Oscuro
He's French, I'm Italian.
@hepcat: "Unfortunately, no camera natively "knows" what you want YOUR images to look like. I was one who never left my b&w negatives with a printer because I wanted the prints to look the way I wanted them to look... not that a printer couldn't have done that, but I'd spend more time explaining what I wanted than doing it myself. With digital images OOC, you're allowing a programmer to decide how your images should look. If you're ok with that, then good on ya."
If we're talking B&W I might agree. But I work in colour. So it's a little like saying shooting Kodachrome was letting a chemical engineer decide what your slides would look like. Clearly, it's not. Yes, there's a difference between Velvia and Kodachrome just as there's a difference between Nikon and Canon etc but it's just the starting point.
We learned how to manipulate transparency film by choosing light, exposure compensation, exposure compensation, exposure compensation, did I mention exposure compensation?, point of focus, etc....we overshot and bracketed with slide film because we didn't have the darkroom as a step in process.
Software, or the writer thereof, only has the merest input into what your pictures look like. So you pick the film stock you like and work with it.
If you're a B&W man and you dig the darkroom then that's part of the process. Two of us could go to the same thing and shoot it with the same camera and the photographs will look very different.
This trope has been long debated but the debate was settled nearly as long ago: there are too many variable to make the transparency film or the jpeg engine definitive.
If we're talking B&W I might agree. But I work in colour. So it's a little like saying shooting Kodachrome was letting a chemical engineer decide what your slides would look like. Clearly, it's not. Yes, there's a difference between Velvia and Kodachrome just as there's a difference between Nikon and Canon etc but it's just the starting point.
We learned how to manipulate transparency film by choosing light, exposure compensation, exposure compensation, exposure compensation, did I mention exposure compensation?, point of focus, etc....we overshot and bracketed with slide film because we didn't have the darkroom as a step in process.
Software, or the writer thereof, only has the merest input into what your pictures look like. So you pick the film stock you like and work with it.
If you're a B&W man and you dig the darkroom then that's part of the process. Two of us could go to the same thing and shoot it with the same camera and the photographs will look very different.
This trope has been long debated but the debate was settled nearly as long ago: there are too many variable to make the transparency film or the jpeg engine definitive.