Hey !
@cayenne, colour neg film has really robust highlights, in fact with some it's virtually impossible to over expose it ! Positive film on the other hand, that's a very different story.
I think somewhere in one of your posts you said that the M10M makes you think in B&W, and I agree that for really good B&W you have to look at the world in that way. Having colour constantly at your disposal is a distraction. This is proved by the fact that one way to kill an image is to show both B&W and colour versions side by side, yet some people (who should know better IMO) in their portfolios do just this. Also I don't think that colour filter simulations in software have quite the same effects as the actual colour filters used over the lens on a B&W film / sensor. I know that this shouldn't be the case, but in practice that's what I find. However having said that, if a normal Canon digital sensor is good enough in B&W for the likes of Salgado, then who am I to argue ?
He does go through a very convoluted process of writing the digital image back to 5x4 film negative, adding film grain simulation and then enlarging and wet developing on silver halide paper in the traditional way, so it's hardly like us doing a B&W conversion and inkjet printing, but even so I find it interesting that a B&W king like Salgado has given up film and gone to a conventional Bayer array sensor, and not, to the best of my knowledge, to a Leica monochrome, despite the fact he was very much a Leica man in the days of film.
The Fuji DMF do seem to be interesting cameras but looking at it from a totally focused output point of view, I can't see that the modest increase in size of the sensor area is worth the extra cost and inflexibility compared with such a mature and comprehensive system such as FF Canon EOS.
I think you're right !
