> I can see that, now Walt has succumbed, I shall be one of the
> last
> bastions (can a person be a bastion?) against the move to
> digital, if
> only on the basis of initial outlay against longevity ;-)
The writing is on the wall for me. The primary issue for me is
what to do about B&W. Once this is solved, the only thing
holding me back is money.
One possible method for B&W that I'm experimenting with is to
make contact prints using the 4x5 negs with some of the
large-scale dodging and burning and then flatbed scanning the
print. Then the output is directed to either inkjet or FCA.
Biggest problem I'm running into is on final output and the
inability to get exactly the color neutrality I'm seeking.
Maybe one of these quad-tone kits might help. But that "glow"
is still missing.
I'm starting to really like shooting with the 4x5. It's taken
me a year to get back into it, but now I'm hooked. Tilts,
shifts, rises, lowers. Totally manual--not a battery in sight.
Time exposures lasting all night are possible. Oh, and how
about multiple-exposures!
What about the results? Well, that's another story. I'm
working on a picture taken up in the mountains which I shot with
both the M*nolta A1 and the 4x5. 8x10 comparative prints from
each reveal something interesting: The 4x5 possesses incredible
tonal depth. The picture almost comes alive and is 3D with
almost the ability to reach in past the trees with your hands.
But the M*nolta A1 shot held its own. The A1 shot was sharper
and revealed details lost in the 4x5. Now granted, part of the
problem is in the enlarger lens, but still this was startling.
However, as soon as I stepped up to 11x14 print size, it was all
over for the digital. The 4x5 became sharper. But when shown
the 8x10 prints, probably 2/3 of my test subjects preferred the
digital shot. What grouses me is that the digital shot will be
the one that sells--even though I "KNOW" that it's inferior.
AG
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