Sloppy of me. Those were my words. What he said:
"What I was looking for," he says, "was how does it handle the
transition of tone from highlight to shadow, how does it handle deep,
deep shadow, what does it look like sharpness-wise. The Phase One was
better. Any photographer who doesn't think so is fooling themselves.
[But] to my eye, it wasn't $22,000 better. The question [I asked
myself] was: Ultimately, will you see a difference on the printed
page when this is turned into dots and ink? And the answer was, no, I
would not. That was the deciding factor. If money were no object, I'd
be a back shooter. But [money] is a thing.
I concluded it was overkill since it would make no difference to his
intended use.
Winsor
Long Beach, California, USA
On Jul 28, 2005, at 7:27 PM, R. Jackson wrote:
>
> On Jul 28, 2005, at 5:36 PM, Winsor Crosby wrote:
>
>
>> That was just the point of the article everyone has been talking
>> about. The Phase One is overkill.
>>
>> http://www.robgalbraith.com/bins/multi_page.asp?cid=7-7883-7913
>>
>
> He didn't say it was overkill, he just said that he didn't know if he
> could justify the added cost. He also says:
>
> Some people really love the subtlety that you can find in film. And
> other people don't care, or don't know, or don't want to know. But
> there are some of us who like that extra five percent, that magical
> part that film possesses, and I can tell you that, for me, I'm still
> looking for that five percent. I want to see that in my digital
> files, and I don't see it yet. I see the other ninety-five percent.
>
> I kind of wonder if that extra five percent lies in the ZD or in a
> big medium format back. Of course, at the price I'm unlikely to find
> out anytime soon. ;-)
>
>
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