If you want to use film and sell stuff, then stick to black-and-white. Forget scanning anything - it has no benefits of any sort for you in differentiating yourself from a million other photographers. Print yourself, if you want something digitised then shoot the print.
A Pentacon Six will give you gorgeous 120 negatives. However, if you buy any sort of ancient scrapped camera then you will get unreliable results. P6's are available refurbished and with a guarantee, but not for free.
It seems the budget in time is effectively zero, but how about large pinhole photos shot direct to paper-negs, for example 40x50cm or larger, maybe retouched with pencil on tracing paper behind the neg image etc.? Lots of unusual and unique results for you. That would make your work different and interesting, especially where local purchasers could recognise the 'where' but not the 'how', plus you could make your own gear cheaply with foamboard and blackout cloth.
i think the sky is the limit to be honest.
you can print as large or as small as you want with 35mm
you can take it with you wherever you want, its nostalgic, its new
the lenses are as sharp or as soft as you want. 35mm is really a great format.
and with the whole hybrid electronic thing, you can make, big-negatives and alternative process prints ...
i am sure if you asked what the limits were of MF or a fixed lens MF/TLR people would say
how you will be limited ...
just use what you have and learn what YOUR limitations are, usually it is the person who is limited, not the equipment.
MartinP, making art (pretty much what I've done so far) and being commercial photographer are two different beasts, and I was asking about the latter mainly, even though I'm curious in general about how you all make your living, or how a bigger market operates.
I did fair amount of tinkering with pinholes (I think if you dig deep enough, you'll find some magic I've posted here on APUG).
I haven't scanned a sinlge bw negative for printing purposes yet, unlike some color negatives. As for hybrid vs. analog workflow, I think it's all said and done already. And I'd rather think hard, later work hard, so that what comes out, is distinct regardless of techniques and materials utilized. Acid-free photo paper may only help, when the photo is good :D
Pentacon Six, well, I've sold it recently to get a semi-decent tripod that I could actually carry on my back, and there was some money left for Moskva 5, which is my only MF camera now. Pentacon was deteriorating really quickly, mostly shutter curtains. In my hands it was hopeless brick anyways, even with the brilliant lens in front of it, there was still the clumsy guy behind. I'm not missing it. There are some modern options left on a budget, like Yashica or Mamyia TLRs. (Or a shoebox or a suitcase. I could even do some non-camera work, why not. With cyanotype, it would be a viable non-darkroom option as well :D )
jnanian, commercial photoraphy has it's own ideas and values, I'm afraid, but I get what you mean.
Originally Posted by q_x
you mentioned you like making landscape photographs, or whatever, find a publication or an agency or ? that might have use for what you like to do
for example, tourbooks or tourism companies, calendar companies, greeting cards .. all love that sort of thing.
in the end, it really isn't the way the image was created, it is the image itself ... and in the end, if you can't market yourself, you might as well
not bother even trying because a lot of commercial photography is 75-80% self promotion ...
have fun !
Oh, I know how promotion looks, or at least "sort of looks", that is how people try. I work in medical publishing, we use cheap stock photos there, but still I know how to start it all - my bet is proper portfolio as a first logical step.
I was wondering about the limits for what can be done with film, or rather for what "the industry" thinks (agencies you've mentioned), that shouldn't be done and I've got at least some feelings.
I'm trying hard to make good photos. I have two landscape parks minutes away (that's by foot), as well as some lovely plains, hills and maybe forests not that much further. I have no problems backpacking all over the country, even with MF camera it's still possible, even on a tight budget.
On the other hand, there's no real care when working with color negative here, I'm getting it developed - it gets scratched, and prints are coming in poor quality, with random colors. So I'm thinking about developing it myself and scanning it afterwards.
What's also bizarre is the fact I'm working alone in 100k city. Culture, or the lack of it, is a sociological issue here. Almost all the people in my age (+/- some years) either left this place or work hard without much time for their hobbies. I guess the Internet will help me here, facebook, twitter, this sort of things.
I think, if you can work professionally with digital photographs it doesn't change much with film photographs on the business side. The difference is that people can't see how is the photo during the shoot but it doesn't matter when the public trust on your service.
As far you can delivery in a couple of days sharp images and print in a acceptable size people doesn't care much actually.
You don't even have to be a good photographer to have a successful business as photographer. You just have to be good at business and marketing. Anything else will be just details.
Even the pros would say that it is the subject that determines what format you shoot. A wedding photographer can use a bulky MF camera because his subjects are essentially stationary. However if you are shooting wildlife in Africa as part of an ad campaign then 35mm is probably the best choice. Here mobility determines the choice of format. It's easier to run from a charging elephant while carrying a 35mm camera rather than a larger format one. :)
marciofs - this approach more or less demands to use whole workshop - a decent scanner, a photo lab (or some time to warm up all the soups). Even when not in a hurry, it's not looking good. But yes, god marketing, PR, advertizement and it's all up and running.
Gerald, that's a great point actually, and there are plenty of places where there's no infrastructure, yet one still has to travel light and fast and somehow make photos, that are good enough. Some use brute force (organizing expeditions with two helicopters), others move more stealthy. I'm feeling really good not carrying a bag full of gear, and I'm often in a situation, when digital equipment can break - from severe cold, heavy rain or humid air. I've seen some situations, where digital, weatherproof cameras were shutting down one after another due to internal moisture and condensation (they have internal condensation sensors). I've also seen some running while being frozen solid, so it's not a proof of any kind. I was thinking in this direction, and I've ended up with a simple Zorki rangefinder as my "pocket sketchbook" camera (as leica-like, as I could get) and a decent manual DSLR and SLR for predictable conditions and shorter distances. DSLR runs on AA batteries, it helps a lot (SLR doesn't, I'm looking for a fully mechanical one).
The subject can determine the format. But your concept can determine it too.
There are photographers carrying very heave large format cameras and accessories up to mountains and long paths on the middle of nowhere just to take some portraits of local communities. They culd carry a 5x4 camera or a middle format one. But no... They want a ultra large for it.
If you really want you can shoot action with 5x4 large format camera handheld.