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Author Topic: If you were purchasing a new MFD camera today, which would you choose?  (Read 15369 times)
mtomalty
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« Reply #40 on: January 27, 2012, 01:06:58 PM »
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Money no object? I would go for a Porsche and keep my Contax with 22mpx Imacon, ....the Porsche would surely insure better MODELS for posing, thus more success!

If you require a Porsche to get models perhaps an examination of other areas of
your 'equipment' should be a priority  Wink

Mark
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fotometria gr
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« Reply #41 on: January 27, 2012, 01:32:22 PM »
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If you require a Porsche to get models perhaps an examination of other areas of
your 'equipment' should be a priority  Wink

Mark
You din't get this right Mark, I don't require no car to get models.., actually I don't give an F for this type of "photography" (I don't even consider it as photography), my comment has to do with how important is a "photographer's" appearance with his image of it! To be more specific, try to read my earlier posts which have a lot to do with "P1 or Hass?", ...well "how do I look better", or "star"? (hand expressions are allowed). What's the point of that conversation? Is it spending the money of an expensive car to buy ...better photography? Jesus! Theodoros. www.fotometria.gr
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Willow Photography
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« Reply #42 on: January 27, 2012, 01:59:18 PM »
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I would rather say "Jesus" to your comment about shooting models :"I don't even consider it as photography".

That must be one of the most stupid and arrogant comments ever.

 
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Willow Photography
Juanito
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« Reply #43 on: January 27, 2012, 02:15:03 PM »
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Just to throw a wrench in the discussion, the new Nikon D800 is about to be announced any day now. With 36 megapixels and version with no anti-aliasing filter, this camera is definitely a MF competitor. The new Nikon glass is awesome. Unless you need the high sync speed - which can be partially overcome by using the Pocket Wizard Flex system - the distinct need for MF is getting slimmer. I still like the look of MF but unless you really are using it, there's other options out there.

John
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amsp
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« Reply #44 on: January 27, 2012, 02:29:35 PM »
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You din't get this right Mark, I don't require no car to get models.., actually I don't give an F for this type of "photography" (I don't even consider it as photography)

I read this comment and chuckled, then I went to your so called portfolio and laughed out loud for a good minute or so. Thanks for the comedy Theo Roll Eyes

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Willow Photography
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« Reply #45 on: January 27, 2012, 02:41:20 PM »
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+1  Smiley
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Willow Photography
NikolaBorissov
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« Reply #46 on: January 27, 2012, 02:54:54 PM »
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Fred: thanks, mate! Still a very, very long way to go, though Smiley
Actually, the multimedia thing doesn't really concern me... I'm sticking to stills, not really interested in motion as of now, at least not in the way that I see the majority of fashion photographers is - completely ignoring any depth, storytelling, etc, usually ending up with a variation of the horrid cliché of models touching their faces in slow motion with French music in the background. 99% of what I see shot in the last couple of years with DSLRs in the fashion field is simply moving pictures with no cinematographic value. Because good commercial video requires much more resources, budget, preproduction, etc compared to good stills, most clients will not be interested in spending MUCH more for the addition of video (and so it will be not worth doing from my point of view as a content provider), and (what most photographers fail to comprehend) it's a completely different language with completely different algorithms, where the most important thing is the ability to tell stories, and not learning to rig a 5dm2. So the whole "convergence" thing - nah, it ain't really happenin' for me. I'm a photographer, not interested in being somebody's DP. Some day I'll start experimenting with direction, but the camera is not the weak link in that equation - I am. And directors don't need any equipment besides a viewfinder and a laptop - how cool is that Cheesy

 

"You din't get this right Mark, I don't require no car to get models.., actually I don't give an F for this type of "photography" (I don't even consider it as photography)" - yeah, I always thought of myself as of some kind of, ehm, carpenter or plumber, say. WTF?
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fredjeang
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« Reply #47 on: January 27, 2012, 03:35:48 PM »
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Fred: thanks, mate! Still a very, very long way to go, though Smiley
Actually, the multimedia thing doesn't really concern me... I'm sticking to stills, not really interested in motion as of now, at least not in the way that I see the majority of fashion photographers is - completely ignoring any depth, storytelling, etc, usually ending up with a variation of the horrid cliché of models touching their faces in slow motion with French music in the background. 99% of what I see shot in the last couple of years with DSLRs in the fashion field is simply moving pictures with no cinematographic value. Because good commercial video requires much more resources, budget, preproduction, etc compared to good stills, most clients will not be interested in spending MUCH more for the addition of video (and so it will be not worth doing from my point of view as a content provider), and (what most photographers fail to comprehend) it's a completely different language with completely different algorithms, where the most important thing is the ability to tell stories, and not learning to rig a 5dm2. So the whole "convergence" thing - nah, it ain't really happenin' for me. I'm a photographer, not interested in being somebody's DP. Some day I'll start experimenting with direction, but the camera is not the weak link in that equation - I am. And directors don't need any equipment besides a viewfinder and a laptop - how cool is that Cheesy


Yeah, that's what is generally happening.

In Madrid we are lucky to have Recuenco http://www.eugeniorecuenco.com/
Both talented photographer and advert cineast. But it's more the exception than the rule.
He's been into "convergence" way before all the convergence stuff appeared, and he's very experienced now.

http://vimeo.com/31954546
http://vimeo.com/31963953

http://vimeo.com/search/videos/search:recuenco/st/6e96c484

Enjoy, this is very high motion level

All that is very new, everybody's learning and among all the people who jumped into it, many photographers will give-up or will keep going with the easy clichés but some will learn to do well and will do great stuff, I'm sure.

 

Best regards.

« Last Edit: January 27, 2012, 03:59:12 PM by fredjeang » Logged
PdF
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« Reply #48 on: January 27, 2012, 03:47:35 PM »
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My daily work is done with a technical camera. No Hasselblad, Mamiya, PhaseOne or Hy6 allow me to do what I do every day easily with my technical view camera. So, I can choose between Linhof, Sinar or Arca.

The multishoot back gives a quality of reproduction that 1 shot back can not afford to offer. Two possibilities: Sinarback or Hasselblad.

The best integrated system is a Sinar P3 camera with a Sinarback 86H. They are medium format, aren't they?

For me, this is the best way.

I could love the Fuji GX680, which has too short life...

If I would be interested by professional photographs of landscapes, people or something else, the solution should be very different.

PdF

« Last Edit: January 27, 2012, 03:52:08 PM by PdF » Logged

PdF
NikolaBorissov
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« Reply #49 on: January 27, 2012, 03:59:09 PM »
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Oh, yeah, I worship Recuenco and his work, (especially the Loewe commercial with a massive wink to Kar-Wai, this is simply breathtaking), but he is a completely different story, as you say Smiley  Bruno Aveillan, who is my favorite commercial director (have you seen his work for Louis Vuitton, Shangri-La and all the perfume brands? Most beautiful thing ever created), is also an accomplished fine art photographer , but again, completely different story. These two guys' work follows a completely different pattern, nothing to do with the dslr-wannabe-crowd.

Of course, it's a great thing that some great directors will emerge thanks to this newly found mass access to cheap video tools, but there is one major problem to that: as with digital photography, now with cheap digital video the world is flooded by an immense wave of unconscious mediocrity, and everybody who can make you somebody is so bombarded with it that they actually stop giving a ****, and this makes the whole making-it-big process way more difficult even for the few ones with real talent. Yes, everybody has an open "speakers' corner" with the internet, but it's of barely any real use - actually, more and more I believe that the less online presence you have, the better. Steven Meisel doesn't have a website. Nor Camilla Akrans. Etc. So I believe that not being part of the ME-ME-ME-desperate-for-attention-online-facebook-linkedin-crowd is what could make somebody stand out in this all-online, all-mediocre age, as long as you mingle with the right people *in real life*. Sorry, went way offtopic Smiley Just my 2 eurocents Smiley
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fredjeang
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« Reply #50 on: January 27, 2012, 04:07:54 PM »
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I completly agree with your lines.

Aveillan Vuitton is simply absolutly beautifull. All those 2 guys touch is extremely good whatever they do. (it's curious by the way because recuenco and Aveillan are "made of the same wood" if I might say). Yeah, that's not 2 cents productions and talent. Everything is top, the crew, the post etc...

You're also right, they are "more" accomplished cineasts at first.

I also totally agree with you about the internet presence, and specially the social networks.

Cheers.
« Last Edit: January 27, 2012, 04:13:31 PM by fredjeang » Logged
NikolaBorissov
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« Reply #51 on: January 27, 2012, 05:01:50 PM »
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As they say - great minds think alike Cheesy
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fotometria gr
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« Reply #52 on: January 28, 2012, 02:52:18 AM »
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I read this comment and chuckled, then I went to your so called portfolio and laughed out loud for a good minute or so. Thanks for the comedy Theo Roll Eyes


You should see my reaction, when I had a look in yours..... I stood in "awe...", in fact I think I've never seen better lighting in my whole life! Tremendous... how you do it man? The nearest I've come to this is when I used the self timer and was just focusing the camera letting it fire by it self. But I was never able to achieve ...that! Thank you for sharing. Regards, Theodoros.
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amsp
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« Reply #53 on: January 28, 2012, 03:27:54 AM »
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You should see my reaction, when I had a look in yours..... I stood in "awe...", in fact I think I've never seen better lighting in my whole life! Tremendous... how you do it man? The nearest I've come to this is when I used the self timer and was just focusing the camera letting it fire by it self. But I was never able to achieve ...that! Thank you for sharing. Regards, Theodoros.

Hahaha.. you are a silly little man aren't you.
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fotometria gr
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« Reply #54 on: January 28, 2012, 04:22:15 AM »
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Hahaha.. you are a silly little man aren't you.
You seem not to like people that admire your work... Never mind, I would take anything from such a great artist as yourself..., I feel honored that you bother to address to me. Thank you, Theodoros. www.fotometria.gr
 
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amsp
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« Reply #55 on: January 28, 2012, 05:41:42 AM »
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You seem not to like people that admire your work... Never mind, I would take anything from such a great artist as yourself..., I feel honored that you bother to address to me. Thank you, Theodoros. www.fotometria.gr
 

lol, playing the martyr card now? Look buddy, if you can't take what you dish out you might want to stop insulting people left & right on this forum. This isn't exactly the first time you've been behaving like an ass around here.

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fotometria gr
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« Reply #56 on: January 28, 2012, 06:38:22 AM »
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lol, playing the martyr card now? Look buddy, if you can't take what you dish out you might want to stop insulting people left & right on this forum. This isn't exactly the first time you've been behaving like an ass around here.


Insulting?  Shocked I only said that I don't consider this kind of shooting as photography, It's my opinion.., who ever insulted you? I don't like meat either... do you feel that insults butchers by saying so? I don't like "blockbuster" hollywood films either, I don't think it has anything to do with cinematography, I prefer some Felini or Tarkovsky or Kurosawa... do you feel that Michael Bay is insulted by this? Who is the one here that is insulting the other?
  Back to the OP..., IMO this kind of "photography is better done with a Sony a850 or an a900 (FF.. just to be able to keep DOF shallow if chosen otherwise an APS-c would do) and the ...Porsche I mentioned before ...for the same amount of money as the cameras discussed here, I do think that the model plays a more important part for the success of the picture than the photographer and you'll find plenty among publishers that believe the same. You may also find that the models would be easier to work with a "photographer" that drives a ...Porsche than with one with a MFD camera, in fact the may not care for the camera (nor do the publishers). It's only my opinion and I do take your "language" against my opinion as a privilege (your opinion on my photography even more so..). It just proves me and my view on photography ....right!  Kiss Regards, Theodoros. www.fotometria.gr
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eleanorbrown
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« Reply #57 on: January 28, 2012, 09:07:08 AM »
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I'm on my 4th Phase One back...currently have the P65+ and use it on a Hasselblad H2 camera and several prime lenses.  I have stayed with Hasselblad camera simply because I like all their leaf shutter lenses...no vibration on shutter release.  I'm going to stay with the Phase One P65+ as any more megapixels would be a hinderance to me....more hard drive space, needs more processing power and I don't make super large prints that need more megapixels.  I have always enjoyed the quality I've gotten from Phase One so that would be my recommendation..any one of their backs.  Eleanor
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Graham Mitchell
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« Reply #58 on: January 30, 2012, 06:35:45 AM »
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I bought my Hy6 just a few months ago, and the answer is still Hy6 until something better comes along.
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Don Libby
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« Reply #59 on: January 30, 2012, 11:20:08 AM »
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I just recently sold all my Leica gear that I had been using as a companion to my Cambo WRS/P65+ and went with a Phase DF body and 3-lenses.  Now I shoot completely MF with a 3-lens kit on the Cambo and 3-on the DF and all I have to do is switch the P65+ to whatever mode I wish to use.

Works for me!  Grin

Don

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