Once again, I can't imagine buying a system that you plan to keep for years, or at least the lens set for years without testing it.
I say this not because the Nikon is not capable, like I say, I've never held the new one, but I do know how to work a file and the medium format files really work deep.
In my segment of the industry there is a huge push to heavy post production, anything that will achieve a different look and style.
We went through the austere period of shooting a gazillion shots a day and now since most advertising and lifestyle look the same, we're back to working in styles that are more planned, more thoughtful, with more and more added post work to achieve something unique.
I'm not saying the Nikon won't do it, but as much as medium format has lagged behind dslrs in some usability, it took years for the dslr companies to make a camera that even gets close to what even a third generation digital back can produce.
As I mentioned I don't do landscape, but my studio does a lot of post work and to equate digital to the older world of larger format film, do you think if Ansel Adams was at his peak today, he would shoot a 35mm camera or a larger format?
I'd bet the larger format to be able to pull the detail out in layers and blend them, which is somewhat the digital equivalent of the old zone system.
Understand I'm not trying to sell anyone, especially the original poster because I think he had has mind made up somewhat before this thread got to two pages.
All I'm saying is I'm always surprised when I set down to really work a file, how much detail I can pull out of my old ghetto p21+ and p30+ regardless of pixel density.
We are right now finishing up a high profile image set this week that has approx. 12 layers per version, when finished we'll probably have gone through twenty layers including special effects. I could have easily shot the job with any camera and it would be accepted, but I knew with the celebrity subject, knowing that each session would probably one yield 3 or 4 good selects and knowing how unique they wanted the look, out of my cases of Nikons, Canons, Leica and Phase backs, the only stills we shot were tethered to the Contax Phase.
The only footage we shot were with the REDs.
And one more thing. If you want sharpness and detail, regardless of format, get the heaviest tripod or support you can lift. I'm serious, because if you want sharpness, detail and useable imagery, nothing will assist with that like a good heavy set of sticks.
As far as saving money on cameras, with professional cameras there is no money savings. just like cars, you turn the key, they all drop in price. You might not loose as much with a dslr due to the buy in price, but there is a reason why.
As far as taking that savings to fly and shoot in a location that is exotic or new, I've never seen anyone take a few grand in camera savings and use that as motivation to shoot better. In fact i've found that the more you invest in something the more your inclined to use it to it's fullest.
It's funny. My assistants all have dslrs. The latest versions, 5d3's and one has a Nikon D800. They all use them, but when they're shooting something that they really find important, they ask to use my digital backs.
IMO
BC
P.S. One thing I strongly suggest to the mfd companies is to get your cameras into the borrow lens type of rental system. We've used them from time to time and their prices are real motivators to test something for a week or two we normally wouldn't bother with, or rent an exotic lens that buying would take a long time to recover the price.
