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Interview: David ‘Dee’ Delgado’s love letter to New York City, shot on 4×5 film

09 Apr

Genesis + Ronald, Before Prom, Westchester Ave (May 2019)

David ‘Dee’ Delgado has spent his entire life exploring New York City. Born and raised in the Bronx, in his younger years he traveled the city as a graffiti artist before transitioning into photography. “I got busted a couple of times and I got tired of getting locked up for doing graffiti,” he says. “So I started taking pictures of my friends.”

He worked as a graphic designer but says he found himself in a creative rut in a career where all his creativity was expended on behalf of the clients – “it was soul-draining in a sense.” And so Delgado found himself gravitating back to his cameras. Six years ago, at the suggestion of his wife, he quit the job that he hated and dove head-on into documentary photography.

Shot entirely on 4×5 film, Delgados project, ‘On My Block’, is an homage to the people and places that make New York City so special

These days Delgado works as a freelance photographer for clients like Getty, Reuters, Gothamist and others. He’s spent the last year very busy, on the ground documenting stories about COVID-19, the George Floyd police brutality protests and the 2020 election. In between all of that he’s continued to work on an ongoing personal project called On My Block, which he debuted earlier this year on his Instagram account.

Shot entirely on 4×5 film, On My Block is a homage to the people and places that make New York City so special. We spoke with Delgado to learn more.

Saint Guadalupe, Simpson Street (February 2019)

When did you start shooting images for On My Block?

I started photographing On My Block in December 2018, I went into it with a direct purpose, although it has morphed. In the beginning, I was thinking about it in terms of gentrification – I’m a native New Yorker, I was born and raised here and I’ve seen how much the city has changed. I turn 45 this year, so I’ve been around for a decent amount of time.

Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction

I started seeing the city change so much and was reminiscing back to when I was a graffiti writer and I would go around the city. I decided I wanted to document the city and the people in it. What they are and how I remember them and how I remember it being like. That’s when the project morphed into more of a love letter to New York and less about gentrification. It’s a love letter to the city that I love and know.

Black and his Son Liam, Barber Shop, Cypress Ave (February 2019)

What camera are you using to shoot the work?

I did not want to shoot digital for this project. I have my cameras that are meant for assignment work and then I have my cameras that are my personal cameras that I use just because I love the medium.

This gives me a break and it gives me the ability to be a little more artistic. As opposed to the hard news, with this, I can slow down and make a pretty photo

This whole project was shot on a Toyo 45A which is a 4×5 field camera. It’s not a light camera. It’s a heavy camera. Lugging that camera along with the film, film holders, and a dark cloth is not an easy task. Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction, you can make the connection through the camera in a sense. It just slows down the whole process.

Why was it important to shoot on film? How do you select what film stocks you use for this project?

I’m a big film buff and I knew I did not want to shoot this in black and white. I wanted it to look less documentary and more personal. The project was shot on Kodak Portra 160, I just found the soft and warm tones of the film leant themselves to what I wanted the project to look like.

Kayla, Malcolm-X Boulevard and W.117th St (July 2019)

How does being born and raised in the Bronx influence the way you see and photograph in other New York City neighborhoods?

When you are young in New York it’s like, ‘don’t leave the stoop,’ but I always wandered. I would always push. ‘I can make it down the block to the bodega before mom notices.’ I always pushed the boundaries of where I was allowed to go. Once I became a little bit older and I was able to leave the stoop I would jump on the subway and I would pick a stop and go there. I would end up in Prospect Park, I would end up in Queensbridge, I would end up in Washington Heights.

I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural

I’ve always been the person that was talkative and I would speak to people, I would connect to people. I’d be in Queens and when I was growing up, people in Queens used to use slang that was called ‘dun language’, and me being from The Bronx, I didn’t know how to speak dun language. But then I met guys who did and I would practice my dun language with them.

Then I’d be in the Heights, you know I’m Puerto Rican, and I’d be around the Dominican community and they are having Tres Golpes for breakfast and I was like ‘what the hell is that?’ and its salami and fried cheese and yucca, and I’d try it. I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural.

Monica Flores, Macy Place, and Prospect Ave (December 2018)

Do you see this work as being related to the work you do as a freelance news photographer, or is this a project that gives you a mental break from that world?

This gives me a break and it gives me the ability to be a little more artistic and have a little bit more freedom. As opposed to covering the hard news, with this, I can slow down and make a pretty photo.

What can we expect to see as you continue the project?

It’s a project that is morphing on a continuous basis. Right now I’m playing with archival photos, I may include a different factor of photography in it. Chapter 2 is something I am still playing with.

What’s your quintessential New York food and where is the best place to get it?

Oh wow. Hmm. One of my favorite things – I was raised in Little Italy in the Bronx, 183rd and Crotona – is Madonia’s chocolate bread on Arthur Avenue. That’s definitely something that if you are here in New York, you have to try.

More photographs from On My Block

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About:

David ‘Dee’ Delgado is a Puerto Rican independent photographer based in New York City mainly focused on documentary and photojournalism. The interest in learning and his desire to help people made him realize the necessity of documenting his surroundings and broadening the conversation with the use of a camera. See more of Dee’s work on his site, dispatch.nyc.

Articles: Digital Photography Review (dpreview.com)

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Bill Dane Pictures …it’s not pretty. 50 Years of Photographs I’m Still in Love

21 Feb

“It seems to me that the subject of Bill Dane’s pictures is the discovery of lyric beauty in Oakland, or the discovery of surprise and delight in what we had been told was a wasteland of boredom, the discovery of classical measure in the heart of God’s own junkyard, the discovery of a kind of optimism, still available at least to the eye.” John Szarkowski, director of photography, Museum of Modern art 1962-1991

I received Bill Dane’s wonderful book, Bill Dane Pictures …it’s not pretty. 50 Years of Photographs I’m still in love, in the mail today.

For those unfamiliar with his work, Dane has been actively photographing the world around him for over 50 years. Since 1969 he has generously mailed over 50,000 of his photographs as postcards to people. More recently he has been active on Flickr where he continues day in and day out to share his world with the rest of us.

Yesterday he shared a diner scene from Tracy, California in 1970, earlier today he shared a bit more abstract flower from Oakland in 2011.

As you work through his flickstream you find yourself moving from Las Vegas in 1972 to Mexico City in 1974 to Olympia, Washington in 2018. The one constant thing is that Bill is there with his camera walking you through his unique view of the world. His view of the world, as his book title admits, is not always pretty, but it is like no other photographer you’ve probably ever seen. It’s not easy work to get through but it’s rewarding when you do.

Accompanying his images in the book are his own sttaccato like typed words. Like a beat poet Bill opines on his own photographic path as well what he sees around him — words to go with the pictures. It’s part personal history/biography, part documentary, part politics, part life vision — always poetic.

“Hunt treasure strike-snap-gather edit judge

I still photograph like it’s 1969 sort of

Advancing weaving focused scanning dam Bill hold still

Leica Rangerfinders straightforward refinement guess settings real good

Film has wonder dept forging Tri-X darkrooms mail

Costco for color prints to edit send

2007 My last film camera Contax SLR zoom-macro

Digital Nikon D80 with the 28-105 macro”

In my own artist’s statement, I quote the great Charles Bukowski who once said that endurance is more important than truth. As far as endurance goes Bill’s got it. He’s got it in spades and you have to admire that. Bill’s spent time hanging out at workshops with Friedlander and Arbus. He’s had shows at MoMA, his photographs hang in the permanent collections of MoMA, SFMOMA, the Art Institute of Chicago — and yet here he is day in and day out still putting work up out there for the public where? At Flickr? Yes, at our beloved Flickr.

Interestingly enough the title of Bill’s book actually comes from Bukowski’s poem “I Met A Genius.” The poem is about a 6 year old boy on a train ride with Bukowski who sees the sea for the first time and remarks upon seeing it that “it’s not pretty.” It’s the sort of innocent honest insight that can come from a child who has not been saddled down with society’s version of the sea as a remarkable and beautiful scene, the way most artists might present it.

Bill gives us a messy world, it’s not always pretty, but it’s worthwhile to see it as he shares it. It is a bit of a junkyard as Szarkowski suggests, but there is beauty in the junkyard as well.

Weighing in at over 300 pages of high quality printing and limited to only 500 copies, do yourself a favor and pick this one up before it sells out and before one of these big name museums decides to do a retrospective. You’ll have an original collector’s item. Bill Dane is a treasure — and so are his flickrstream and book.

Some photos from Bill’s Flickrstream below.

Thomas Hawk Digital Connection

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Fujifilm GF 50mm F3.5 impressions: an easy lens to love

18 Mar

Introduction

Fujifilm GF 50mm F3.5 | 1/60 sec | ISO 400 | F8

Adobe Camera Raw Settings: Adobe Color Landscape, Daylight WB, Highlights -25, Shadows +60, Vibrance -6, Sharpening 40, Luminance Noise Reduction 0, Color Noise Reduction 25

Over the past half-century, 50mm lenses, with a field of view that most closely approximates natural human vision, have reigned supreme as the classic ‘normal’ lens for 135 film and full-frame digital cameras. In the days before ubiquitous zoom lenses, 50mm primes were kitted with just about every 135 SLR on the market. If you’ve ever shot with a Canon AE-1, a Pentax K1000, or Olympus OM-1, there’s a better than 90% chance it had a 50mm lens on it.

In my nearly 30 years as a photographer, I’ve purchased a 50mm (or equivalent) prime for every camera system I’ve ever owned. Over the past 15 years of teaching photography, I’ve recommended the 50mm prime lens to literally thousands of students as the highest-quality, most-affordable, must-have upgrade for anyone getting ‘serious’ about photography.

Fujifilm GF 50mm F3.5 sample gallery

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The hard truth is, though, I’ve never truly loved shooting with any of my 50mm primes and they’ve tended to sit in the bag more often than my other lenses. For me, the ‘normal’ 50mm has always been a little boring and I find a 35mm or 40mm a little more interesting with a slightly wider-than-normal view that doesn’t really feel wide. Generally speaking, 40mm lenses also tend to be rather compact and you’ll find them on many classic fixed-lens rangefinders from the 1970’s including the legendary Canonet G-III QL17 and the Rollei 35. Canon’s current 40mm F2.8 ‘pancake’ lens is a lovely performer as well.

Speaking of 40mm (equivalent) lenses, I have to mention an old favorite of mine: the Panasonic Lumix 20mm F1.7 for Micro Four Thirds. This was one of the first MFT prime lenses, released in late 2009 alongside the wonderful Lumix GF1. Although a bit dated, the Lumix 20mm still holds up very well on my 20MP Olympus Pen-F.

Panasonic Lumix GF1 with 20mm F1.7

The Lumix 20mm also has at least one notable superpower: a close focusing limit of just 20cm, which is significantly closer than just about any non-macro-specific lens I’ve ever used. This very close focusing enables Micro Four Thirds to transcend its inherent depth-of-field limitations (or lack thereof) to produce images with extreme background blur, albeit limited to close subjects. The slightly wider-than-normal field of view also includes a bit more context, which can make ordinary junk-drawer-stuff visually interesting in a way that classic 100mm macro lenses can’t. In short, it’s just a very ‘arty’ lens that makes casual photography really fun for me. As a bonus, it happens to be very small and very sharp.

Fujifilm’s new 50mm F3.5

So when Fujifilm announced the new GF 50mm F3.5 for the GFX system, with its 40mm full-frame equivalent field of view, I got very excited. I imagined a larger version of the Lumix 20mm mated to an ultra high resolution medium format sensor. Is it a dream come true? Well, yes and no. Let me explain.

Fujifilm GF 50mm F3.5 | ISO 200 | 1/500 sec | F11
Adobe Camera Raw Settings: Adobe Color, Daylight WB, Exposure +0.5, Highlights -100, Shadows +100, Sharpening 40, Detail 10, Luminance Noise Reduction 0, Color Noise Reduction 25

I recently drove a 4500-mile loop from Seattle, WA to Santa Fe, NM and back. DPReview kindly loaned me their copy of the Fuji GF 50mm F3.5 to try out along the way, so I attached it to my own GFX 50R and hit the road. It wasn’t a photo-specific trip and I was pretty much always on the way to somewhere else so I didn’t get to shoot in ideal lighting conditions. The images from this road trip are a good example of the sort of casual shooting I might do with the lovely Olympus Pen-F and Lumix 20mm F1.7.

Here are my thoughts.

It’s still kind of big

Everyone writing about this GF 50mm has commented on how ‘tiny’ it is. Well it’s definitely smaller than Fujifilm’s other larger-than-full-frame GF lenses, but calling this a ‘tiny’ medium format lens seems a bit like describing a 16-passenger van as a ‘tiny’ bus. Yes, it’s the smallest Fujifilm GF lens to date, but it’s still larger than an old Hasselblad 80mm F2.8 or the wonderful Pentax 645 75mm F2.8, both of which have a larger aperture and were designed for even larger formats. Proportionally, the GFX 50R with 50mm F3.5 feels something like a Texas-sized version of the for-real tiny Pen-F and 20mm F1.7.

Inoffensive bokeh

In general, a lens’s maximum aperture affects its physical size and weight (and price). It’s clear that Fujifilm had compactness in mind here and I’m neither thrilled nor disappointed in the result. Honestly, I’d rather have a slightly larger F2.8 lens or a slightly smaller F4 lens. This lens’s maximum F3.5 aperture feels like a compromise nobody really asked for. Does it matter? Not much… F3.5 is fine. The half-stop either way would make very little difference in terms of light gathering or depth of field.


ISO 250 \| 1/3200 sec \| F3.5 ACR Settings: Default	ISO 250 \| 1/250 sec \| F11 ACR Settings: Default

My casual impression of the bokeh is that I generally like it. Perhaps it could be a bit smoother (more ‘beautiful’) in shots with busy foliage and smaller apertures, but there’s certainly nothing specifically negative to say about it. In all, the out of focus rendering is very nice, very clean, and very modern. Some people might even say ‘generic looking.’ It’s just not the sort of bokeh that really stands out in any particular way – but that’s not a bad thing.

It’s a darn good lens

Yes, as expected, it’s sharp. Very, very sharp. Fujifilm has claimed that all the GF lenses were designed for more than 100MP of resolution. I have no problem believing that statement. To be honest, I’d be shocked if anyone had a legitimate reason to be disappointed in the sharpness of any modern digital medium format lens. I feel obligated to note, however, that digital medium format should be held to a higher standard, particularly when you consider the physical size and weight (and cost) of such systems.

Does that mean this (and other GF lenses) are, in general, measurably sharper than all other lenses? Not necessarily. There are plenty of extremely sharp lenses for other systems. That said, even the best lenses are rarely the same sharpness across the frame at all apertures. When pixel-peeping at 100%, I was rather impressed to see essentially perfect sharpness all the way out to the extreme corners and I didn’t notice any practical difference in quality throughout the aperture range.

ISO 100 | 1/250 sec | F5.6
ACR Settings: Classic Chrome, Highlights -80, Shadows +20, WB Daylight, Sharpening 60, Detail 10

No lens corrections or transform adjustments.

ISO 100 | 1/60 sec | F11
ACR Settings: Classic Chrome, Highlights -80, Shadows +20, WB Daylight, Sharpening 60, Detail 10

No lens corrections or transform adjustments.

I don’t myself shoot charts or flat brick walls so I can’t comment scientifically on this lens’s ‘square-ness’ or lack of distortion. In my studio, I often capture flat artwork but 50mm is not a focal length I would ever use for that purpose. What I can say is that in the field, I didn’t notice any geometric distortion that would matter for a real subject.

I should also note that I couldn’t find any chromatic aberrations in any images I shot through this lens. I’d be extremely impressed if this were a smaller format lens, but again I expect nothing less from a modern medium format optical formula.

ISO 400 | 1/250 sec | F11
ACR Settings: Adobe Color, Highlights -50, Shadows +50, WB Daylight

The pine needles are impressively sharp and detailed even in the extreme corners. Note the total lack of color fringing.

ISO 100 | 1/500 sec | F8
ACR Settings: Adobe Color, Exposure +0.75, Highlights -70, Shadows +20, WB Daylight, Sharpening 60, Detail 10

No lens corrections or transform adjustments. Note the total lack of color fringing.

So is this the sharpest, cleanest lens in the world? I have no idea, and I don’t care. In my opinion, this lens (really any GF lens) is so close to practical perfection from corner to corner at almost any aperture, that discussion of inherent sharpness or distortion is virtually irrelevant. At this level, depth of field, diffraction, plane of focus, focus precision, and vibration are far more critical issues. If anyone is getting ‘soft’ rendering out of this system, it is almost certainly a result of technique, or in very rare cases, a manufacturing defect.

Fast, confident autofocus

On my GFX 50R, focusing from close to far with the 50mm seems faster than all my other GF prime lenses except the 23mm. The 45mm is just a bit slower. The 63mm feels noticeably sluggish by comparison. The most notable difference, though, is the surprisingly quiet confidence exhibited by this new 50mm. It locks on almost instantly with hardly any ‘wobble’ and a barely audible ‘zip’ sound. The 23mm is almost this good. The 110mm is slower of course, but surprisingly not far behind, considering the longer focal length and how much further the large glass elements must travel. The other primes all make significantly more noise and require a deeper in-out movement to lock on a subject.

The 50mm exhibits surprisingly quiet confidence

All in all, I’d say Fujifilm made the autofocus of this 50mm medium format lens feel a lot more like one of the better X-mount APS-C lenses than any other medium format lens I’ve used. It’s certainly faster than manual focus on Hasselblad V system lenses, faster than Pentax 645 AF lenses, and faster than Mamiya / Phase One AF lenses I’ve used in the past. It’s also faster than my Lumix 20mm on the Pen-F, though not nearly so fast as the best lenses from Canon, Nikon, or Olympus. But let’s put this into perspective… if you’re an event or sports shooter and ultra-fast autofocus is a primary concern, then medium format is NOT the droid you’re looking for. Full stop.

Close focus could be closer

The minimum focus distance of 55cm is really the only thing I find disappointing about this otherwise wonderful lens. In theory, Fujifilm’s 50mm F3.5 should have a full-frame depth-of-field equivalence of F2.8, which should blur backgrounds more than the Lumix 20mm’s full-frame depth-of-field equivalence of F3.4.

In reality, the GF 50mm just doesn’t focus close enough to win this particular contest. There were so many times when I wanted to get just a little closer than the GF 50mm would allow. If there’s enough time, attaching a Canon 500D close up filter can help you get a little closer, though I felt the +2 diopter of the Canon 500D was not quite enough to match the 20cm close focusing magic of the Lumix 20mm.


Fujifilm GFX 50R + GF50mm F3.5 ISO 800 \| 1/60 sec \| F3.5 Shot at minimum focus distance	Olympus PEN-F + Lumix G 20mm f/1.7 II ISO 800 \| 1/60 sec \| F2.2 Shot at minimum focus distance

It would be easy to suggest simply cropping into the much higher resolution GFX image to match the close crop of the Pen-F. But even if you get to a similar crop with similar resolution, the physics of being closer to the subject produces a more dramatic perspective and depth of field rendering.

Articles: Digital Photography Review (dpreview.com)

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Opinion: Stop worrying about new cameras and love the one(s) you’ve got

13 Mar

I’ve recently found myself in the following situation: Over the course of just a couple months, the two main digital cameras I shoot with have both been replaced by new models. This includes my everyday, ‘personal’ camera in the Fujifilm X100F and my ‘gig’ camera in the Nikon D750.

With the announcement of the X100V and D780, in the blink of an eye my kit suddenly went from feeling fresh to feeling like last night’s leftovers. But the more I dig into the differences between these modern generations of cameras and the generation which I own, the more I feel relieved. If you’re in a similar situation, let me assure you, it gets easier. Here’s why.

Pixel counts are leveling out

The megapixel wars have largely wound down and most brands aren’t fixating on increasing the number of pixels in a camera with each subsequent generation, as they have in the past. This is a trend we’re starting to see across the board from multiple brands. Case in point: my D750 has the same number of pixels as the D780, and the X100V offers only a modest 2MP gain over my X100F.

This is not to say neither brand has improved the image quality in these updated models. Indeed the D780 has far nicer JPEGs than the D750. That’s an important improvement, but not one that necessarily matters to me as a Raw shooter.

With the Fujifilm, I tend to stick to JPEG shooting and there’s no real difference between the two cameras there. The only real image quality difference comes down to the lenses: the X100V’s updated lens should provide better corner sharpness and close focus. I certainly can appreciate both of those improvements, the latter especially for portraiture. But then again doesn’t that just mean my X100F’s lens has more ‘character’ by comparison? I can live with that.

Double exposure shot in-camera on the Fujifilm X100F and edited in Adobe Photoshop.
ISO 2000 |1/125 sec | F2

New features are nice but perhaps not necessary

So if camera companies aren’t making huge strides in image quality with the current generations coming out, where are they concentrating their efforts? The answers lie in usability refinements, autofocus improvements and video/feature additions. These are nice-to-haves, but for me, not need-to-haves.

Both my cameras have signs of a life well-lived. But they’re still as capable as ever – in fact more thanks to firmware updates – even if they’re not as beautiful as they once were. Just like me.

Sure, a tilting touchscreen would be a nice addition to my X100 camera, especially for street candids. But then again, I’ve already trained myself to shoot from the hip, while zone focusing with my X100F, so do I really need a tilting screen? The same goes for touch capability; yes, a touchscreen is handy for quick point placement, but the AF joystick on the X100F is also rather speedy.

Similarly, am I tempted by the D780’s excellent live view mode? Heck yes I am. But is it enough to make me want to replace my D750? No. The same goes for video. As a primarily stills shooter who dabbles, I’d definitely appreciate the D780’s movie-making features. But not enough to trade up.

Shot on the Nikon D750 and edited in Adobe Camera Raw.
ISO 12,800 | 1/250 sec | F2.2 | Nikon 20mm F1.8G

Simpler can sometimes be better

I’m not trying to get all philosophical here, but when it comes to getting creative, simplicity can often be refreshing. Because even though my D750 and X100F offer limited usability compared to their updated counterparts, specifically when shooting with the rear LCD, those limiting factors streamline how I use these cameras.

Moreover, other comparative limitations just mean I’ll have to come up with creative workarounds, not unlike learning to shoot from the hip blindly due to the lack of a flip-out LCD. And creative workarounds spawn even more creative thinking – the secret sauce of good photography.

‘Shiny and new’ is overrated

We’ve all brought home a shiny new gadget, whether it be a camera, a smartphone or some other device, and babied it like we’d birthed it ourselves. But shiny new things aren’t meant to stay shiny and new forever – a fact that can take a while to sink in.

On the other hand, there’s something to be said for the comfort of time-tested, worn-out gear. Both my cameras show signs of a life well lived, complete with love and some hard knocks. But they’re still as capable as ever – in fact more so thanks to firmware updates – even if they’re not as beautiful as they once were. Just like me. Which means I don’t hesitate to grab my X100F to tag along for a night on the town, out of fear it may sustain some sort damage. But with a brand new X100V, I might be more cautious.

Shot on the X100F and edited in Adobe Lightroom.
ISO 400 | 1/1600 sec | F5.6

Happiness is accepting the inevitable

Aging is inevitable: just as a new car loses its value once driven off the lot and your camera’s shutter starts to wear after the first shot, we too begin to age the moment we are born. That may sound depressing, but it’s not! Here’s a lyric by the folk singer Jeffrey Lewis to explain why…

‘Time is going to take so much away, but there’s a way that you can offer time a trade. Because your looks are gonna leave you. And your city’s gonna change too. And your shoes are gonna wear through. So you gotta do something that you can get smarter at, you gotta do something you might just be a starter at. You better do something that you can get better at, because that’s the thing that time will leave you with.’

So don’t worry about having last generation’s model, instead invest that energy in your own photographic passion and betterment. Because just as your camera will inevitably fall out of vogue, your time behind it too will one day come to an end. Get out there and shoot!

Articles: Digital Photography Review (dpreview.com)

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5 Tips to Get Out of a Photographic Rut so You Can Get Back to Doing What You Love!

20 Jan

The post 5 Tips to Get Out of a Photographic Rut so You Can Get Back to Doing What You Love! appeared first on Digital Photography School. It was authored by Megan Kennedy.

Creative ruts happens to the best of us. Fortunately, there are many ways to combat the dreaded photographer’s block. Here are 5 tips to get out of a photographic rut and back into doing what you love!

Canon 5D MK II 50mm lens with Kenko extension tubes, f/1.8 at 1/80th of a second ISO 800

Research

Canon 5D MK II Canon 50mm lens with Kenko extension tubes, f/8 at 1/40th of a second ISO 200

Getting stuck into some artistic research is one of my first tips for getting out of a photographic rut. Whether it’s online or in-print, checking out what other photographers have done can stimulate fresh photographic approaches.

Having a look at contemporary photography can inform your practice with new perspectives. In addition, brushing up on your photo history can give you the motivation to expand on tried-and-true photographic methods.

Don’t limit yourself to researching one area of photography either. Branch out into different genres you are curious about. And don’t forget to explore other types of artistic practice. A lot can be gleaned from disciplines like painting and sculpture – practices that rely just as heavily on light and composition as photography does.

Create a visual diary

Canon 5D MK II Canon 50mm lens f/5.6 at 1/40th of a second ISO 100

Often, writers find that putting ideas on paper helps stimulate creative thought. It’s the same for photographers too.

A great way to organize your favorite research discoveries is to create a visual diary. Visual diaries (or art diaries) have been kept by artists for centuries as a way to consolidate ideas and cultivate inspiration.

Grab a blank visual diary (a portable size works best) and start to add prints, drawings, paintings, notes, journal entries, rubbings, whatever! The idea is that your visual diary is your own physical expression of the creative process. When organized into a visual diary, your photographic trajectory becomes clearer. It can be as neat or messy as you like, don’t overthink it and have fun!

Pick a theme

Tips to get out of a photographic rut blue abstract

Canon 5D MK II Canon 50mm lens with Kenko extension tubes, f/2.2 at 1/320th of a second ISO 100

Another tip to get out of a photographic rut is to choose a single theme to photograph. Pick any theme; abstraction, the seasons, portraits…anything that you find interesting or challenging.

Selecting a specific theme focuses your creativity. Having a theme also simplifies your photographic process, defining a clear goal for you to work on. Furthermore, when you work within a theme, you start to uncover interesting perspectives about a subject you may never have considered before. This feeds your creative momentum, helping to lever you out of photographer’s block.

Try something new

Canon 5D MK II Canon 50mm, f/2.5 at 1 second ISO 100

Photography is made up of an endless amount of techniques and approaches. This provides photographers with many great tools to get out of a photographic rut. Trying something new can be exciting, and it can re-frame your whole photographic practice, kick-starting your creative flow and getting you back in the game.

Investing in new equipment is one way to change-up your photography, but simpler (cheaper) ideas work well too. For example, trying out portraiture or getting into black and white photography can help just as much. You could try photographing a new location or embark on a 365 project. You could also try camera tossing or set your sights on street photography – the choice is yours.

Keep a camera with you

Tips to get out of a photographic rut camera diana

Canon 5D MK II Canon 50mm lens with Kenko extension tubes, f/1.8 at 1/80th of a second ISO 200

Creativity can be fickle, and inspiration can strike at unexpected times. If you are in a photographic rut, capitalizing on these bolts of inspiration is important. The last tip to get out of a photographic rut is to keep a camera with you, ready for action.

Today, many people have a camera constantly within reach on their phones. Concepts like composition and settings on a camera phone are similar to a dedicated camera. This means that taking photos with a camera phone can, in itself, flex your photographic muscles. In addition, you can also record interesting subjects on your phone to return to later with a dedicated camera.

For me, I try to keep a small, plastic camera with me in my pocket or bag. There’s something about having a camera that inspires me to keep a lookout for new photographic opportunities. The whimsical nature of a plastic camera adds an element of surprise to photography too.

Conclusion

Photographic ruts are a stubborn burden suffered by many photographers. Luckily, taking active steps can alleviate the symptoms of a creative dry-spell.

While these tips are drawn from my own experiences, it is by no means an exhaustive list.

Have you been stuck with photographers block? Let me know your tips to get out of a photographic rut in the comments.

The post 5 Tips to Get Out of a Photographic Rut so You Can Get Back to Doing What You Love! appeared first on Digital Photography School. It was authored by Megan Kennedy.

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Opinion: I love what the a6x00 series can do but I’m not convinced by the ergonomics

17 Nov

Something for everyone? Sony uses variations of the same body for everything from its $ 600 entry-level model all the way through to its $ 1400 one.

All of Sony’s current APS-C cameras come in variants of the same camera body. And the more I have to use them and write about them, the more convinced I am that it’s not ergonomically especially well suited to any specific type of user.

The a6000 series cameras all derive, essentially, from the NEX-6, a mid-range/enthusiast camera from 2012. It was a time when Sony was experimenting with NEX body shapes and interfaces, as it tried to create a product that matched the people actually buying the cameras. Having tried stripped-down cameras with icon-based interfaces and odd ‘three dials, but all controlled with your thumb’ designs, they settled on something in the middle. And then tried to make it work for everyone.

Personally, I’m not sure they’ve succeeded. I believe they’ve created a series of cameras that’s intimidating to beginners but too simplistic to be enjoyed by more advanced users.

Too complex to be simple

As I wrote in my recent review, the a6100 can be a very good family and travel camera. This is thanks to two main things: the autofocus being really powerful, and the touchscreen meaning you can tell it where to focus without needing to really engage with the user interface.

More than one person I’ve handed the a6100 to has recoiled and asked me ‘what do I press?’ which makes me think it would make more sense in the a5100’s body.

The problem is that the camera design and user interface seem to have made almost no concessions to this audience. On more than one occasion I’ve handed an a6100 or a6400 to a novice only to watch them recoil and demand I just tell them which button to press.

The camera body and displays are awash with obscure icons, to a degree that can be intimidating to the first time user. And the menus aren’t just consistent with the range-topping a9, they’re pretty much directly copied across. You have to have a lot of faith in your user interface to believe that pro sports users and family photographers will be equally well served by it. To me that faith seems, shall we say ‘optimistic’?

I’d argue the Fujifilm X-A7 is a much more approachable entry-level camera than the a6100 (and that the X-T30 is a more engaging mid-range camera than the a6400)

Sure, you can stick the camera in ‘Auto’ mode (or perhaps iAuto+ if you can find it), but ‘just ignore all the buttons, labels and stuff, and use it as a point-and-shoot’ isn’t exactly a ringing endorsement of the camera’s design.

The result is a hugely capable but not especially welcoming camera for beginners.

Too simple to be sophisticated

At the other end of the spectrum, you have the a6600, which has impressive looking specs on paper: excellent AF, weather sealing, in-body stabilization and the longest battery life of any mirrorless camera. But the shooting experience doesn’t always live up to this spec, in my opinion.

Although the body has twin control dials, they’re both controlled with your thumb, rather than the thumb-and-forefinger layout found on almost every rival model. In my experience I have to think more, and re-position my hand to a greater extent when trying to operate the a6600. And, while it does gain some extra custom buttons over the cheaper models, they’re located in positions I find uncomfortable to operate.

The addition of a touchscreen means it’s no longer such a faff to move the AF point, but I still find the a6400 and a6600 less enjoyable to shoot with than their rivals.

These criticisms, which extend to the a6400 if you’re trying to take control over exposure, aren’t about trying to make moment-by-moment changes (something my colleague Carey found to present its own set of problems), but more about being able to enjoyably take control over the camera. Maybe it’s just me.

As the camera market seemingly contracts back to a state where most people buying cameras are doing so because they enjoy the process of taking photographs, it becomes ever more important to make cameras that are enjoyable to use. The a6400’s autofocus is unquestionably better than that of its current peers, but would I rather go out shooting with it over a Canon M6 II or Nikon Z50? No.

One thing common to most $ 1000+ cameras (including Sony’s a7 series cameras): twin control dials controller with the forefinger and thumb. Clockwise from top: Canon EOS M6 Mk II, Fujifilm X-T3, Olympus OM-D E-M5 III, Nikon Z50.

None of which is to say that they’re bad cameras. As I say, the a6600 has excellent battery life, impressive AF, in-body stabilization and, most importantly, can take really nice images: we’d actually recommend it for some types of shooting, despite not quite cutting it when pushed to its limits. But it wouldn’t be my first choice of camera, if I had to grab something to go shooting with.

And that’s a shame because, with the introduction of its 16-55mm F2.8 and support from Sigma’s trio of F1.4 primes, Sony’s E-mount is starting to look like a credible APS-C system for enthusiast photographers.

Not just on the outside

The problems aren’t all just a question of handling. The menus also show little sign of specialization. Across all three models you’ll find a host of hand-holding features such as Soft Skin Effect, Smile Shutter and Auto Object Framing buried in the menus. These seem too well hidden to be useful for most beginner users and risk just being distracting clutter for more advanced users.

A horizontal layout with no indication of where different sub-sections live means the Sony menus rely on the users’ memory more than most (though Canon’s layout is looking similarly overwhelmed). The ‘My Menu’ option lets you configure your way around the worst of it.

In fairness, Sony has made some effort to arrange, name and color-code the sections of its menus, but it still gives you no real way to find your way to those sections. This means you have to rely more on memory than with most other brands. And even if they did give top-level section indicators, I’m not sure how many first-time users would guess that you enable AF Tracking in video mode using the ‘Func. of Touch Operation’ in the Setup menu, rather than something from the ‘AF’ sub-section of the Camera tab. Again, it just doesn’t feel like these cameras have been tailored to suit any particular type of user.

Shop-shelf confusion

What are the differences? Which one should I choose?

So maybe I’ve got all this wrong. Maybe Sony isn’t trying to segment the market based on different needs and expectations, but solely by price. Perhaps that’s why the body styles and model names are so much less distinct than those of the similarly-priced models from other manufacturers. So rather than making X-A7/X-T100 style models for the beginners, M6 II / Z50 rivals to address the middle ground and an X-T3 competitor for more hands-on users, maybe Sony’s just making undifferentiated price variants.

If it’s purely a question of ‘how much camera are you willing to pay for?’ then it makes some sort of sense. But I’m not sure it results in cameras that are particularly well suited to any specific person.

*Richard Butler will not be reviewing the a6600

Articles: Digital Photography Review (dpreview.com)

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Three things I love about the Pixel 3 and one that I don’t

24 Mar

The Google Pixel 3 has been my primary camera – and media consumption device, alarm clock, etc. – for over a month now. It will be no surprise to anyone that I’m finding the camera to be really, really good, but there are a few features in particular that stand out to me as excellent. In no particular order, here’s what I’m liking so far about the Pixel 3’s camera, and one area I’m not as crazy about.

Night Sight

You’ve heard all the hype about how good Night Sight is, and it’s true. Night Sight will allow you to take usable photos in incredibly dim conditions. I think the best compliment I can give Night Sight is that the example image above doesn’t convey just how dark the scene in my shot was. The Mexican restaurant looks pleasantly bright and festive – in reality, it was extremely dim (but still festive).

Night Sight is also a great alternative for low-light selfies when flash is a no-no, if everyone in the shot can stay reasonably still. Pro tip: don’t blink or move your eyes or it’ll make you look a little bit like a zombie. In any case, it’s really nice to have a usable alternative to completely destroying the vibe of a mood-lit bar with a smartphone flash.

Finally, Night Sight is also useful for static subjects in any kind of lighting if you want to capture more detail, thanks to its use of Super Resolution (more on that here). The rendering of *individual fibers* in the blanket in the shot above blows my mind. Getting that level of detail out of such a small sensor is a real technological innovation.

Wide angle selfie

We’re weird, okay?

This was a feature I didn’t expect to use much, but it’s really helpful when you need it. I’ve used it on a couple of occasions when there was something in the background I wanted to get into the photo I was taking.

In both cases I considered the shot that I wanted, thought to myself there was no way that I could get the shot, then remembered the wide-angle front facing camera. Boom. Problem solved.

Portrait Mode

Portrait Mode is of course, not new, but it’s been further improved in the Pixel 3. Google used machine learning to train the camera to better ‘cut out’ things like human subjects. We find that it does a better job with human hair than the iPhone (you can see how the iPhone does here), creating a more realistic effect rather than something that looks obviously digitally manipulated.

The ability to throw a busy background out of focus – even if the overall effect isn’t 100% convincing – is still better to me than the alternative.

As a side note, my personal smartphone is an “ancient” iPhone SE, which doesn’t offer Portrait Mode. I’ve gotten pretty attached to it shooting with the Pixel 3, and many of my favorite images taken with the camera are Portrait Mode shots. To me, it feels a little bit like Wi-Fi on traditional cameras. When the feature was introduced it was a little gimmicky and not all that useful, but now that it’s reliable and much improved, it’s becoming something I don’t want to live without.

Muted color rendition


Out of camera JPEG	“Auto” edits applied in Google Photos

The thing I’m not as crazy about is more a matter of personal taste – the Pixel 3 tends toward more muted, natural colors. Plenty of people will prefer that, but I’m partial to a little more warmth and punch in my images. Colors are a little flat for my taste, and in some instances (backlit subjects are a big one) auto exposure doesn’t quite get things right.

In spite of this, I think the greatest testament to the Pixel 3 is that I’ve been taking more pictures lately. When I’m out and about and see a photo, I don’t have to talk myself out of taking a picture because I only have my phone with me. More often than not, I’m finding that I *can* get that photo, or something close to what I envisioned.

Articles: Digital Photography Review (dpreview.com)

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GoPro Hero 7 Black Review – 5 Things I Love and Dislike About this Camera

11 Feb

The post GoPro Hero 7 Black Review – 5 Things I Love and Dislike About this Camera appeared first on Digital Photography School. It was authored by Suzi Pratt.

The GoPro Hero 7 Black is hands down the best action camera on the market right now. With meaningful updates such as incredible stabilization, improved built-in sound, and better app integration, GoPro makes a compelling case for even its most loyal user base to upgrade to the latest model. If you’re on the market for an action camera, read on to find out 5 big reasons why the GoPro Hero 7 Black is the best one for you.

GoPro Hero 7 Black Review

Specs

GoPro released three new action cameras in September 2018: the Hero 7 Black, White, and Silver. The Hero 7 Black is their most premium model at US$ 399, with the other two being stripped down versions. GoPro’s mid-tier camera is the Hero 7 Silver. Priced at US$ 299, the Silver has most of the features of the Hero 7 Black minus Hypersmooth; it’s also capped at taking 10-megapixel photos compared to the Hero 7 Black’s 12 megapixels. GoPro’s new entry-level camera is the Hero 7 White. At US$ 199, you get the same 10-megapixel sensor as the Hero 7 Silver. Most features are retained except for the ability to shoot in 4K video.

Besides the price difference, the Hero 7 Black is also the only model to receive three new key features: HyperSmooth, live streaming, and TimeWarp video. More on all of these features below.

Look and feel

The Hero 7 Black retains the same rubberized design that was first introduced with the Hero 5 Black. Side-by-side, it looks almost identical to the Hero 6 Black. Both cameras have the same 2-inch touchscreen, button placement, and the same ports (USB-C and micro HDMI). They even use the same replaceable batteries.

Before you gripe about GoPro retaining the same camera design, consider this: reusing old designs means you can keep using the same GoPro accessories. This is key as GoPro, and many third-party manufacturers such as Joby have created some truly helpful accessories to get more use out of the camera. So if you have mounts, cages, or adapters for the Hero 5 or 6, rest assured that you can use them all with the Hero 7 Black as well.

GoPro Hero 7 Black Review

5 things I love about the GoPro Hero 7 Black

1. Hypersmooth

Hands down the best feature about the GoPro Hero 7 Black is Hypersmooth. GoPro claims it is the very best in-camera video stabilization on the market, adding gimbal-like stabilization to video footage. After profuse testing, it’s hard to argue. Shooting with Hypersmooth enabled does indeed produce ultra-smooth footage akin to what you would get if you used a gimbal. In turn, this seems to kill the GoPro Karma Grip gimbal as it seems the Hero 7 Black can record video just fine without it.

You can shoot in Hypersmooth even when shooting at 4K 60fps at full resolution. Just be mindful that Hypersmooth can’t be enabled when shooting in 4:3 aspect ratio, and also when shooting in Full HD at 240fps and 120fps.

2. TimeWarp

Also new on the Hero 7 Black is a feature called TimeWarp. In a nutshell, this is timelapse video with HyperSmooth applied. The resulting effect is being able to capture timelapse videos that are ultra stable. This is key for time-lapsing anything with movement, such as driving, hiking, walking, running, or biking. When using TimeWarp, you have the option to record at several different speeds including 2x, 5x, 10x, 15x, and 30x.

3. Same form factor as Hero 5 and 6

On the outside, GoPro made almost no change to the Hero 7. It looks exactly the same as the Hero 5 and 6, and even uses the same batteries. This is actually a good thing. If you’ve invested in GoPro cages or batteries before, you can reuse them with the Hero 7. Also, many third-party companies have created accessories for the Hero 5 and 6. You can use these just fine with the Hero 7.

One design change I’d love to see in future GoPros: a camera that comes with its own mount and doesn’t need to be put in a cage.

4. Touchscreen with revamped UI

While GoPros have had touchscreens for several models now, the user interface has been revamped in the Hero 7 Black. Key information such as resolution and framerate are condensed at the bottom of the screen, while battery life and remaining memory card space are in the upper portion of the screen. Portrait mode has also been added, allowing you to shoot vertical photos and videos for platforms such as Instagram Stories or IGTV.

Speaking of social media, the Hero 7 Black now allows for live streaming. Using WiFi or cellular service, you can conduct a 720p live stream on Facebook. At this time, live streaming to other platforms (ie. YouTube) isn’t yet enabled.

GoPro Hero 7 Black Review

5. Seamless smartphone integration

One of my biggest gripes about modern cameras is how terribly unreliable their smartphone integrations are. While most cameras offer Wi-Fi and Bluetooth connectivity for remote control via smartphones and easily transferring images, it’s always hit or miss whether or not these features will work. With the GoPro, connectivity is the most responsive and reliable I’ve ever seen on a camera. This makes it very easy to use your smartphone to control the GoPro and review photos and videos immediately after capture. Well done, GoPro.

5 things I dislike about the GoPro Hero 7 Black

For all of the things that GoPro improved in the Hero 7 Black, there is still room for improvement. Here are 5 features in particular that I would like to see refined and improved in future generations.

1. Unresponsive screen

While the Hero 7 Black’s touchscreen is largely improved, it has one major shortcoming: it’s not very responsive! This problem also extends to GoPro’s other two buttons. In general, it’s hit or miss whether the GoPro will react to buttons being pushed or the touchscreen being swiped. This can be very frustrating, especially when trying to shoot spontaneously.

GoPro Hero 7 Black Review

2. Voice commands are unreliable

Another feature that is hit or miss is voice control. New on the Hero 7 Black are two voice commands that can control the GoPro: “GoPro capture,” and “GoPro Stop capture.” While useful in theory, these voice controls seem to work about half of the time.

3. No mic jack

In the past, GoPro was notorious for having awful built-in microphones. All of that changed with the Hero 7 Black, which offers remarkably improved in-camera sound. However, there are still instances that require enhanced sound capture via a lavalier (lapel) microphone or shotgun mic. Unfortunately, GoPro has withheld the mic jack from the Hero 7 Black, opting instead to give us USB-C and micro HDMI ports. GoPro does offer a solution in the form of a mic jack adapter. However, it is bulky and expensive, and you must use GoPro’s adapter (other brands will not work).

GoPro Hero 7 Black Review

4. Battery life

Of all the things GoPro improved in the Hero 7 Black, one thing that remains unchanged is battery life. It’s hard to give an estimated battery life as it depends on how you are using the camera. But in general, one battery lasts about an hour when shooting in 4K. Luckily, all three Hero 7 models come with a USB-C port to allow for charging via a wall socket or external battery. However, it is still a wise idea to carry several spare batteries with you.

GoPro Hero 7 Black Review

5. Low light performance

All three Hero 7 models have an f/2.8 aperture. This means they are decent at shooting in low light, but the video and photo quality still leaves room for improvement. In the case of the Hero 7 Black, it also seems that HyperSmooth is automatically disabled in low light conditions, further worsening the low light performance. In general, you’ll get the best photo and video performance out of your Hero 7 if you use it in daylight or good lighting conditions.

In Conclusion

Despite some shortcomings, the GoPro Hero 7 Black is easily the best action camera on the market right now. GoPro made significant and actually useful improvements on this camera and it is worth using not only for action scenarios but everyday use as well. Agree or disagree? Let me know in the comments below!

GoPro Hero 7 Black Review

On The Side Of Love

The Sheer Beauty

Let’s face it; these places are popular for a reason. They are gorgeous! Maybe not when there is a crowd (even the Mona Lisa is hard to enjoy from four rows back in a packed crowd), but there is a reason these locations draw people, with or without cameras.

For instance, we see a picture of symmetry and grandeur of the Taj Mahal and we are drawn in.

Photography Hot Spots - Taj Mahal

And all those photography hot spots in National Parks around the world? Those parks were set up to protect and preserve the often astonishing and sublime beauty we humans are lucky enough to share with this world.

Photography Hot Spots - Machu Picchu

Good Practice And A Chance To Learn

The hard part of photography can be finding subjects. For outdoor and landscape photographers, in particular, more effort is put into researching, getting to and finding the right location than actually shooting.

Hot spots make the learning more readily accessible when the pain is taken out of the hunting process. These days almost any hotspot can be found online with direction or precise coordinates on a map. It is a chance to get out and shoot more and an opportunity to learn from other photographers at the hot spot.

Photography Hot Spots - Seattle

Camaraderie And Socializing

Photographer Eileen Descallar Ringwald explains what she enjoys about the social aspect of hot spots.

“While I value getting away from crowds, I do see advantages to be had when in groups. Once in Yosemite on a climbing-focused trip, a photographer I met by chance in the El Cap picnic area told me the elusive moonbow conditions were going to occur that night. I went out at night to the Lower Yosemite Falls Bridge and was at first shocked to see just how many photographers and even non-photographers were there. However, everyone was very polite. People made way for tripods and shared long exposure settings throughout the night. One photographer even shared where he normally went to shoot the Upper Falls. I had a fun time and got some decent shots as well. This was an experience I would have missed if I hadn’t decided to ‘follow the crowd’.“

When you get in with the right group, the benefits can multiply. It can lead you in directions you would not have discovered on your own.

Photography Hot Spots - Socializing

Gateway Drug To Other Offerings In The Area

Landscape photographer and instructor Gary Crabbe spends a lot of his time outdoors with this camera. He has used photography hot spots as a means to an end.

“The lure of great iconic photo locations should not be ignored or dismissed on the pathway to developing our own personal vision. I always recommend that once you’ve nailed a certain shot, dare to explore further afield or venture off the regularly traveled path. This will allow you to seek out more unique or personal compositions. Regardless of what primary area my travels take me, I always like to find one or two nearby lesser-known locations that fuel a bit more of the journey with an eye toward photographic discovery and adventure.“

Photography Hot Spots - Mesa Arch, Utah

I shot Mesa Arch at sunrise (pictured above) because it makes for a beautiful image. I visited the park with my friend Michael Riffle. As we were spending three days in Arches and Canyonlands National Parks, he suggested a location nearby that I hadn’t previously explored.

It was Dead Horse Point State Park and at sunrise in October, it looked like this:

Photography Hot Spots - Dead Horse Point

While Mesa Arch and the ‘Big 5’ National Parks of Utah are a big draw, there are so many other unique and interesting sites to explore. While I wouldn’t have planned a trip to Dead Horse Point if I were alone, it, and many other sites, are valuable add-ons made possible by first hitting the Gateway Hot Spots.

It’s Never The Same Place Twice

Sure, you’ve seen the photos and you might have even been to that photography hot spot. But times and weather change. Different light means a different mode. Fewer people, more people. A chance encounter with wildlife.

It all makes hot spots different for everyone on each occasion. They are an easy way to grow as a photographer because they teach us not to be complacent and accept that, “Well, I shot that already. It never changes.”

For instance, another day at the Taj Mahal can bring a new feeling. Maybe the shot works better with people? Maybe the light isn’t as crisp? Take the opportunity to learn from them.

Photography Hot Spots - Taj Mahal

On The Side Of Hate

Crowds

Photographer and tour operator, Genevieve Hathaway, knows a thing or two about crowds.

“Crowds at locations can provide challenges for photographers. Especially iconic travel locations can be very crowded making clean compositions tough, making it hard to find spots to shoot. It’s also hard to try and capture more authentic, idyllic scenes. It’s great that so many people are traveling, but this provides photographers with new challenges in composing our shots and even in competing with other photographers for the coveted angles. I think these challenges can push us to be creative. They are opportunities to find new angles at favorite sites, wake up early to beat the crowds and to even discover more off the beaten path locations to shoot.“

Photography Hot Spots - Crowds

Rude Photographers More Interested In Getting ‘The Shot’ Rather Than Ethical Or Polite Behavior

We’ve all met them: rude photographers. They seem to care only about themselves and getting ‘the shot.’ I asked Canadian photographer Michael Russell for his take.

“I have to wonder if the photographers who yell and scream, push people out of the way, damage plant life and infrastructure, or otherwise act to disrupt others, have any understanding as to why a great view at an iconic location is special? Even when the light isn’t great or there are too many tourists on the trail in front of their camera; do they feel anything? A photographer who acts out because something went wrong while hunting for a preconceived trophy is at best missing the gift of visiting these places. At worst, ruining the visit for everyone else who does.“

Photography Hot Spots - Rude Photographers

Uninspired Execution

Pam Boling, a talented, multi-faceted photographer from Las Vegas, sees a lack of effort and originality as a common outcome.

“I am most inspired when I am shooting portraits or landscapes. My most lucrative client, however, is the commercial client. Commercial content rarely inspires me. Getting the exposure right in commercial environments can sometimes be the most challenging: I am often faced with window light, fluorescent lights, OCF, harsh backlight, and sometimes reflective surfaces. I think the photographic process – whatever the subject – eventually becomes the driving force once the toolbox is worn around the edges. Some photographers don’t go beyond the normal tools and the results are uninspired.“

Photography Hot Spots - uninspired

False Impression That Photographers Are Great When Copying

Freelance writer and photographer Peter Tellone put it most succinctly when it comes to copying others.

“Copying greatness does not make you a Chef, it makes you a Cook. The entire point in this madness that is art is to be the Chef.“

If you don’t expand your vision, if you don’t break out of the mold of others, you are nothing more than a fancy copy machine.

These hot spots make it easy to take a great photo because the scene, in and of itself, is already amazing. You just need some decent light to get a decent photo. To be great you need to build, expand and reinterpret what others have done, and what the scene gives you.

Photography Hot Spots - No so great

Conclusion

I have tried presenting both sides to the controversy of iconic photography hot spots. Honestly, I can see both sides of the story. Some positive aspects and some negative.

What do you think? Do you love or hate photography hot spots?

The post Photography Hot Spots – Love ‘em or Hate ‘em? appeared first on Digital Photography School.

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Photokina 2018: Nikon interview – ‘We love feedback, because it leads to better products’

13 Nov

Two cameras, two lens-mounts, separated by almost six decades. The new Nikon Z7 (left) is the first of a brand-new breed of Z-mount full-frame Nikon cameras, just as the original Nikon F (right) debuted the legendary F mount in the late 1950s.

This interview comprises on-record portions drawn from several conversations with multiple Nikon executives dating back to August, primarily those which took place in Tokyo following the launch of the Z system, and in Cologne, Germany, during the Photokina trade show.

Please note that responses to our questions were provided variously by multiple high-level executives, engineers and marketing specialists. These exchanges happened at different times, and in all cases, our conversations were conducted via an interpreter. As such, since individual attribution is impossible, responses have been combined and anonymized. The following interview has been edited for clarity and flow.

What were the biggest challenges you faced when developing the Z mount?

For the mount, the biggest challenge was to finalize the specifications. This is a new system and we’re looking ahead into the future for our users. We want them to use the Z mount for a long time, so we wanted to make sure that the specifications would [support] use for the long-haul.

For lenses, taking the Z 35mm F1.8 for example, we were determined to exceed the [previous] performance level, which was very challenging. Manufacturing was challenging too because we wanted to exceed [previous] lens specifications and performance.

In the camera bodies, we had to maintain robustness, while making them smaller and lighter. This was a challenge for us.

The Nikon Z mount is intended to be at least as futureproof as the legacy F mount – hopefully, according to Nikon representatives – it will still be current in 100 years’ time.

Nikon Z-mount lenses are designed for cameras that are capable of high resolution video as well as stills – how does this requirement affect the design?

Our optical design had to change. There are five elements that are improved significantly. One, we minimized aberrations, in a very well-balanced manner. Secondly, we improved resolution, towards the edges of the frame – not just the center. Thirdly, we improved point image performance [coma] towards the edges of the frame. Fourth, bokeh is natural, and beautiful. And finally we minimized ghosting and flare effects as much as possible. All of these improvements allow us to render sharp, very ‘real’ images.

Mechanically speaking, we improved focus speed, and focus is very quiet and very smooth in movie recording. That smoothness is really improved, and also movie users can adjust focus speed, from slow to fast.

We’ve tried to maintain the same level of operability between the D850 and the Z7

One of the concerns that we have with the Z6/7 is that their autofocus behavior and user experience is so different to DSLRs like the D850. Why did Nikon make this decision?

The D850 has a dedicated autofocus sensor, but in the Z7 we have on-sensor phase-detection autofocus. Each system has its own distinct features and its own strengths. We looked at the differences between the two, so that we could satisfy our customers’ needs by utilizing the strengths of each system. It’s not a question of which system is better, each has its own strengths.

When we think about usability of the autofocus systems, we’ve tried to maintain the same level of operability between the D850 and the Z7. Our priority is to make sure that our [Z7] customers feel that they have the same level of functionality and usability [as they do with the D850].

The Nikon Z7, pictured here with the 35mm F1.8, one of three compact lenses announced at the debut of the new Z mount, in August.

Do you intend to be more proactive in the Z-series, to respond to feature requests via firmware?

We need to look at our camera models, their features and characteristics, and our customers’ needs. With some models it’s better that we update their functionality more often than others.

But upgrading a camera isn’t easy. Also, as functionality evolves, software becomes even more complicated to design and update. However, the environment is changing rapidly, and due to the accelerated evolution of the functions, maybe we have to accelerate our response. We will make sure that we develop and upgrade [our cameras’] functionalities in order to satisfy our customers’ needs.

Our goal is to become number one in the full-frame market

Do you have an internal target for percentage of sales represented by Nikon mirrorless versus DSLR?

We have internal sales targets for each model, but we cannot disclose the figures. Our goal is to become number one in the full-frame market for both mirrorless and DSLRs.

What is your target timeframe for achieving this goal?

That’s a difficult question to answer – we cannot disclose the specific timeline, but we will make every effort to hit the target of being number one as soon as possible. We believe that we can achieve the number one position maybe quite soon. A lot of manufacturers have launched full-frame mirrorless cameras, but sales of our Z6 and Z7 are really robust, which gives us confidence.

Since DSLR and mirrorless have their own benefits and merits, they can co-exist

How do you expect the Z6 and Z7 to affect sales of Nikon’s DSLRs?

Since we launched the Z6 and Z7, demand for the D850 has remained very robust and stable. Since DSLR and mirrorless have their own benefits and merits, they can co-exist, and they will. However, its unavoidable that the market will shift more and more towards mirrorless. Right now, mirrorless market share is around 40% but by 2020 and afterwards we expect that mirrorless will surpass DSLR. For now we think they can co-exist.

At launch, the Z system is a full-frame system. Could it support DX (APS-C) format cameras in future?

We are not thinking about other formats yet. But we’re monitoring market trends, and we’re not ruling anything out [in future].

From left to right: The Nikon D850, the new Z7 and it’s main competitor, the Sony a7R III.

When you were developing the Z6 and Z7, what were your key benchmarks, and measures for success?

In one word, our benchmark for the Z7 was the D850. We wanted the Z7 to be at least on the same level as the D850. We have a lot of accumulated knowledge from our DSLRs, and we gathered information from our customers to make sure that we really met their needs and their demands. For example a comfortable grip, a good viewfinder experience, and the operational feel of pressing the shutter. We have to make sure that we can match or exceed these qualities [of our DSLRs] before putting a [mirrorless] product on the market. These are the expectations that people have of Nikon as a camera maker.

In-body V.R. is a new concept in the Z6 and Z7, and we set a very strict target for the number of stops of correction. When it comes to lenses, we can’t disclose the exact numerical performance targets, but we’ve already talked about the five ways in which we aimed to improve the lenses, plus operability and user-friendliness. We actually set some very ambitious targets.

These are high-performance cameras and lenses – how long has the system been in development?

We cannot disclose the specific number of years.

How important was it to Nikon to incorporate high-quality video features in the development of the new Z-mount cameras?

An increasing number of customers are looking at stills and video and they want both of them. Therefore we focused on improving video performance, which also affected body and lens design. We wanted to make sure that the new cameras would have very good still and video qualities.

We want to be recognized as a company that provides tools for video professionals

We love feedback, because it leads to better products. We want to be recognized as a company that provides tools for video professionals. If we hear from professionals that now, finally, they can do the kinds of jobs they want to with our products, that would be great. We’ve provided a set of functions, including N-Log, and if any of them can be useful, we’re very happy about that.

We are now starting to communicate with the community of professional videographers because we have really improved the video performance of our cameras and lenses and we’re proud of that, so we want to communicate this to the community.

The Nikon 1 V3 was the last – and arguably best – of the erstwhile 1 System mirrorless camera lineup. Although the 1 System didn’t last, Nikon tells us that a lot of the technologies pioneered in cameras like the V3 was utilized in the development of the full-frame Z mount.

How much technology and experience gleaned from creating the 1-system was brought into the new Z system?

That’s a hard question to answer. There’s a lot we could say, but it’s hard to put into words. The basis of the technology comes from Nikon 1. Especially the technology behind the imaging sensors. Not the [hardware] technology itself but definitely the concept and basic principles.

Of course, the the F system and the 1 system represent the basic foundation of everything that we do, but with the Z system the goal was to go beyond those predecessor products. The larger volume of data being communicated [between camera and lens] is a huge benefit, and that’s one of the biggest improvement between previous models and the new Z-series.

The F system and the 1 system represent the basic foundation of everything that we do, but with the Z system the goal was to go beyond

The concept for the development of the new series, although obviously to some extent they are based on the F and 1 systems that came before it, is to listen to those users and hear what they like and don’t like, and look into the future. People might be happy with what they have right now, but maybe those technologies won’t work in the future. We can’t be myopic about it.

It’s very important to us that our F mount customers can use their lenses with the Z mount, for example. We had to consider that.

Did any of the engineers that worked on the 1 system go on to work on the Z6 and Z7?

Yes – part of the development team from the Nikon 1 was involved in developing the Z6 and Z7.

With the next generation of Z mount cameras, is it more urgent to target professionals, or beginners?

While we are focusing on mid-to-high end models, entry-level users who have never used an interchangeable lens camera are very important to Nikon. Both entry-level and professional users are equally important to us, and we aim to expand the Z mount system lineup to appeal to a wide audience.

The iPhone X/S, and other smartphones of its ilk are small, powerful, water-resistant and take great photographs. According to the Nikon executives that we spoke to, the threat to traditional camera manufacturers from mobile devices, jam-packed with computational photography technology, is acute.

Will future Z series cameras offer optical V.R. in addition to in-body stabilization?

We intend to continue with the development of optical stabilization. If there is a benefit of the functionality, we will continue to employ [optical V.R.] as an option. For telephoto lenses, optical stabilization is very beneficial. When it comes to wide-angle zooms, in some cases it is also beneficial.

What are the biggest challenges facing Nikon in the future?

This is a hard question to answer. Because of the advent of the smartphone, the digital camera has shrunk. However, the mirrorless camera market has been revitalized, and we believe that Nikon can expand this market. Another challenge is that if computational photography technology advances rapidly, maybe smartphones will be be able to produce images that are as good as interchangeable lens cameras. If this happens, it will be a real challenge.

The number of people taking photos is growing, and the number of photos being taken is also growing

However, because of smartphones, the number of people taking photos is growing, and the number of photos being taken is also growing. So maybe we can combine hardware and imaging technologies where we can see a business opportunity to expand into camera, software applications, b to b [etc.] there are many possible opportunities for us.

So many people take photos with their smartphones because they want to post them to Instagram or Facebook, or other social networking services. However, some of these people are not really satisfied by the quality of the photos taken on their phones. This segment of people are looking for a camera which can give them better quality images, but maybe they’ve never used a dedicated camera ever in their lives. I am sure that this segment of the audience is growing and [they represent] a great opportunity.

Will we see fewer DSLRs released by Nikon in future?

Our strategy is to [market] both DSLR and mirrorless. We launched the D3500 [alongside the Z6/7] and we’re planning to launch more DSLR models in the future.

The F mount was Nikon’s premier lens mount for 60 years – how far into the future are you looking for the Z mount? Another 60 years?

At least another 60 years! I was about to say 100. Hopefully it will last indefinitely – that’s why it’s so important for us to look into the future, and why such a high volume of data communication [in the Z mount standard] is so important.

Editors’ note: Barnaby Britton

This has been a big year for Nikon, and I suspect one that Nikon’s engineers and executives have been eagerly awaiting for a long time – to say nothing of their customers. Nikon did a fine job of maintaining and updating the F mount for as long as it did, but the question was never if the company would replace it with a redesigned standard for mirrorless, but when.

The Z mount of course is Nikon’s second mirrorless camera mount, after the 1 mount, designed around the 1″ sensors used in the company’s various 1-series ILCs from 2011 until the discontinuation of the lineup earlier this year. It was interesting when speaking to executives to learn that some of the technologies from Nikon’s 1 System (and in fact some of the engineers that worked on it) were integral to the development of the Z mount.

The resulting mount is a very, very different standard to Nikon 1, and different again to the 60-year old F mount, despite being designed around the same sensor format. Clearly the company is looking ahead – a long way ahead, judging by the ‘100 years’ comment in our interview – and it will be interesting to see how Nikon develops its Z-mount lens lineup in the coming months and years. Unlike Canon, Nikon publishes roadmaps, and I suspect that the Z7 and Z6’s true potential (and that of their inevitable successors) will become clear once lenses like the planned 24-70mm F2.8 start to become available.

The Z7 really is intended to replicate as far as possible, the performance and durability of the D850

So what did we learn from this interview? For one thing, we learned that Nikon wants to be the number one full-frame manufacturer, and it hopes to achieve that position fairly soon. That’s a lofty goal, and a bold statement, but the Z6 and Z7 are bold products. As far as Nikon’s executives are concerned, the Z7 really is intended to replicate as far as possible, the performance and durability of the D850 – a very popular camera which has been backordered almost since the day it was announced.

To the company’s credit, we think that the company has largely succeeded in this goal (although there are some things we’d like to see improved) and that’s no small feat. It’s a bit disingenuous to call the Z6/7 first-generation cameras, but they’re certainly first attempts at something very new for the company, and compared to Canon’s more cautious approach with the EOS R, straight out of the gate they’re powerful, highly competitive ILCs. Whether there is any room for APS-C products in Nikon’s future Z-mount lineup, however, is unclear.

The challenge of building a reputation as a video manufacturer is one that Nikon hasn’t really been faced with tackling up to now

While Nikon has made some overtures towards videographers before now (lest we forget, the D90 was the first DSLR to shoot video and the D850 is a very capable 4K video camera) the challenge of building a reputation as a video manufacturer is one that Nikon hasn’t really been faced with tackling up to now. The Z7 and (especially) the Z6 have a lot to offer these users, and it will be interesting to see how Nikon approaches the challenge of becoming a major player in this space, alongside more experienced competitors like Sony, Canon and Panasonic. It’s reassuring to see that whatever challenges Nikon faces in the future, a lack of confidence doesn’t seem to be one of them.

Articles: Digital Photography Review (dpreview.com)

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Posts Tagged ‘Love’

When did you start shooting images for On My Block?

What camera are you using to shoot the work?

Why was it important to shoot on film? How do you select what film stocks you use for this project?

How does being born and raised in the Bronx influence the way you see and photograph in other New York City neighborhoods?

Do you see this work as being related to the work you do as a freelance news photographer, or is this a project that gives you a mental break from that world?

What can we expect to see as you continue the project?

What’s your quintessential New York food and where is the best place to get it?

More photographs from On My Block

About:

Introduction

Fujifilm GF 50mm F3.5 sample gallery

Fujifilm’s new 50mm F3.5

It’s still kind of big

Inoffensive bokeh

It’s a darn good lens

Fast, confident autofocus

Close focus could be closer

Pixel counts are leveling out

New features are nice but perhaps not necessary

Simpler can sometimes be better

‘Shiny and new’ is overrated

Happiness is accepting the inevitable

Research

Create a visual diary

Pick a theme

Try something new

Keep a camera with you

Conclusion

Too complex to be simple

Too simple to be sophisticated

Not just on the outside

Shop-shelf confusion

Night Sight

Wide angle selfie

Portrait Mode

Muted color rendition

Specs

Look and feel

5 things I love about the GoPro Hero 7 Black

1. Hypersmooth

2. TimeWarp

3. Same form factor as Hero 5 and 6

4. Touchscreen with revamped UI

5. Seamless smartphone integration

5 things I dislike about the GoPro Hero 7 Black

1. Unresponsive screen

2. Voice commands are unreliable

3. No mic jack

4. Battery life

5. Low light performance

In Conclusion

You may also like these reviews from Suzi:

On The Side Of Love

The Sheer Beauty

Good Practice And A Chance To Learn

Camaraderie And Socializing

Gateway Drug To Other Offerings In The Area

It’s Never The Same Place Twice

On The Side Of Hate

Crowds

Rude Photographers More Interested In Getting ‘The Shot’ Rather Than Ethical Or Polite Behavior

Uninspired Execution

False Impression That Photographers Are Great When Copying

Conclusion

What were the biggest challenges you faced when developing the Z mount?

Nikon Z-mount lenses are designed for cameras that are capable of high resolution video as well as stills – how does this requirement affect the design?

One of the concerns that we have with the Z6/7 is that their autofocus behavior and user experience is so different to DSLRs like the D850. Why did Nikon make this decision?

Do you intend to be more proactive in the Z-series, to respond to feature requests via firmware?

Do you have an internal target for percentage of sales represented by Nikon mirrorless versus DSLR?

What is your target timeframe for achieving this goal?

How do you expect the Z6 and Z7 to affect sales of Nikon’s DSLRs?

At launch, the Z system is a full-frame system. Could it support DX (APS-C) format cameras in future?

When you were developing the Z6 and Z7, what were your key benchmarks, and measures for success?

These are high-performance cameras and lenses – how long has the system been in development?

How important was it to Nikon to incorporate high-quality video features in the development of the new Z-mount cameras?

How much technology and experience gleaned from creating the 1-system was brought into the new Z system?

Did any of the engineers that worked on the 1 system go on to work on the Z6 and Z7?

With the next generation of Z mount cameras, is it more urgent to target professionals, or beginners?

Will future Z series cameras offer optical V.R. in addition to in-body stabilization?