gavinlg
Veteran
He's a great PJ. To me, I wouldn't care if his work was shot on a nikon, a canon, a pentax, an exacta, or a rollei, or a fanta can spy camera - I only see the results, not the process.
It's important to have a harmonious 'relationship' with the camera you use but all the stuff in this thread about digital b&w being fake or poor is such rubbish...
It's important to have a harmonious 'relationship' with the camera you use but all the stuff in this thread about digital b&w being fake or poor is such rubbish...
Timmyjoe
Veteran
I spent years clinging to B&W film because I couldn't find a way to get the "look" I was after with digital. And it was slowing me down in my work flow (and therefore costing me money).
Last year, while working with a mentor whom I greatly admire, I was told to lose the film, purchase a copy of SEP, and learn how to use it. Took me a few months to slowly transition, but I'm so glad I did.
Not going to get into an argument about digital vs film, just want to say that I can now get the "look" with a digital capture that I used to get shooting AgfaPan 100 and wet processing the prints in a darkroom. The "look" I fell in love with. And I can get that "look" with about 5% of the time commitment. Which allows me to shoot more, service more clients, and "make more money".
Best,
-Tim
Last year, while working with a mentor whom I greatly admire, I was told to lose the film, purchase a copy of SEP, and learn how to use it. Took me a few months to slowly transition, but I'm so glad I did.
Not going to get into an argument about digital vs film, just want to say that I can now get the "look" with a digital capture that I used to get shooting AgfaPan 100 and wet processing the prints in a darkroom. The "look" I fell in love with. And I can get that "look" with about 5% of the time commitment. Which allows me to shoot more, service more clients, and "make more money".
Best,
-Tim
