> [BTW, I've been through the numbers again with as
> comprehensive an analysis
> as I could put together regarding costs . . . film still came
> out on top,
> measurable with decent confidence that it really does cost
> less, but not by
> a huge margin. What digital really does is shift significant
> costs; it
> doesn't reduce the total . . . not if the "hidden" and
> indirect costs are
> captured.]
John's analysis does sorta echo my own. To get the equivelent to
what I have in analog capture requires a substantial investment
not only in cameras and storage, but in lenses too. My current
crop of lenses are long since paid for and produce a look
(bokeh, etc) that you have to spend mightely to even come close
to with digital--especially considering the smaller sensors.
I've found a compromise, though, that works quite well. I shoot
B&W and/or digital for candids and one-off formals, but film for
everything going into the B&G's album. This has reduced my film
consumption for an average wedding to three rolls of Portra.
Four tops. The Minolta A1 has proven to be a good performer for
shooting weddings and events with, provided I stick with what
works correctly.
John's comments about lighting are dead on. Digital's natural
response curves are much different than film. Not necessarily
better or worse, but different. How much correction is required
to process the response curve alters how some of the tones are
rendered. Case in point, Canon skin tones trend towards the
magenta. In correcting that, it falsely skews other colors. The
end result is a relatively accurate picture, but not one that
holds a candle to Portra. Counterpoint to this is the Olympus
E1 which uses a Kodak sensor that appears to be a little more
accurate in it's initial response curve and once processed has a
much warmer and glowing look to it.
Hidden costs? There are plenty if you don't amortize the costs
over different uses. I use my computer for more than just
editing and storing wedding photos, for example.
AG
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