Great image. Love the grain or what film photographers consider brush strokes. I recently purchased a copy of HCB’s
The Decisive Moment (published by Steidl) . The grain in all of the images is stunning. It really makes you appreciate the beauty of film over digital, although you can now post process grain into a digital image.
Thanks George. B&W film grain is something special, no doubt. Regarding that version of The Decisive Moment you purchased, that’s a great choice. I was close to picking up a copy for myself about a year ago, and then the pandemic hit… got distracted after that.
Peter, looks absolutely incredible. I haven’t been very impressed with my Nikon Z7II. I’m about to let it go. How is the autofocus for you? It looks like your coverage for lenses is perfect!
Hi Dave, sorry to hear about your experience with the Z7II. Single AF with this is accurate with still subjects, and I’ve been using eye focus with great success. It definitely feels like AF is faster/more reliable than what I experienced with the 50R, but I wouldn’t trust it with anything that moves. Though, to be fair, I haven’t yet tried continuous AF.
That’s a lovely image, Peter. Interesting isn’t it, the desire and for perfection eked out of our digital photographic gear then causes us to seek methods to emulate the ‘tooth of grain’ of film based photography, from times past, into our contemporary digital based ‘grainless’ images. The ‘tooth of grain’ must possess some emotive qualities, for us to artificially use it in the crafting of our digital images. H. C-B’s The Decisive Moment is a worthy purchase, too. In addition to grain, the images also, for me at least, show how much H. C-B both liked and respected the use of mid-tones, in his photography.
I think the desire for digital stems from its convenience relative to film, especially in the modern world where film processing resources have dwindled away, in many cases forcing one to self-develop and scan.
For me this is certainly a consideration, and there is also the fact that digital affords one more control over an image. This can be a bad thing of course, especially when you witness the level of heavy-handed post-processing that is currently in vogue (just my opinion of course). The subtlety in mid tones is not currently in favour, but that’s what I appreciate the most when I work with B&W film.
Prosophos 
Great image. Love the grain or what film photographers consider brush strokes. I recently purchased a copy of HCB’s
The Decisive Moment (published by Steidl) . The grain in all of the images is stunning. It really makes you appreciate the beauty of film over digital, although you can now post process grain into a digital image.
Thanks George. B&W film grain is something special, no doubt. Regarding that version of The Decisive Moment you purchased, that’s a great choice. I was close to picking up a copy for myself about a year ago, and then the pandemic hit… got distracted after that.
Peter, looks absolutely incredible. I haven’t been very impressed with my Nikon Z7II. I’m about to let it go. How is the autofocus for you? It looks like your coverage for lenses is perfect!
Hi Dave, sorry to hear about your experience with the Z7II. Single AF with this is accurate with still subjects, and I’ve been using eye focus with great success. It definitely feels like AF is faster/more reliable than what I experienced with the 50R, but I wouldn’t trust it with anything that moves. Though, to be fair, I haven’t yet tried continuous AF.
That’s a lovely image, Peter. Interesting isn’t it, the desire and for perfection eked out of our digital photographic gear then causes us to seek methods to emulate the ‘tooth of grain’ of film based photography, from times past, into our contemporary digital based ‘grainless’ images. The ‘tooth of grain’ must possess some emotive qualities, for us to artificially use it in the crafting of our digital images. H. C-B’s The Decisive Moment is a worthy purchase, too. In addition to grain, the images also, for me at least, show how much H. C-B both liked and respected the use of mid-tones, in his photography.
I think the desire for digital stems from its convenience relative to film, especially in the modern world where film processing resources have dwindled away, in many cases forcing one to self-develop and scan.
For me this is certainly a consideration, and there is also the fact that digital affords one more control over an image. This can be a bad thing of course, especially when you witness the level of heavy-handed post-processing that is currently in vogue (just my opinion of course). The subtlety in mid tones is not currently in favour, but that’s what I appreciate the most when I work with B&W film.