Pushing the cost envelope might be good business with Porsche, Ferrari and Lambo, but even there you reach the too-high level: how many Bugattis have you seen on the road?
Neither do I see the rich am taking up much of the slack - such cameras and their attendant baggage are not as convenient a show of wealth as is the Leica; not all are called Daddy-Something-Or-Another and require to be drowned in bling.
Rob C
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Wealthy people will always buy 'the best' whether they use it or not. Not many Veyrons will be driven at 406km/hr, but, just to own one, mmmm. You won't see many used by taxi drivers or couriers (read: pro drivers) though.
There are two sorts of photographer - amateurs and pros. This distinction does not account in any way for talent or budget, just circumstances and choice. The higher the MFDBs go in price a higher proportion of well heeled amateurs will buy them since the mainstream pros can less and less justify the purchase on a pure ROI basis.
It goes back to the old adage - cheap, good or quick - pick any two.
In photography this 'triangle' translates as Cost, Convenience and Quality (3Cs ). Quality is not really a problem, just shoot 10x8 film, but you pay for this in convenience, big time. If you want quality and convenience together (MFDBs) then you have to pay through the nose. Both formats are at the extremes of their character.
Different people will be happy with different compromises within this three way tension; Pros generally need
enough quality, plenty of convenience and will pay medium-high prices. For amateurs, convenience is somewhat less important, pure quality is often paramount and many are prepared to pay the earth for it.
What I hear in these threads is pros asking for less noise, higher ISO and faster capture rates (convenience) rather than pure Mpx count. Amateurs and high-end enthusiasts seem happy to go for the quality high ground at any price - at least those who can afford it and don't have to justify the purchase to an accountant.
This back, like the P45 before it (and maybe the P25), marks a divergence in buying patterns and motives within the photographic equipment market.