be placed in front of that huge mirror, making it a difficult task (but probably solvable, given a high to astronomical street price for such a 28mm.)

The smaller image circle of a DX type lens will help, but the mirror and sensor distance is the real culprit.

If this 28 was to work on a new camerasystem, then why the Hy6?

[witz]

Back when I was shooting on a hassy with an H25 the widest I could get away with a hassy 30mm fish. I made an action in photoshop to straighten it out. The number 3 was magical! .... increase canvas by 30%, then -30 distort sphere.... lines straight then crop out the wings on the corners.

nowadays the 1ds3 with a "good" 17-40 suits me fine.

in the old days clients gathered round the light table and peered the roids.... now they gather round the 30" and watch the liveview. I don't think they are even aware (or care) what cam is at the end of the cord... as long as the files are good. Most loe the "70's" look style in capture1.... feels less ordinary to them.... nostalgic is hot right now along with shallow dof. in fact.. I'm find stills and video are traveling on parralell lines right now.... everyone ( my ad's ) wants an s-curve with shallow dof.

back on topic...... I think MFDBs will continue to integrate into camera bodies. I think makers will produce wide lens' with smaller image circles just like canon and nikon have done. The top and bottom always mimic each other in order to find the most profitable middle. What drives sales is innovation and roi... the only thing holding us back in the economy.

I think it's great that a site like this can continue to cater to both the artsy right brainers and the left brain measurebators.

[Morgan_Moore]

I did not completely understand what camerasystem you wanted such a 28mm for, but:

If this 28mm is for the Hy6, it still has to be placed in front of that huge mirror, making it a difficult task (but probably solvable, given a high to astronomical street price for such a 28mm.)

The smaller image circle of a DX type lens will help, but the mirror and sensor distance is the real culprit.

If this 28 was to work on a new camerasystem, then why the Hy6?
[{POST_SNAPBACK}][/a]

IMO the solution for the HY6 is to lock the mirror out of  the way and drop in a wide lens one would need a viewfinder accesory of course to compose and to guess the focus most likely

the schnieder 24 digitar is less than 6cm in diameter [a href=\"http://www.schneideroptics.com/ecommerce/CatalogItemDetail.aspx?CID=1325&IID=1879]I think![/url]

Nikon early fisheyes did this

S