[Leica] Not Buying M8

[mark at rabinergroup.com (Mark Rabiner)]

> Quoting  "David Rodgers" <drodgers@casefarms.com>
> 
>> I'm not sure about others, but when I shoot digital I rarely think in
>> terms of BW. It may end up that an image works out better in BW. But
>> it's usually serendipitous rather than planned. OTOH when I'm shooting
>> BW film everything is aimed at making a BW print. Since color is not
>> even an option I ignore it beyond how it will come across on BW film,
>> given the spectral sensitivity or use of filters. OTOH, I'm way more
>> cognizant of shapes, forms, textures, etc. Lighting and composition are
>> very closely linked to those things. While they can be important in
>> color, they usually take a back seat to color hue and saturation. Yet
>> they everything when it comes to BW film.
> ..............................................................................
> ...............................................................
> This is my approach too.  In the old days at my job, I never liked it when
> clients asked for both B&W and color from the same job.  Not only did it 
> mean
> switching cameras, but switching my brain between the two modes, and the
> chance
> of getting the right shot on the wrong film (i. e. composing with color
> separation in mind, but exposing B&W and having gray tones blend, etc.).  I
> like to set my mind for one at a time, and if I want B&W (for myself), I 
> don't
> see the point of shooting digitally.  At work I appreciate the digital
> advantage  under low light and other difficult conditions.
> 
> Alan  Chemical Photographer  (Thanks, Luis)
> 
> Alan Magayne-Roshak, Senior Photographer
> University Information Technology Services
> University of Wisconsin-Milwaukee
> amr3@uwm.edu
> http://gallery.leica-users.org/v/Alan+Magayne-Roshak/
> 
> 
Having 400 color neg in one body and 400 black and white neg in the other is
not that much of a stretch.

But when you are shooting transparences with the other body you are bunch to
get confused and mess up a few shots.
That's what I found over 30 years.

The way I got around that when you are in a situation you cant afford
mistakes was to NOT shoot fast black and white film but make it match the
slide ASA ISO at all costs. Shoot medium film. Or slow if its a tripod/
studio strobe job.

The second thing I'd so is shoot the slide first and of course expose for
the highlight.
Then use the east exposure for the black and white.
Worked every time. Better than the other way.

That's when I started doubting the "expose for your shadow" thing in black
and white like I used to.

Mark William Rabiner
markrabiner.com