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Author Topic: Lucas Films shooting major feature with dslrs...will MF ever enter this market with a CMOS camera?  (Read 4487 times)

asf

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Quote from: JonathanBenoit
Remember, professionals are really the only photographers that can afford to spend 30,000 on a camera.

You'll find this to be less and less true.

Most of the posters here are not making their living with photography. There is another DMF forum where the majority of members are not professionals but well-heeled enthusiasts.
Dealers tell me they are selling DMF well enough these days, but less and less to pros.

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JonathanBenoit

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Quote from: asf
Dealers tell me they are selling DMF well enough these days, but less and less to pros.

How so?  For example, are you saying that a bank teller, teacher, or stock broker are buying the Phase One 645 DF with digital back?
« Last Edit: April 18, 2010, 01:59:48 pm by JonathanBenoit »
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LKaven

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Case in point.  A while back, the staff photographers at amNY were asked to reapply for their own jobs.  The applications weighed heavily on the addition of video skills.  The in-house cameras are 5DIIs.  I would bet that this scenario was repeated at many newspapers and magazines around the world.

There is a certain component of this that involves whether you can make a living or not any longer and how.  The same wisdom obviously does not apply to landscape and architecture photographers.  Others of us are looking around to see how the new dogma is going to affect us.

bcooter

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Quote from: JonathanBenoit
How so?  For example, are you saying that a bank teller, teacher, or stock broker are buying the Phase One 645 DF with digital back?


Why do you think there is those PODUS seminars?

Even the costs of cameras has hit the high end dslr makers.  One camera dealer I buy from told me in the  first 4 months they received the d3x he sold 24 or 25 of them and not one to a professional photographer.

It's not that medium format is not "good" or not usable in a professional world, it's just become more marginalized due to client expectations towards volume, adding motion imagery to most projects and the fact that nearly every still photograph gets so heavily manipulated in post processing.

Even before the economy and the advertising media changed, I shot a lot of side by side Canons, Nikons, Phase etc. and almost every time the client picked a dslr file and not because it was better or worse, just because due to the speed and ease there were always more options and though I shoot people I know still life and architectural photographers that have the same experience. (Mostly due to Canon's new tilt shifts)

The cameras didn't change, client expectations and needs did.

Now what is funny lately we've used our medium format backs more than the previous year, mostly because we are doing so much work in post with outlining, and adding changing, swapping out elements and when we have enough light, (and enough time on set) we'll shoot it with a back rather than the Canon cause it makes the retouchers job a little easier, unless you get pattern moire.

BC
« Last Edit: April 18, 2010, 02:18:09 pm by bcooter »
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asf

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Quote from: JonathanBenoit
How so?  For example, are you saying that a bank teller, teacher, or stock broker are buying the Phase One 645 DF with digital back?

Not only the Phase but Hasselblads, Alpas, Leica S2's ... I don't know what they do, I doubt a bank teller or teacher can afford one (unless you count the multitude of workshop leaders as teachers, and they're big proponents of DMF), but plenty of bankers, dentists, CEO's, retired engineers and other wealthy individuals who are photo buffs and need ultimate quality can and do buy them. And then go on workshops, fun shoots, etc and post online about them. Google PODAS and have a look at the members. $30k isn't a lot of money to some people, and there are plenty of people in the world willing to spend that amount and lots more on their hobbies. They are the future of DMF. There won't be enough of a pro market to support it.

I ask my assistants what cameras the other photogs they work for are shooting. Apart from one guy who works for a big still life shooter who uses a phase 65, they ALL shoot canon now. Some still have and/or rent Hasselblad H cameras, but they don't use them much at all. Archit photogs too are going to canon, even Norman McGrath. The pros I know, myself included, are all shooting canons for almost every job.

Photography started as an avocation of a few wealthy individuals. Pro's didn't come along for a while. It seems to be going back to its roots. There will be pros needed for commercial image making for sure, but (still) photography (in the traditional sense) may not be necessary for that much longer.
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asf

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Quote from: bcooter
One camera dealer I buy from told me in the  first 4 months they received the d3x he sold 24 or 25 of them and not one to a professional photographer.
BC

I do personally know one pro d3x user, a friend who is a well known lifestyle/travel photog. I asked why he got it (as I had also been told by one of NY's bigger dealers/rental houses that basically "no" pros are using the nikon but they had sold some to non-pros) and he said he was always a nikon user and had tons of lenses. He'd never shot digital before, always film, so just went to the store and got the pro nikon body.
Usually when we meet we talk about business and not cameras, but next time I should ask how he's liking his old lenses+d3x combo ...
« Last Edit: April 18, 2010, 02:33:56 pm by asf »
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JonathanBenoit

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Quote from: asf
Photography started as an avocation of a few wealthy individuals. Pro's didn't come along for a while. It seems to be going back to its roots. There will be pros needed for commercial image making for sure, but (still) photography (in the traditional sense) may not be necessary for that much longer.

Daguerre, Matthew Brady, William Henry Jackson, ... Were they the wealthy individuals?
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