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Forum: Film SLRs and Compact Film Cameras
11-16-2017, 08:34 AM
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Oh this is true, and indeed I've largely gone to film for fun and digital for work, because the stuff I photograph at work only gets one shot under the camera before it's either buried/cremated (autopsy) or dissected (histology). The K-1 gets the gig when it's a never to be repeated event or I need the flexibility it offers, but those "just mucking around with the camera" shots fall into emulsion territory to give me more opportunity to better perfect both my photographic and my darkroom technique.
Of course the irony there is that the film shots all get digitised on the K-1... but something of that film aesthetic still comes through, and it's not like I'll ever stretch it to incredible degrees or print sizes.
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Forum: Film SLRs and Compact Film Cameras
11-16-2017, 05:54 AM
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So is the lesson here that the very best emulsions and the very finest lenses with the very best technique still (just) beat out digital at the pixel/grain-peeping level?
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Forum: Film SLRs and Compact Film Cameras
10-27-2017, 08:01 AM
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If I were buying my first macro lens for a dSLR right now, I would probably go with the newest and most modern. It's for technical work (one way or another) and you need the best.
If I were buying my first portrait lens for a dSLR right now, I would be very tempted to go Takumar hunting, maybe even Super-Tak as opposed to S-M-C.
It all comes down to what you are trying to do, but if for example you are a bokehphiliac there seems little point in going for the crispest, sharpest glass imaginable. Likewise, as good as the FA31/1.8 is, it wouldn't be my first choice to put a set of tubes behind for technical work at the bench. Pixel peeping to get an idea for what the lens can do at its best is fair enough, but when it becomes the focus of your judging glass you need to reconsider your priorities.
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Forum: Film SLRs and Compact Film Cameras
10-27-2017, 03:37 AM
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If you want insane wall to wall sharpness all the time, perhaps your place is in macro or technical photography. Get yourself an army-surplus machine gun tripod, bolt a KP or K3-ii to that, fit an HD 35/2.8 Limited or a D-FA 50/2.8, and get cracking. :p
Perhaps, but I appreciate the fact that the lab gives us a reference standard under optimal conditions, to which all films can be subjected. I've just finished working my way through a ten-pack of Tmax 400/36, but I went with Kentmere 400 for my first experiment in bulk loading because (a) it was much, much cheaper and (b) I know the Kentmere is still better than my film-photography skills.
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