I concur. It's about what you do, your clients needs in your location.
I'll add that a 1DS3 would NEVER fly in NYC for advertising and I've never seen one used for any serious ad work. No art buyer at any agency that I work with would accept less than a MFDB*
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I love the word NEVER.
I've heard that a lot. I will never stop shooting film, I will never use anything but an RZ, I will never show an inkjet print. Yea, I love the word Never.
This is a public forum so a lot of this is difficult to address (and risky).
Anthony, I assume your in New York and yes NY is the center of the world when it comes to photography, but it's not the only place high media value, high cost, high quality photography is produced, though few people in our industry would believe that.
But your right, NY production is usually big, with white walls, 4 huge Breezies, two digital techs and a digital back hooked to the multiple cart 'o rocks.
You also have to remember that NY is the epicenter of photographers that very reluctantly moved from film and don't really want to know about digital, so the obvious request when hiring a digital company for a big project is "give me the "BIG" camera, becuase truth be told, they don't know the difference between a 20, 30, 40 or 60mpx file and think digital manipulation is the second installment payment on the Imac they bought at the Apple Store in Soho.
We all play this game and I personally own a lot of cameras and on a large job all of them come out on a table. Sometimes I use them all, sometimes just one, but the site of two large folding tables covered with over a hundred grand worth of equipment does make a client feel they're getting their money's worth . . . same with the two tech stations, the multiple monitors and all the busy little bees running out of the studio to get those special lattes and cupcakes.
That's just part of the biz, so I accept it.
Then again I can't count the number of times I've started a project tethered to one of the tech stations, (sorry, cart o' rocks), hooked by my 16' string and ended up shooting 50% of the job with a smaller camera.
Usually when that happens I know there is about a 85% chance the client will pick an image from the smaller camera.
Don't misunderstand this, as some of my best (and lately most noticed) work has come from the medium format cameras, nobody should fool themselves into thinking big work can't be done with a smaller camera.
After all Annie shoots the Queen with a Canon and a zoom. That's pretty big.
Anyway today I went by a camera dealer and for the first time held a 1ds3.
What an amazing viewfinder.
So could I shoot all of my work with a Canon?
I think I'll answer this one off line, but I do have a few questions for Anthony and everyone here.
How many digital backs do you own?
How many have you owned.
How often do you rent them?
Ah yes, the target market.
JR