Most of the photography for new car advertising is now done on
large-format digital. I've watched this procedure at suburban Detroit's
Midcoast Studio a couple of times, and it's quite fascinating. The
photographer is teamed with a computer operator, who is basically the
equivalent of what we used to call a retoucher. The images go right from
the 4x5 camera to a Macintosh, where the four tiles are combined,
yielding a Tiff of about 60 megabytes. The values are tweaked in
PhotoShop, and any problems like unwanted highlights or unhappy color
values are corrected as the agency art director and photographer watch.
If necessary, they correct the lighting and go back and make another
master. But what will stand as a fairly finished shot is ready for
viewing before the interested parties leave the studio. This saves a lot
over the old process where the developed film was sent to the art
director, who sent it to the retoucher, who sent it back a couple of
days later. And the results, once screened and printed in a magazine,
are indistinguishable from a film image.
Paul
"Mark D." wrote:
>
> From: <[EMAIL PROTECTED]>
>
> > Here's what they say: "Having worked with film for most of his
> career,Gorman
> > was very impressed by Foveon's technology. "The quality of this [8 foot]
> > blowup far exceeds what you could do on [35mm] film," stated Gorman"
>
> I find it amusing that a digital camera that costs more than many cars is
> compared to 35mm. Does anyone know if Gorman's always been an ad man? I keep
> seeing his shots and comments for the Contax 645 ads....
>
> Either way, I'm not sure I see the value in purchasing a "digital portrait
> camera" that costs $24K. If one purely works in the studio and is okay with
> a computer on a platform that rolls to the image taking area, maybe. Still
> doesn't seem that convenient to have a camera like this. $24K seems better
> spent on an Imacon drum scanner, a medium format rig, a 35mm rig, and a few
> thousand for film and developing costs. Not immediate, but one can shoot
> anywhere.
>
> Mark
>
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