I understand my post was wide ranging and at times, contradicting of itself. First, the canon system is impressive for what it is, but being someone who is used to shooting large format mainly and making conventional darkroom prints, it was a big shift to use on jobs where budgets were tight. There are the new Schneider tilt/shifts I really want to try, as I do not like the Canon versions. I've tried the new and old 24mm and neither are impressive to me. The focus is super finicky. The Canon does however seem to render backlighting better than what I've tried in the (I have to admit, very few times I've tried medium format digital).
I just feel quite overwhelmed making this transition into digital. I've held off until now because I haven't felt the quality was there. There are many of my peers who do similar work, large or medium format environmental portraits and architecture, typically relying on natural light who are all similarly frustrated with how the photos are rendered digitally compared to what we're used to on film. I've so far tried the p45+ with my RZ and a range of RZ lenses, I've tried the same back also on the Arca Swiss Rm3di with a digitar 47mm lens and I've also tried the same back with a Phase One/Mamiya 645df with a range of their digital lenses. I've had best results I'd say with the RZ and the 645df. I just went to look for examples, as I know they'd help illustrate this, but I think I tossed them. I wish these cameras weren't so expensive to rent, so I could actually try them out more and more. Anyhow, it just seems in general the rendering of the subtle gradient changes of daylight, especially through a window are not rendered as well from my experience on digital as on film. It seems like an entirely different genre at times.Although I don't examples of shots taken digitally, I can supply some photos I did on film that I don't feel would've turned out as well on digital. This image for instance on digital would've been ultra blown out around the window with haloing and such. On film, it is great, with no burning, dodging.
BlueLabel | Assignment Work | Mark Mahaney - Photographer
and even a shot like this:
StopSmiling Magazine, Stephen Malkmus | Assignment Work | Mark Mahaney - Photographer
Possibly you won't agree that it would be difficult to create the same look on digital. Perhaps I just have to try the cameras out more. This has however been my experience thus far and as mentioned, for many of my peers who do similar work. I'm sorry to not be able to supply digital examples.