Luminous Landscape Forum
Equipment & Techniques => Medium Format / Film / Digital Backs – and Large Sensor Photography => Topic started by: Dennis Carbo on January 25, 2011, 08:24:12 am
-
Hi All,
Currently I use a MFDB on a Rollie 6008, and Nikon DSLR for my Architectural kit. Since i have a V-mount adapter as well, a buddy let me try his P2 set up with V-mount sliding back etc. 2 Things I really loved were the ability to use live focus and the stitching ability. For the Higher end clients I use the MFDB, if mobility and speed is needed its Nikon DSLR. So..it got me to thinking, I am trying to get higher end clients and will be using the MFDB perhaps I should look at a new rig ?...my thoughts are:
Rollei X-Act2 - I could use my current Rollei Lenses and still get live view and stitch i believe
Sinar P2 - greater stitching and movement ability than x-act2 but bigger and more expensive as i will need lenses
Cambo DS/RS or similar Tech camera - dont know much about these..never actually had my hands on one - probably most expensive option
Nikon D3X with T/S lenses AKA - abandon MFDB and shoot everything with a DSLR ?
I do make a living with my photography and plan to keep doing so so i will invest in equipment as needed, but started later in life than a lot of you, I have a lot to learn and realize it - I am really humbled at the level of work many of you produce....that being said just kinda thinking out loud so no need to slap me around guys - be gentle ! LOL.....Thoughts ?
Regards,
Happy shooting
Dennis
-
John,
That is a great bit of advice, I am glad to hear your take on the business....My previous career was actually Sales ! I suppose many of my sales skills have transitioned to building a photography career - perhaps its a good formula to keep on with. So far I have just improvised and done what I thought looked good in the frame to me.
Still....I sometimes feel like a deer on the Ice....legs all slippin and sliding ! Its a tough time to start a business from scratch - I set goals every year and try to figure out how to get there. One way is to ask advice on LULA ! So thanks again for the advice I will take it to heart !
Regards,
Dennis
-
I agree a fair amount with John. I make my living shooting Arch with a 5DMKII and T/S lenses, and have not had any issues with that even with big national clients. The only complaint I have gotten is that the native files are too big.....really. I have no plans to move up to MF. On the other hand, I try to impress my clients with my images, not my equipment. I might add, by my actual testing, that while the DS3 has somewhat better IQ than Canon, the Canon 24 TS II lens is slightly better than the Nikon optically and much better mechanically. Glass like T/S lenses don't get upgraded very often but bodies will. Both Canon and Nikon just upgraded their wide T/S lenses so these are what we will have to live with for quite a few years. In DSLRs, buy the best glass and the competition between the companies will steadily, every two years upgrade the IQ of their bodies. the DS3 is ahead right now in terms of dynamic range (which is always nice but not necessary), but the next round of Canons will catch up. And yes stitching is a normal part of my shooting. I do 3-6 on every shoot and it is effortless with DSLR T/S lenses.
However.......client relations (I would include salesmanship in this) are very very important to me and should be to everyone for sure, BUT CRs are still very much secondary to the quality of the work. Some clients will hire a complete asshole if his/her images are superior. They only have to put up with him for like two or three days right? They will chalk it up to him/her just being a narcissistic artist (not an uncommon trait in designers either-they get this). You can offer the best CRs, but if the images are inferior, only clueless clients will hire you and the best designers are NOT clueless when it comes to images. And price is important too. There are some incredible designers out there with great futures who early in there career don't have the big bucks. Find those guys=do incredible images and they will be with you for life. That is the holy trinity, images/relationships/price.
-
Great post Kirk.
I do too arch and interior design photography as main income these days. I also work with a 5DII and T/S glass. I'm impatiently waiting for the new 45&90 TS's.
The national magazine (sheet-fed coated) I mainly work to, is completely satisfied with my files. Since my 17TS my work looks better in terms of resolution, color and dynamic range. I'm almost 58. It is godsend to work with the help and the immediacy of a modern dslr in communion with tilt&shift glass and yet being able to produce a gorgeous 24"X36" ink-jet print. Live view is now a "how could I lived without" thing. I'm expecting the 5D3 to come up with a vari-angle lcd screen with even more resolution. That alone (I know) is going to help me find and get better angles and different perspectives. The righ-angle viewer is so awkward and difficult to use!. I couldn't be any happier. Nowadays, digital MF is like a teenager's dream vanished, until the day I win the lotto! :D
Eduardo
I agree a fair amount with John. I make my living shooting Arch with a 5DMKII and T/S lenses, and have not had any issues with that even with big national clients. The only complaint I have gotten is that the native files are too big.....really. I have no plans to move up to MF. On the other hand, I try to impress my clients with my images, not my equipment. I might add, by my actual testing, that while the DS3 has somewhat better IQ than Canon, the Canon 24 TS II lens is slightly better than the Nikon optically and much better mechanically. Glass like T/S lenses don't get upgraded very often but bodies will. Both Canon and Nikon just upgraded their wide T/S lenses so these are what we will have to live with for quite a few years. In DSLRs, buy the best glass and the competition between the companies will steadily, every two years upgrade the IQ of their bodies. the DS3 is ahead right now in terms of dynamic range (which is always nice but not necessary), but the next round of Canons will catch up. And yes stitching is a normal part of my shooting. I do 3-6 on every shoot and it is effortless with DSLR T/S lenses.
However.......client relations (I would include salesmanship in this) are very very important to me and should be to everyone for sure, BUT CRs are still very much secondary to the quality of the work. Some clients will hire a complete asshole if his/her images are superior. They only have to put up with him for like two or three days right? They will chalk it up to him/her just being a narcissistic artist (not an uncommon trait in designers either-they get this). You can offer the best CRs, but if the images are inferior, only clueless clients will hire you and the best designers are NOT clueless when it comes to images. And price is important too. There are some incredible designers out there with great futures who early in there career don't have the big bucks. Find those guys=do incredible images and they will be with you for life. That is the holy trinity, images/relationships/price.
-
Edit:
I wrote that kind of late last night after a long day shooting and a few beers, so I'm scrapping the whole reply and starting over. I would suggest you try to standardize your platform.
I shoot almost nothing but architecture and furniture. Here's the kit I take out to each shoot:
Arca Swiss M Line 2 View Camera All about it here. (http://christopherbarrett.net/blog/?p=800)
Arca Swiss Rm3d Tech Camera All about that here. (http://christopherbarrett.net/blog/?p=1350)
Lenses (which can mount on either) 35mm, 43mm, 55mm, 70mm, 90mm, 135mm, 180mm
Phase One P65+
Canon 5d2
17mm TS-e, 24mm TS-e, 17-40 zoom, Leica R 28-70
Red One
RPZ 17-50mm, Cooke Panchro/i Primes (18,25,32,50,85,100) and a couple Zeiss ZF's 35, 85
THIS IS WAY TOO MUCH CRAP!!! But I use every bit of it.
I would love to use only the 5d2 and totally pimp it out, but I prefer working with the tech/view camera for composing stills and that little extra image quality. The Red is obviously for film work, which sadly the 5d2 isn't adequate for... moire problems are killer in architecture.
Which way should YOU go? Really depends on what you shoot. If it was only architecture, I'd tell you to ditch the Nikon and get a tech camera and a few lenses. You'd still have the Rollei for added flexibility.
For maximum flexibility/usability I'd almost favor selling everything and going Canon. Buy the full TS-e line and some fast primes for people/action work... 5d2 1ds3... your call. I say Canon, because even though I love my D3 way more than the 5d2... Nikon can't touch Canon's TS-e lineup.
You could drop down from MFDB to DSLR and none of your clients present or future would notice any difference in the imagery. I notice that difference and have just a couple clients who do so I stick with it... plus I just enjoy shooting with MF more (I find Tilt-Shifts annoying to work with --- even though my 17 continues to blow me away).
It's not uncommon for me to pull the Arca off the tripod and put on the Canon when I find it better suited and I've never seen a client react... during the shoot I'm talking about architecture in a way they would never expect someone outside the discipline to comprehend and I'm showing them images on the laptop that they love and by the end of it what's on the tripod has no impact on their experience.
Well, heh, except for the Red. That always blows everyone away... LoL.
CB
-
I occasionally shoot architecture since about a year .
My gear is an ALPA12SWA + APO-GRANDAGON 45mm .That lens came out of my LF stock and was adapted for the ALPA .
As my biggest prints are of A2 size , the resolution of that lens together with my CFV39 is rather good .
Yes Chris , the IQ180 , that would be my dream as well . The year has just started and the production of that back as well .
We will see , what surprises this year will bring .
-
Dennis, you have to at least recognize the level of photographers you have posed this question to. The shooters that have responded are some of the top in the field. They will defend their choices of equipment simply because these are just tools of the trade.
Kirk is right. Client relations and impressive images are going to be your selling point, ultimately.
Kirk Gittings is one of the best. No debating that. But, Kirk implies (in a subtle way) that he's not using his equipment to make "the Sale". Maybe not directly but what Kirk shoots with is not low end. Lets see, Canon 5d mark2, B&h lists the body at 2,500.00. Kirk mentions "t/s lenses", plural, so he has more than one. There are 2 high end Canon lenses each about $2,000.00 and one mid range which is about $1,200.00. Add that up and that's pretty high end. I'm guessing he uses some extra lighting every once in a while (excuse me Kirk if I'm wrong) and maybe an assistant or two. I could be wrong there too. But don't be fooled Dennis, clients notice things regardless as to their background: Creative Directors, Architects, Builders, …the secretary following you around because no one else had the time, lol. Clients see you pull out gear that they know they can't get at the local Bestbuy.
Maybe and just maybe, there is a perceived value at first: Client asks, just for conversation, "WOW, fancy gear. What are you shooting with?"
Then absolute value afterwards: "Fantastic images Mr. Photographer. Thanks for a great job and it was great working with you. When you deliver the images we'll talk about the Next Project."
Ahhhh, bingo… Value
You have to have the Right tools for the job. Learn the craft you've chosen. Create and impress.
Ah heck, you have a Rollei. Great tool.
Now, just go and become a valuable asset to your clients.
- Rudy / El Paso, Texas
Sinar and Phase One rig
-
Thanks for the kind words Rudy. Yes, Rudy that is the setup, all the t/s lenses, a truck full of strobe and hot lights, always at least one assistant plus an extra body. But truly IMO compared to Chris Barrett, it is relatively low end. The lighting is 20+ years old and Jim Hunter-the assistant is 60 like me. The same equipment I used for film-old and trusted :)! We use the lighting allot less than with film, but still need it.
I frankly love the ease and freedom of using a DSLR. I am definitely more productive and feel more creative with it. After some 28 years of shooting a view camera DSLRs are liberating and frankly just fun to shoot. I still love to shoot 4x5 b&w film for my personal work, but now that is a distinctly different effort than what I do all week and as a result more fun too.
-
Oh hush, Kirk. You know you rock!
CB
-
Thanks for the Replies guys !
@ Rudy - I posed here BECAUSE of the level of photographers I hoped would respond - I draw inspiration from seeing work I know is of a better caliber than my own ! It makes me even hungrier for knowledge ;D
I shoot about 80% Architecture, 20% Aerials
For Aerials is all Nikon DSLR with Tele lenses and a Kenyon Labs Gyro set up
Right Now my Architecture clients are usually Kitchen designers, Interior Decorators, Architects and very high end Real Estate - I've done some work for the State of Connecticut as well.
Critique is appreciated !
www.dmcdigitalmedia.com
John S was kind enough to look at my site and I am in the process of making some changes - TY John !
I use a small Light Lowel Light kit with Pro Lights and Tota Lights as well as 4 speed lights on occasion using the Nikon creative lighting system.
@Chris I too am a gear junkie....champagne taste - beer budget however !
Perhaps I will try out my buddys Canon outfit for a week or two, I am very happy with my Nikon gear but not married to it !
Lot to think about,seems its more about the vision, composition and client relations than the actual gear...I just need to keep that in mind. I really love the entire process of photography, even if I am sore and tired after a long day I cant wait to deliver the images and see their reaction !
-
Oh hush, Kirk. You know you rock!
CB
Yeah but my rocks are smaller and cheaper than yours ;)!
AAMOF, I was "rocking" better up till this year. It looks like the recession is going to hit me good finally this year. All those projects that have been keeping me busy were set in motion years ago-before the recession-that big Reno project I shot last fall was started 9 years ago! There are some signs of growth out there recently published by the AIA (http://www.architectmagazine.com/economic-conditions/abi-report.aspx), but I won't see any work from these new projects for a couple of years-unless they are houses-that takes a year. So time to put more energy into my personal work for awhile and ride this out. So I have two shows, in Albuquerque and Santa Fe, coming up of my B&W work. Never a dull moment.
-
Mr. Gittings,
Your welcome. Well deserved kind words. I hope to reach your level someday.
You know, there is one piece of gear that I like to mention to other shooters that I use, Ibuprofen. After a long day on my feet man that stuff is magic. Oh and a good pair of shoes.
Maybe we should start a thread not on lenses, camera bodies, pixels, or the latest software but rather what shoes we wear on the job.
Dennis, I hope you have a good pair of shoes.
- Rudy
-
Maybe we should start a thread not on lenses, camera bodies, pixels, or the latest software but rather what shoes we wear on the job.
- Rudy
Yeah, that's funny and in the same time deadly serious!
-
Here's my experience equipment wise. I shoot with both a Mamiya 645 with a full compliment of lenses using a P45 and Canon 5Dmk2's with both wide T/S's and two L series zooms. While the files my P45 produce I find superior, the shift functions on the Canon 17 and 24 are a real advantage and the 24 has amazing edge to edge sharpness (the 17 is good but not as good as the 24). The tech cameras are very interesting to me, I'd love to buy one and a few lenses but I can't put together a business plan that justifies the expense (the same applies to a new back, unfortunately). My hope is that the Canon resolution continues to improve with the advent of the 5dmk3 and also I recently bought a Mirex T/S adaptor that seems pretty slick (I'll put it to the test Saturday) but it will allow me to utilize my old Mamiya lenses on the Canon with a pretty full range of movements. For shoes (both everyday and golf) I recommend the Ecco brand. Jim
-
Mr. Gittings,
Your welcome. Well deserved kind words. I hope to reach your level someday.
You know, there is one piece of gear that I like to mention to other shooters that I use, Ibuprofen. After a long day on my feet man that stuff is magic. Oh and a good pair of shoes.
Maybe we should start a thread not on lenses, camera bodies, pixels, or the latest software but rather what shoes we wear on the job.
Dennis, I hope you have a good pair of shoes.
- Rudy
Ibuprofen is a regular part of my kit too. Those long days on concrete in summer from sunrise to well after sunset can be brutal. Even so I'd rather be out in the hot sun than in the studio. I wear MBTs. They are easy on bad knees-absorbing the shock.
-
I really like using the Nikon D3x. It's fast and quick to shoot like a DSLR and has a file almost as flexible as digital back. It really works well for my style of shooting as I don't use much lighting and tend to do a lot of post work and really push the files (especially in the shadows). Canon's T/S lenses do have me going back and forth a bit as I have heard they are noticeably better than Nikon's offerings. I haven't tested this myself. And that 5DmkII is just so incredibly inexpensive for all that it brings to the table. Pretty amazing.
But like everyone else said, all the gear talk takes a seat way in the back when it comes to making great imagery. I've found that the more talented and successful the client the less they care about what kind of camera you're using. That type of stuff just isn't on their radar. All they care about is the finished image.
-
I really like using the Nikon D3x.
So did I, then I testet the new 24 & 17 mm ts from canon.... Now I have a 5dII, a plastic camera with lesser quality files compared to the D3x - but the lenses are great - just a bit of a warning ;)
-
For shoes (both everyday and golf) I recommend the Ecco brand. Jim
Danish back
Danish shoes
;-)
-
For Architecture I used to use a P45+ on a Cambo WRS with Schneider 24XL, 35XL, 47XL and 72, I was planning on getting the Rodenstock 23HR for larger image circle than the 24XL.
Then Canon came out with the new 17TS and 24TS, and I got these lenses and a 5DII for the price of the 23HR.
These 2 lenses changed the game for me. Now the Cambo mostly stays at home, I work with 1DsMKIII (I much prefer the 1DsMKIII files over the 5DII, the 5DII also looks like a toy camera) and 17TS, 24TS, 45TS (Canon please update this lens) and 90TS, also in the bag an excellent copy of the 100-400.
None of my clients has ever questioned my choice of equipment...
-
I gladly use a 5DII, and I take no personal issue with comments about the gear, but I don't get the plastic camera comments. They never make sense. The CF card door on the 5DII sucks but otherwise it's a solid little camera, with a full metal chassis: http://a.img-dpreview.com/reviews/CanonEOS5DMarkII/Images/bodyinwhite.jpg
Compared to the 1DsMKIII or D3X it feels like a toy camera - files are good, but I much prefer the handling of the 1DsMKIII.
One thing I really like is the C1-C3 custom function on the 5D, I wish the 1Ds had a similar function.
OK and the 5D have excellent movie function.
-
I gladly use a 5DII, and I take no personal issue with comments about the gear, but I don't get the plastic camera comments. They never make sense. The CF card door on the 5DII sucks but otherwise it's a solid little camera, with a full metal chassis: http://www.dpreview.com/reviews/canoneos5dmarkii/page5.asp
It's the feel of the camera that I don't like - it's completely subjective - I just an other feeling handling a D3/x than the 5D - totally other feeling IMO
From an objective point of view, you are right, it's a very good little camera.....
Again, if we are talking of joy in the process of creating images regarding cameras nothing comes even close to my Alpa's - but the new lenses from canon get's the job done and done good - and yes, please update that 45 mm ts ;)
-
5DII and 1DsIII have the same sensor. I find it funny someone can see a difference. Does that difference exist in print? Most likely not. Can't say I have ever seen it on screen either.
I am not here to argue with you, you believe what you want.
Cheers, T
-
I'm not sure that which Canon camera body we use has much ultimately to do with the discussion at hand. The difference between a IDsMIII and a 5D MKII body is subtle compared to where we were say as late as 6 years ago shooting 4x5 film in view cameras. Obviously a number of us are shooting FF DSLR's with T/S lenses and satisfying our client and our personal demands. This to me is a bit of a watershed development in the long rich history of AP. I hung onto film longer than most and made the jump when the first 5D came out. A couple of years later with the new wide T/S lenses and the 5DMKII there is already a big IQ leap. What is coming next? A jump of a couple more stops of dynamic range would make allot of my remaining lighting unnecessary. A more refined type of HDR would contribute allot too. Whats down the road? More AP video? I am doing some of that too for the first time. I'm really a still guy, but what the heck-if there is a real market for it........
-
So do you guys all use Manfrotto 410 heads? What sort of tripod heads do you use?
-
So do you guys all use Manfrotto 410 heads? What sort of tripod heads do you use?
One of the best investment I ever made was to get the Arca C1 Cube, expensive but worth every penny.
I had the Manfrotto 405 and 410 before the C1, nice ok heads but nothing like the Cube.
Remember that the sharpest lens in your bag, is your tripod.....
-
I've used the 410 for many years for my view cameras (yes, I still use them) and for my DSLRs. Its cheap and solid as a rock. I ran over one once and it jammed up good on an out-of-town shoot. I pounded on it with a rock-freed it up and am still using it today.
-
Kirk, did you ever try the Cube ?
-
and what about the Arca Swiss D4 ? or D4m ?
-
I love my Cube. I was fine using the 410 for years, but now that I'm used to the Cube I hate using the 410. I thought the Cube was expensive, then I went shopping for fluid heads.
(http://christopherbarrett.net/blog/wp-content/uploads/2010/07/Rm3d_001.jpg)
-
Kirk, did you ever try the Cube ?
Nope. I look at cost vs. benefit and I just can't see it. I might change my mind if I tried it but..........understand I used a 50 year old, highly modified Calumet Widefield for shooting 4x5 film for commercial architecture for many many years. Cost vs. benefit-the Calumet cost me $175.00 (no s__t!-used in like 1990). I consistently had students at SAIC that had better cameras than I did. The Calumet did everything I needed it to (like take a 47mm XL lens on a flat lens board) and was virtually indestructible-but I had the finest lenses in the world. Could you run over the Cube, pound it back into shape with a rock and go on shooting? ;D
-
What is coming next? A jump of a couple more stops of dynamic range would make allot of my remaining lighting unnecessary.
Kirk,
How could that be? Increased dynamic range would reduce the need for fill flash, but what about using flash for directional light?
-
I keep getting tempted by Canon and the T/S lenses. I know a couple of dealers here, and I've handled the cameras and lenses for hours on end. The files are more than good enough to satisfy almost any client, the lenses are sharp and everything will fit into a regular camera bag. But, there's no joy. The Sinar is a beast, the Betterlight has heavy cables and must always be tethered, there's an IR filter to remember to put on and off, but as I see the image coming up on the screen, I'm happy that I didn't get the Canon...
Kumar
-
For my architectural work I use a 5DII with T/S and also a SINAR Artec with some lenses and the Emotion 75 Back.
The quality of the Canon Files is really good, even for large images.
But my personal experience is that the results with the SINAR are better, but not for technical reasons.
For my kind to see architecture the workflow with the SINAR is perfect, slow, but perfect.
Interiors are really fine with the 5D tethered, but for the rest the MF is my choice.
(Perhaps only because I would be a fool buying the MF and using the Canon)
Michael
www.mhfa.de
-
At the risk of being contentious, I'd like to suggest another answer to the OP's original question. As an architect who takes photographs I have to say there is one absolutely fundamental piece of kit that separates the really good architectural photographers from the also-rans - a well-developed knowledge of the subject. If you want to access higher-end clients that is the one thing which will make the difference - far more so than a new camera or lens. ;D ;D
Sorry - couldn't resist the tease. But I am being serious at the same time.
-
At the risk of being contentious, I'd like to suggest another answer to the OP's original question. As an architect who takes photographs I have to say there is one absolutely fundamental piece of kit that separates the really good architectural photographers from the also-rans - a well-developed knowledge of the subject. If you want to access higher-end clients that is the one thing which will make the difference - far more so than a new camera or lens. ;D ;D
Sorry - couldn't resist the tease. But I am being serious at the same time.
I absolutely agree. That goes without saying.
You simply have to understand architecture, space and light to be able to photograph successful.
A lot of architectural photography is just plain commercials, looking all dressed up, but have no sensibility or understanding of light and architectural spaces.
Most successful architectural photographers that I know of have some kind of education within architecture (and none within photography)......
-
I absolutely agree. That goes without saying.
You simply have to understand architecture, space and light to be able to photograph successful.
A lot of architectural photography is just plain commercials, looking all dressed up, but have no sensibility or understanding of light and architectural spaces.
Most successful architectural photographers that I know of have some kind of education within architecture (and none within photography)......
I wrote a book about architectural photography and about 80% is about the relation between architecture and photography, 20% technique.
I am an architect and I have an education as a photographer, but I disagree.
The best photographers have a lot of knowledge about architecture, but the most successful photographers are those with new ideas in marketing and advertising.
Michael Heinrich
-
I wrote a book about architectural photography and about 80% is about the relation between architecture and photography, 20% technique.
I am an architect and I have an education as a photographer, but I disagree.
The best photographers have a lot of knowledge about architecture, but the most successful photographers are those with new ideas in marketing and advertising.
Michael Heinrich
-
The best photographers have a lot of knowledge about architecture, but the most successful photographers are those with new ideas in marketing and advertising.
Words of wisdom, which is one reason (I also just happen to love architecture) why I hang out with architects, sit in on and participate in design reviews at the local university, am very involved in the AIA and historic preservation projects (not just photographing-but doing the dirty work) and teach in two university architecture schools and one historic preservation department. You need to speak the language.
-
FWIW, here is a recent nice little Blurb portfolio of one of my favorite award winning local architects. The photographs are about 95% mine with a few by the architect and one building shot by Timothy Hursley. The whole book can be previewed. Jon Anderson Architecture (http://www.blurb.com/bookstore/detail/1871808?ce=blurb_ew)
-
FWIW, here is a recent nice little Blurb portfolio of one of my favorite award winning local architects. The photographs are about 95% mine with a few by the architect and one building shot by Timothy Hursley. The whole book can be previewed. Jon Anderson Architecture (http://www.blurb.com/bookstore/detail/1871808?ce=blurb_ew)
Congratulations Kirk, it looks very good, I could almost be tempted to purchase one.
Did you do the design ?
Cheers, T
-
Kirk,
How could that be? Increased dynamic range would reduce the need for fill flash, but what about using flash for directional light?
I would guess that this would depend on your style, your clients, and the kinds of subjects you typically shoot.
-
Absolutely. Most of my clients are architects who want photos to reflect their lighting. Oftentimes with film we had to light the crap out of spaces just to get them to look on film vaguely like they looked to the eye. We are getting to a place with digital where that native lighting look is getting easier.
-
While on this subject, do those who have used both formats see any difference in the amount of sensor bloom between the formats? Except perhaps in very small amounts, this is an artifact I don't care for. With film, a little bit of halation and/or flare could sometimes add a bit of an atmospheric effect, but I don't think sensor bloom is as useful in this regard. I am thinking of this particularly with regard to interiors and very bright lights or windows.
-
I find it to be a problem with either camera (Canon or Mamiya/P45). It's something that's time consuming to retouch too. Sometimes I'll use strobe to light the window and frame after capturing my main bracket than blend it in. Jim
-
Yeah, it's not nearly as organic. I shot this on Tri-X 35mm. I friggin love the halation!
(http://christopherbarrett.net/personal/street_work_01/gallery/album/large/Street_Book01_009.jpg)
I do find my P65+ to handle these areas much better than my 5d2. The transition from high key to blown out is softer, more gradual and it exhibits less to no purple fringing.
CB