interesting. i would have guessed that 6x7 and 35mm are so vastly
different that those things wouldn't simply matter at all. that's
something to remember.

anyway, professional shooting (and anything professional) must be a
completely different game with completely different rules, many not so
obvious. i don't know if the original poster was a pro, but i suspect,
if he were, he would have just went out and bought whatever he needed,
end of story. 

as for me, an amateur, the rules are really simple: maximum quality for
minimum money. for truly critical things, M/LF is the answer anyway. so
apart for exotics (600mm tele or 15mm short, tilt/shift, etc), 35mm
(leica included) is really a convenience compromise, so i see very
little point of bashing non-oem glass in favor of "certain" things
untangible. or, spending truckloads of dough on it (btw, K85/1.8 costs
more than Zeiss T*85/1.4 -- go figure!)

but, feel free to disagree.

best,
mishka

> From: William Robb 
> Subject: Re: Pentax lenses vs. the world? (was Re: 100mm 2.8 Macro
vs. 100mm 2.8 long) 
> Date: Fri, 14 Jun 2002 08:09:41 -0700 
> 
> Here is where it matters, and is something that would probably
> not occur to non professional print film users.
> 
> If one is shooting a job on chrome film and has a mish mosh of
> lenses from different manufacturers, then it will be impossible
> to get a consistent look.  Art directors have a funny way of
> noticing little things like changes in colour rendition.
> I found this to be such an issue that I changed from Nikon to
> Pentax, partly to get similar rendition between my medium format
> and 35mm work. Interestingly, clients who had been with me for
> the transition from Nikon to Pentax noticed the difference in my
> chromes, in a positive way.
> 
> William Robb
Yahoo! - Official partner of 2002 FIFA World Cup
http://fifaworldcup.yahoo.com
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