Digital BW, The Print

Paul

What is the deal with 220 that you would make such a
strong negative recommendation. Not challenging you,
just don't understand

Thanks
Woody Spedden

--- Paul Aparycki <tawow@...> wrote:


---------------------------------
Diane;

You sound like you shoot much of the same thing that I
do for my personal
pleasure . . . I earn my living doing food ads and
product shots for
packaging (with film thank you). I have used the
Pentax 6x7 in the past and
liked it very much . . . never bought one though. I
used Hasselblad for many
years, then switched to Mamiya RB/Zs . . . a great
camera, but it really is
a studio affair . . . just too bulky to waltz around
the countryside with.
At present I am shooting all my personal "MF" with a
Sinar and a Toyo Field
using a zoom back (I know, bulkier than a Mamiya . . .
but lighter and
greater versatility) . . . I shoot in 6x12, then I
scan on an Epson flatbed
. . . am still looking for a good deal on an Imacon
scanner (I feel one
coming soon . . . I hope). I have spent the last 6 - 8
months fooling around
with some smaller Epson printers while I try to zero
in on what I like for
myself . . . and the projects that I do.

If I were you I would try to get my hands on a Mamiya
G. While I am not a
rangefinder nut, and don't know if you are either, it
is a light, fairly
compact unit with superb optics (which unfortunately
cost far more than
Pentax's optics). It also is a good studio unit
because you have a leaf
shutter (excellent outside with fill flash too) . . .
you just have to get
over not seeing through the lens . . . not an
insurmountable task . . . a
bit of practice, some (many?) goofs . . . and you will
find your way.

As to the workflow issue . . . well that is a simple
one to fix. If you can
afford the gear, and you are shooting a reasonable
amout of film . . . that
means there will be a fairly good "workload" from time
to time . . . so do
what any "professionally" oriented photographer would
do . . . hire an
assistant to develop the film. You have twenty,
thirty, maybe forty or more
rolls to process? (not unreasonable . . . we only have
10 exposures remember
. . . DON'T start using 220 you will regret it). There
are a truckload of
people who would jump at a few bucks for a day's work
(probably a hell of a
lot of them on this list). There . . . half of your
workflow problem solved
. . . if they do a good enough job, maybe then can
learn to scan too . . .
ALL of this a damn site cheaper than a Phase One 54
back and it's hundreds
of "accessories" needed to get it to work.

Last point . . . in your calculation, make sure the
FIRST thing you buy is
the maximum amount of memory your computer can swallow
. . . all of this
super-duper-gee-whiz techno crap will mean spit when
you try to open a 100mb
plus file on a computer that goes into cardiac arrest.

good luck

Paul Aparycki


>Thanks all for your input and I'll take any more
anyone has to give.

>Ken, I have not shot with a 120 film cam--only 35mm. 
I posted from the
site so you'll see I spent some time with a Pentax
67II today but, of
course, didn't shoot >any film.  I do have a pro and
con list and way up
there on the con side is the time/expense of
processing/scanning, etc.  I
don't print 40" x 60" either--though I >have had very
large 'posters' made
and mounted by a graphics company for a client.  The
largest I have had
printed (again, for a client) were 18 x 24.  My own
>prints are limited by
my  2200 at 13 x 19 for the time being.

snip, snip, snip.

>BTW--I shoot landscapes,  urban landscapes, 'not
quite' macros, and still
lifes primarily.  (I do shoot parttime commercially
for the furniture and
textile industries >but digital is great for that--and
doesn't enter into
this).  I'm pretty proficient in PS, use Quadtone RIP
for B/W (not sure if I
said that originally) and I lean toward >b/w, but seem
to be processing more
color recently.

>Diane Fields





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