© Mark LaMonica. All Rights Reserved.
Going digital after film
It's not uncommon for Cd's, DVD's or even hard drives to just stop working. Data becomes corrupt and unreadable in the digital age and
even with perfect storage methods, it just happens. Film has the edge when it comes to stability and readability over the long term, but it
may not be mission critical to worry about pulling up a CD from 5 years ago and finding out it has a fatal error. The RAW file for the image
to the right is forever gone except this low resolution web site version. The hard drive and CD both crashed within days of each other. This
doesn't mean you should stop using digital and go back to film. You just need to know that everything could be gone without any warning.
I photographed this Ski Jumper who was
traveling over 55 MPH. I used my Nikon F5
and 600mm f/4.0 AFS lens and took 1 shot
while the news reporter next to me with his
Canon DSLR did a 10 shot burst. He then
looked at the monitor and kept the best
shot. I did this for the following jumpers and
he finally said to me, How do you know
you're actually getting any keepers?
I replied I know my gear, I know my film and
I have over 20 years of experience. The
insert shows the slide as captured
aproximately 1.50 inches wide. I scanned it
as a 4x6 300dpi image and cropped the
face at native resolution without sharpening

Provia 400F
Want Film in a Digital package ? It's Possible  to program in any flavor you like :)
February 1, 2010 and the new generation of digital cameras. Nikon started adding what is called "Picture Controls", designed to allow the
photographer to select Standard, Neutral, Vivid, Monochrome or Nine User-customizable Settings. I use the "Standard" setting for most situations
and always set my image capture to NEF (RAW) recording. With picture controls it's easy to create custom jpeg's straight from the camera
quickly. Either way you'll get great color and clean images every time with no hassle.

White Balance and Color Temperature are like adding filters or switching from a Tungsten film to a Daylight film . . . but not really. . . . . it's more
involved than that, but essentially if I was using a Daylight balanced film in Tungsten light, I would add a filter to color correct for the lighting. With
digital, you have all these options built right in. You can switch on the fly from ISO 50 to ISO 6400 where if I was using film my personal choices
would be Velvia at ISO 50, Kodak E100VS at ISO 100, Kodak E200 at ISO 200 and a maximum of ISO 400 with Provia 400F.

With all these wonderful in camera options for ISO and Color, we still have lens options too. In the days of film fast lenses were essential tools of
the trade. We couldn't produce exceptionally sharp grain free images with high ISO films. With today's digital technology, my images at ISO 2000
rival the images I captured with ISO 400 reversal film.

Digital has all kinds of hidden issues and the biggest one with me is no real solution to reliable long term storage of my images. It's getting better,
more stable and cost effective, but there's always that one image that somehow gets corrupt and fails.
for the image to the right. Not bad for film eh? A vertical cropped version of this image was used for a
book titled 52 Weekends in Connecticut.