>From: Brian Evans <brian@uunet.ca>
>Reply-To: Brian Evans <brian@uunet.ca>
>To: Simon Favre <simon@mondes.com>, JXLmail@aol.com, Vintage Race
><vintage-race@autox.team.net>
>Subject: Re: Monterey Historics
>Date: Thu, 24 Aug 2000 15:24:55 -0400
>
>Polaroid backs for your Hasselblad marks you as an actual working
>professional - more serious than most! I was at a pro photoshoot the other
>day, and the chief photog wouldn't take a single "film" shot without
>several proofs of lighting, layout, etc done with the polariod back on the
>hasselblad! Once he had everything in the ballpark, he then burned a dozen
>or so film shots with minute changes between each.
>
>Kind of cool, actually...
>
>Brian
Polaroid allows you to check out your composition and lighting
which saves the "pro" a bunch of time. If you're doing a 1-1 film
pos in 8X10 it will save a bit of money on film and processing to
check it all out in advance, too.
Now, more and more pros are using high end digital cameras for the
studio stuff that is destined for print media. Regardless of whether
the photo is from a film or digital source, it will be converted to
a digital image at some point for reproduction.
Just about all printing is done with digital files today. I haven't
done an actaul paper and glue paste-up in years (`cuts down on
xacto knife lacerations and punctures too:).
Greg Petrolati Champaign, Illinois 1962 TR4 (CT4852L)
That's not a leak... My car's just marking its territory...
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