Focal plane vs. leaf shutters in MF SLRs

In article ,
"David J. Littleboy" wrote:

*: Note that if you need more than a few mm of DOF, you are looking at
really lousy resolution.

How do you justify, or at least qualify that statement ? A Rather broad brush
you paint with.
--
The joy of a forever Unknown Artist is the mystery and potential
of a Blank canvas.

This is a provision for the mind's eye.
I see the lights go on, but realize of course no one's home.

In article ,
Raphael Bustin wrote:

When I look at digicam pix or scans from chromes, I
have to suspend my disbelief in the lack of grain... it
just doesn't look right G. OTOH, Reala suits me fine.

For the most part I find negative film a mixed bag
for scanning, some are good, I dislike NPS
even at 4x5. NPH scans better and appears less grainular
for me. I do like the tonality of negative films, but G films
and Provia do all right for me also. What do you think of
Reala compared to NPS in 120?
--
The joy of a forever Unknown Artist is the mystery and potential
of a Blank canvas.

This is a provision for the mind's eye.
I see the lights go on, but realize of course no one's home.

"Fil Ament" wrote in message
...
In article ,
"David J. Littleboy" wrote:

*: Note that if you need more than a few mm of DOF, you are looking at
really lousy resolution.

How do you justify, or at least qualify that statement ? A Rather broad
brush
you paint with.

You're more clever than I gave you credit for. The "cone of confusion" is
precisely a broad brush to paint with.

In article ,
"MikeWhy" wrote:

You're more clever than I gave you credit for. The "cone of confusion" is
precisely a broad brush to paint with.

"Precisely Broad" seems to be an oxymoron. There are many ways to paint.
--
The joy of a forever Unknown Artist is the mystery and potential
of a Blank canvas.

This is a provision for the mind's eye.
I see the lights go on, but realize of course no one's home.

On Wed, 23 Jun 2004 04:13:53 GMT, Fil Ament
wrote:

In article ,
Raphael Bustin wrote:

When I look at digicam pix or scans from chromes, I
have to suspend my disbelief in the lack of grain... it
just doesn't look right G. OTOH, Reala suits me fine.

For the most part I find negative film a mixed bag
for scanning, some are good, I dislike NPS
even at 4x5. NPH scans better and appears less grainular
for me. I do like the tonality of negative films, but G films
and Provia do all right for me also. What do you think of
Reala compared to NPS in 120?


I have no basis for comparison, sorry.
I think it's all been Reala, Superia, Portra,
or Agfa Optima.

I've shot some Provia and Velvia with other
formats, and I just don't see what all the fuss
is about.

You sound like you know a lot more about
Fuji print films (in LF) than I do... all I know is
I can't get Reala in LF, so I'm somewhat adrift.


rafe b.
http://www.terrapinphoto.com

"Fil Ament" wrote in message
...
In article ,
"MikeWhy" wrote:

You're more clever than I gave you credit for. The "cone of confusion"
is
precisely a broad brush to paint with.

"Precisely Broad" seems to be an oxymoron. There are many ways to paint.

I think you're BobM writing under a pseudonym. You and he share a remarkably
munificent talent for reinterpreting words.

"Fil Ament" wrote:
"David J. Littleboy" wrote:

*: Note that if you need more than a few mm of DOF, you are looking at
really lousy resolution.

How do you justify, or at least qualify that statement ? A Rather broad
brush
you paint with.

Oops. The "few mm of" bit should be "any significant amount".

Bobm and friends are claiming 80, 100, or more lp/mm, but the CoCs most
people talk about for DOF are large enough that you are at "really lousy
resolution" by those standards.

Again, for a plethora of reasons, real photography isn't about 100 lp/mm
resolution, it's about 30 lp/mm. Maybe. If your technique is very good.

David J. Littleboy
Tokyo, Japan

In article .net,
Neil Gould wrote:

I can't address why the files are GIF format, but that in itself is a
limitation. As you're suggesting, EPS would be a much better format for
test patters. The problem is, one needs a PostScript-capable printer to
print it out,

Not true. Just rasterize it on the computer before sending it to the printer
of your choice. The print drivers in Linux and OS X will do this for you
automatically. Dunno about Windows, as I don't use it, but if not, you can
always rasterize in to an appropriate resolution by loading it into Photoshop.

Recently, Chris Brown posted:

In article .net,
Neil Gould wrote:

I can't address why the files are GIF format, but that in itself is a
limitation. As you're suggesting, EPS would be a much better format
for test patters. The problem is, one needs a PostScript-capable
printer to print it out,

Not true. Just rasterize it on the computer before sending it to the
printer of your choice. The print drivers in Linux and OS X will do
this for you automatically. Dunno about Windows, as I don't use it,
but if not, you can always rasterize in to an appropriate resolution
by loading it into Photoshop.

Generally, I agree with you, but there are some caveats. That works for
*some* EPS files, but not all. Even Photoshop won't rasterize all EPS
files... it all depends on their content and structure.

Regards,

Neil

In article ,
Raphael Bustin wrote:

I've shot some Provia and Velvia with other
formats, and I just don't see what all the fuss
is about.

Like any slide film the exposure has to be spot on.
The results you get are dependant on two factors
the Lab & and your exposure (as always).


You sound like you know a lot more about
Fuji print films (in LF) than I do... all I know is
I can't get Reala in LF, so I'm somewhat adrift.

Yup LF is somewhat limited in the choices. NPS
is a great film if you do optical printing, maybe its
just the way my 2450 sees it? I find that Portra film
scans nice (its T grain right?) Not sold on it for printing
I am testing Portra VC right now. NPS is a good match for
Provia so I shoot one side of the film holder of each film.

Then if I make a mistake shooting the slide, the negative is
still there :-)
--
The joy of a forever Unknown Artist is the mystery and potential
of a Blank canvas.

This is a provision for the mind's eye.
I see the lights go on, but realize of course no one's home.