1. Balancing color - getting the 'right color,' is far, far easier with
digital than with film;
2. Anyone who suggests that shooting a wedding using digital requires
more bodies and more money is smoking some really cheap crack - Among
other things, who uses 128 mb cards anymore - try 512 or 1 gig. Second,
who works that kind of situation with a single card, requiring constant
downloads? How about 5 cards - 10 cards; after all, unlike film, you
only buy them once.
If you want to argue that you prefer film, for whatever reason, argue
that - I've just spent my weekend scanning 50 images from 26 rolls of
good old tri-x :-). But don't try to make your case for film with
statements that are simply not so. Just say, "I prefer film." Lot's of
people, including most people on this list, do. :-)
B. D.
-----Original Message-----
From: owner-olympus@xxxxxxxxxxxxxxx
[mailto:owner-olympus@xxxxxxxxxxxxxxx] On Behalf Of John A. Lind
Sent: Monday, September 01, 2003 3:09 PM
To: olympus@xxxxxxxxxxxxxxx
Subject: Re: [OM] Albert's quest
At 04:54 AM 9/1/03, you wrote:
>Sorry to bring up the digital again, so in the wedding case the E20
>will be the winner, it is a SLR with shutter quieter then RF, no
>winding or rewinding noise, the viewfinder will not totally black out
>during exposure. The resolution is good for protrait, the color
>accuracy and skin tone rendering is perfect, it also provide excellent
>highlight and shadow details.
>
>C.H.Ling
I think not . . . starting with color accuracy . . . I've seen too many
questions on other forums about "how do I fix this" after the automagic
camera fails to do so. It's not just getting pleasing colors or skin
tones, it's getting very exacting ones and having them consistently the
same across hundreds of proofs. Don't underestimate a bride's ability
to
remember *exactly* what color *everything* was at her wedding, including
the color of the church floor and the draperies on the reception hall
windows. She **will** complain and demand rework of everything that
doesn't match exactly. Some of them have been planning the event down
to
the very smallest of details since they were three years old. There's
enough "back end" work as it is handling hundreds of proofs without
having
to spend enormous amounts of time trying to color balance 30-50 digital
images and make all the colors look exactly the same across all of them
*and* all the rest of the photographs.
Working available light inside some of these places is not that easy and
digital falls down completely in low light. Many are deceptively *dark*
inside. Press 1600 is OK most of the time but I've been in places where
TMax P3200 (or Ilford Delta 3200) at Push 2 may not be quite enough
speed
if someone is in one of the darker corners. Opening up beyond f/2.8 is
asking for trouble with depth of field. Most of the photographs are
done
with focal lengths longer than 50mm which demands a minimum 1/60th
shutter
speed for a reasonable yield rate. The E-20N has a max ISO 320, and
that's
definitely, without any doubt, not enough speed . . . 2-1/3rd stops
slower
than 1600 and 3-1/3rd stops slower than 3200.
I've read several books on "digital" weddings and the work flow
presented
in each of them includes assistant*s* (emphasis on plural). At least
one
is required as a "grip" on site handling memory, batteries, file
downloads
and backup on a laptop. 128MB of memory will hold 32 images (1:2.7 EXIF
JPEG) and I wouldn't think of using an incredibly lossy 1:8 compression
EXIF JPEG to cram 80 images in. At least one more "master printer" is
needed to handle "back end" work with the files afterward. The
alternative
is BIG $$$ for a pro lab to do this with each proof made from a digital
file. Everything I've been able to work out for a "digital" work flow
at
least doubles the price simply to recoup all the labor and/or lab costs,
and that's minimalist.
For me, using a digital for anything at a wedding is a very expensive,
big
**loser**.
-- John
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