Originally posted by reh321 Having scanned photos from forty years, I am quite convinced that digital is delivering much more sharpness than we ever got from film. If "quality" is measured by contemporary standards, then no 35mm photo would be a 'keeper', but they are what they are - records of a time we cannot return to and usually cannot replicate. People keep saying here "equipment doesn't matter", but I don't see them acting that way when facing images from the past.
They are fine if displayed as we once did, using prints generally no larger that 8x10 or optically projected onto a screen seen from a healthy distance.
Even now, though, the prints I’ve seen from 50mp full-frame cameras suggest that 12x18 (nominal) is the point at which tonality starts to suffer, even though sharpness may be fine up to larger sizes. It’s like too little butter spread over too much bread.
But few print anything, let alone making large prints. I certainly need to make more prints.
More general response to many comments leading up to the quoted post:
I said 15 years ago that digital bumps us up a format—APS-C digital is as good as 35mm film used to be, full-frame digital is as good as 645 film (though not really, back then), 645 digital is as good as 6x7, etc. I think digital actually now lives up to that.
I used 35mm a lot in the day, simply because of convenience. But we always compromise for convenience in one way or another.
My iPhone sees a lot of use, too, because of convenience. But it is only good displayed small. Seeing them blown up even to computer monitor size is always disappointing. Again, it’s more about tonality than sharpness. Detail is there but not color or tonal subtlety.
Technology has rendered the mastery to achieve technically competent results obsolete, but in so doing has redefined “good”. A technically competent photo is no longer good enough—anyone can do that.
But camera companies are not sustained by the few quality photographers who rise above producing merely technically competent photos. They are sustained by the many people who want pictures they and others will admire, mostly because of the subject.
The Canon Digital Rebel brought that to former point-n-shoot users. Camera phones have nearly caught up to that, but not if they want to photograph their kids playing soccer, or any other distant detail. For that, digital magnification is just going to an even smaller format, and quality suffers even on the small screen. There’s just no headroom for any additional magnification. Anyone with a hankering to pull in a distant subject, no matter how inexpert, will need a longer lens, if they don’t want to see that loss of quality. I don’t expect that to ever change, especially as digital displays get bigger. So interchangeable-lens cameras will persist. And as long as too pros use SLRs, they will persist with dilettantes. But pros are becoming more scarce.
Technology improves, but so do standards of excellence.
Will Pentax make it? Who knows? But they do need to see 645 as their halo product—the thing that makes them different from Canon, Sony, and Nikon—even if it’s a loss leader. And photographers interested in excellence need to start making prints and seeing more attributes than mere sharpness. Photography by photographers is as much endangered as are SLRs.
Rick “time to make some prints” Denney