Hi Edmund,
I try to give some feedback.
Just to say, I still own some Hasselblad stuff and a P45+. My plan was to use it on a technical camera. As a stop gap measure I bought a Flexbody, which worked quite well when shooting under studio like conditions but was totally unusable in the field.
There are professional guys here, like Chris Barret. He uses Sony A7r# on Arca Swiss and uses old Hasselblad CF lenses but also some of the Canon I use (as far as I know). So, I don't think professionals are ignorant, but I do think they have some different considerations than non professionals.
Just to say, Chris Barret also shoots 8"x10" on film, but I think he does it for pleasure. Chris indicated that he may buy a 100 MP X1D, once it arrives. Not because it solves some needs, but for the pleasure.
I think that amateurs and professionals have in common that they both want to make good pictures. So, they often use equipment that is adequate for the task at hand.
I my case, I was shooting pretty much with the P45+ and my old Hasselblad V system. But, once the Sony A7rII arrived it delivered as good or better image quality as the P45+. It did deliver that image quality in a convenient way, with live view and real time histograms and zebras. So, I essentially knew that I nailed the images I wanted to shoot. I think that is as important to amateurs as to pros.
Personally, I find it very exciting that we now have MFD systems, like X1D and GFX delivering MFD quality at a reasonable price. Also, I actually think that systems like the X1D and the Fuji GFX deliver better quality than say Hasselblad or Phase One in the small medium format. Why? Because they are optimized for the sensor size.
Just consider this, a Hasselblad 40/4 CFi FLE lens is actually optimized for 56x56 mm film. If you shoot it on a 44x33 mm camera it will still illuminate that 56x56 area. You are better absorbing/shielding that light if you shoot on smaller formats. Light bouncing around in the lens barrel will not improve you images.
So, I think that a system designed around the 44x33 mm sensor makes a lot of sense. I don't feel I need to invest in such a system, as I would not print very large. My max print size is more like 30"x40" and at that size I would say that 36x24 mm digital can deliver adequate print quality, when properly handled.
So, would someone give me 15k$US to spend, I would rather buy a 200-400 zoom from Canon with a built in extender than an X1D with 2-3 lenses.
Best regards
Erik
Erik,
It doesn't help - everybody here is going to ignore you because you aren't "professional" and so you can't possibly know what you are talking about, and also the examples you give are 35mm and so how can they be relevant to MF?
Back when I was younger, I did a furniture catalog shoot once for a designer in Venice Italy, and used my 24 TSE for the shots of the larger items. It was hell, 3 days, lots of pieces, with exposure times of several seconds together with strobes, balancing inside lights against outdoor, setups which took an hour at a time etc. but the results were pleasant looking and after that I knew that having a shift/tilt lens even if it is inconvenient and not sharp is a world different from not having one. If I were a pro and owned a Hassy, a shift/tilt adapter for something, anything reasonably wide, eg. a legacy MF or large-format lens, would sound lovely.
Edmund
