Just some stuff about photography


Film, or Foveon ?

fish, or fowl?

in Sigma , Wednesday, January 06, 2016

Ah, the eternal quandary of the dilettante art photographer: film, or digital ? And if digital, which kind of digital ?  For many, the ultimate expression of film in these End Days is Kodak Portra 400, with its oh so aesthetic transparent, lucid, indeed filmic quality. Or to put it another way, washed out. And that description is not exactly unreminiscent of the way Sigma Foveon digital sensors paint the world. So, which is “better” ? The two examples here offer no conclusion, are not a test, and make nothing other than an observation.  And they’re taken with completely different lenses, so obviously the framing and viewpoint are quite different (the sign on the wall at the left of the second photo can be seen on the right of the first, beneath the stairs).  But the scene, lighting and time of day are the same.

The first, on Portra 400 120 roll film, was taken using my Voigtländer Bessa III (aka Fuji GF670). It has an 80mm lens, so near enough 50mm in old money equivalence. It’s probably the last (serious) medium format film camera ever to be designed, and it’s probably the best fixed lens MF rangefinder ever. The rendering of the Porta 400 film was entrusted to Silverfast’s NegaFix tool, scanned at 5300dpi on the OpticFilm, which at this setting easily resolves grain.


The second was taken using the quite remarkable (in several senses of the word) Sigma DP0 Quattro.  This has a Foveon Quattro sensor producing a file roughly equivalent, so they say, to a standard 39Mpix sensor. Which is quite big enough. More to the point, it produces absolutely gorgeous, natural, transparent, lucid, indeed filmic colours. In my opinion, anyway. In this case the lens is a highly corrected, good enough for architecture, 14mm, which is near enough to 21mm in old money.


So which is best ? I don’t know. I’m happy with both. They don’t call me Indecisive Dave for nothing, you know. One might expect digital to be more convenient than film, but Sigma levelled that one with a (ahem) fabulous piece of mandatory software called Sigma Photo Pro. Of course, I could also have compare with my standard, sensible Olympus digital camera. But there’s no fun in being sensible.