What is the advantage of the new cameras without a pentraprism and a reflex mirror … like the Micro models from Panasonic and Olympus, and the Samsung NX? Is the benefit simply smaller size versus a Digital SLR? In that case, why wouldn’t someone just buy a smaller camera like the Canon Powershot G11 which also has a built-in viewfinder? R.N.
Answer
The primary appeal of the “mirrorless” or “non-reflex” cameras – and their new petite lenses – is certainly the greater portability. Of course there are some intangibles as well with the latest Micro Four-Thirds cameras: the Lumix GF1 and particularly the Olympus E-P1 and E-P2. These models are very classy and they feature rangefinder-like styling, which appeals to many camera buyers. (See my Olympus E-P1 Review: Field Test Report ) But let’s discuss some of the other important aspects to clarify additional issues.
As this illustration of the Lumix DMC-GF1 versus the Lumix L10 DSLR confirms that a a Micro Four-Thirds camera can be much smaller than a DSLR especially if it omits a viewfinder. Since the lenses are also smaller, the entire package is substantially more portable.
And thirdly, the code is more what you’d call “guidelines” than actual rules
–Barbossa, Pirates of the Caribbean: Curse of the Black Pearl
If you like this article, you can now get the book! Joe has expanded the “Tuesday Composition” series into an inspiring new ebook on composition, especially for nature photography. Check it out: The Tuesday Composition.
Today I’m going to take a brief digression from specific compositional topics, back up, and talk about compositional “rules”. I’ve said this before, but it’s worth repeating.
They’re not rules.
Lithodendron Wash Abstract. I didn't shoot this based on "rules", I shot it based on intuition. (Image created as part of the National Park Service Artist-in-Residence Program at Petrified Forest NP.)
By this point in the Tuesday Composition series I’ve written about almost thirty ideas, each of which could be thought of as one (or perhaps a couple of) rules. But using them as rules will, in the end, limit your creative reach as a photographer. I urge you, in fact, I beg you not to use them as rules, either when you create your own images or, just as importantly, you look at an image of another photographer.
Let’s talk about that. It’s easier to begin this discussion by thinking not only about our own work but someone else’s. When I see a new image from a book, an advertisement, whatever, the first thing I do is to look at it, to see it. I do not drag out my list of rules and walk through it adding up a score. Instead, I look, and feel what I feel, notice what I feel. I don’t start with an analytical process, I start with an intuitive, visual process. (more…)
This may sound strange, but designing a wedding album can be more stressful than actually taking the pictures. When you’re shooting a wedding, you try all sorts of different techniques to get the shot. That way you have a lot of options available to you later when designing the album. However, when designing the album, you don’t have the luxury of “covering your bases,” so to speak. You have to take 700 images and eliminate down to 60-100. There are a lot of criteria to meet:
Do these images tell the story of the day?
Do you have all the formal and family shots that the client wants?
Does this client like big pictures or lots of small ones?
What’s more important to the client: beautiful formal pictures or candid fun ones?
I am planning to buy a new PC with Windows 7, but should I pay extra for 8 GB of Ram instead of 2 GB? It’s not too expensive and I assume it would make my computer faster. Is that correct? L.H.
Answer
Upgrading a new PC with extra Ram can help boost some aspects of performance but note the following. The conventional 32-bit version of Windows 7 can utilize only 4 GB of RAM (actually, only about 3.4GB). If you buy a new PC (with 64-bit CPU) with 8 GB of Ram, the vendor should install the 64-bit edition of Windows 7. Check out the various versions of this OS on the Microsoft website.
A fast new PC with a 64-bit CPU and a 64-bit edition of Windows 7 can have some benefits, but also some drawbacks.
Note: The upgrade to a 64-bit system will cause compatibility problems re: drivers for some hardware you already own and for some software programs as discussed on this Windows forum. (more…)
Chiricahua Sunset. The combination of the positioning of the pieces and the positioning of the views (see text) combines to create a sense of movement.
If you like this article, you can now get the book! Joe has expanded the “Tuesday Composition” series into an inspiring new ebook on composition, especially for nature photography. Check it out: The Tuesday Composition.
So far in this series we’ve discussed images “in the box” of a single rectangular frame. Today, I’ll talk a little about ways to “think outside the box” and use multiple images together as part of a single artwork.
First, a few words of terminology. Diptychs were traditionally any sort of artwork or other object with two plates connected together with a hinge. These days the hinge is optional, and the term is applied to any sort of art in which two pieces are meant to be hung together (usually in a particular arrangement). Triptych refers to the same idea with three images. Polyptych is the general term for two or more pieces. Multiples is sometimes used similarly to polyptych (although the former might be two images printed separately on the same piece of paper). I’m going to stick with “multiples” here as the most inclusive term.
In nearly every multiple, we’re encouraged to consider the relationship between the individual parts of the artwork. The relative placement of the different parts within the artwork is one part of this; if the two halves of a diptych are laid out left to right, we’ll be far more likely to “read” the left image first and the right image second. To the extent that the images combine to tell a story, the left segment of the image will usually tell an earlier part of the story, the right segment the latter part. Not every multiple tells a story (Andy Warhol’s famous silk-screened multiples of Marilyn Monroe don’t seem to really imply a sequence in time), but many do. (more…)
As we move towards the coming new year many of us are beginning to implement a new marketing plan. Also, as the holiday season comes to a close many of our thoughts are on giving. Cause marketing is an opportunity to combine the two. For those unfamiliar with the term, cause marketing is a form of marketing that allows two organizations, one for profit, and one non-profit, to work together to further each of their individual marketing/development goals in a cooperative fashion. Think of the (product) RED campaign, or the partnership between the NFL and United Way.
Cause marketing can be as simple as offering a sponsorship to a local charity event, or as involved and complex as you care to make it. Below are some examples of actual cause marketing campaigns I’ve seen photographers in my market employ”¦
A local portrait/wedding studio holds quarterly workshops for photographers on various business practice issues. They host at their studio and usually bring in a guest speaker. They don’t charge attendees directly but ask that they make a donation to a specific charity ($40 to the local food bank or so.)
A commercial photographer sponsors a hole-in-one contest at a charity golf outing. If a participant scores a hole in one, they win $10,000. He gets a bond each year to cover it for about $100. He’s at the tee of that hole, shoots a photo of the foursome and mails each of them a print (with his logo and web address of course.)
A fine art photographer gives 25% of sales of a series of images of the Chesapeake Bay to a local environmental charity.
In lieu of holiday gifts for his corporate clients, an industrial photographer makes a donation to the USO (many of his clients are in the defense industry and are veterans). He then sends the clients a note thanking them for their business and letting the client know that he’s made that donation. (more…)
Guanaco Anticipating the Future. The contrast between the size and age of the guanaco calls our attention not only to the difference, but also to the relationship between the two.
If you like this article, you can now get the book! Joe has expanded the “Tuesday Composition” series into an inspiring new ebook on composition, especially for nature photography. Check it out: The Tuesday Composition.
Opposites attract ... our attention.
Opposition is one of the primary themes in photographic composition, one which was first emphasized to me by Frans Lanting, the powerfully talented photographic storyteller. At the simplest level, putting together two areas of different tone (brightness) forms a contrast which pulls our eyes toward the boundary between them. Contrasting opposing colors has a similar effect, attracting our attention and actually enhancing the saturation and power of the individual colors.
But using contrast and opposition in composition goes far beyond that, contrasting concepts can be a very powerful tool for composing a photography to communicate a particular message. Contrasting concepts, much as with contrasting colors, has two effects.
First, the viewer’s attention is drawn to the nature of the contrast. The black and white of a yin-yang symbol draws our attention to tones, the difference between light and dark. Similarly, a photograph of an infant and an adult leads the viewer to think about age, and as a result, perhaps issues of family relationships and parenting. It’s almost impossible to view Guanaco Anticipating the Future without thinking about the relationship between the two animals (we assume that one is the parent of the other), a concept that wouldn’t come to mind nearly as quickly if I’d only included one animal (or two of the same age and size).
Pink Morning Mists, Torres del Paine.
Second, contrasting two things seems to often exaggerate each of them. If we put a smooth texture next to a rough texture, both the smoothness and the roughness are stronger, more apparent. If we put a moving object (perhaps communicated with motion blur) in an unmoving scene the sense of motion may be enhanced. (more…)
Peter Burian tests this premium-grade camera with 10MP resolution to determine how it compares to the very popular G10
One of the top rated digicams on the market, the 14.7 megapixel PowerShot G10 was recently replaced by the G11, with lower resolution said to provide superior image quality. The G10 was definitely an ideal second camera for serious photographers. In fact, this is the one that many of the pros carried when we went out for dinners while working at a week-long photo seminar in Dubai. (Also see Jack Neubart’s Canon PowerShot G10 Review here at Photocrati.com)
After testing the G10, I fell in love with that camera and bought one for my own use. While it received rave reviews about its conventional controls and low ISO quality, most test reports complained about its high ISO performance.
The 14.7 megapixel G10 was a highly-rated camera and produced fabulous images at low ISO but the G11 is even more desirable in some aspects. While resolution is lower at 10 MP, most reviewers agree that this is plenty for a digicam with built-in lens. (G11; ISO 100; f/8; 1/40 sec.)
In my own review for a Canadian magazine, I made the following comment about the G10: By ISO 800, images made in low light are still very sharp but very grainy although that’s not a problem in 5×7″ prints. At higher ISO, JPEG quality really suffers due to speckling and some smearing of fine detail by Noise Reduction processing. At ISO 800+, slightly better results are possible with Raw capture since Noise Reduction and Sharpening can be set to the optimal level in the converter software.
Most technical experts indicated that the problem was caused by the excessively small pixels (photosites). Apparently the engineers at Canon agreed since the company responded by replacing the G10 with the G11, with substantially lower 10 megapixel resolution provided by a new High Sensitivity sensor. That step made sense of course, since it allowed for larger photosites – with greater light gathering ability – for superior results at high ISO. (more…)
Many wedding and Bar Mitzvah photographers find themselves in a bit of a pickle when they are first starting out. You’ve looked at hundreds of websites and seen all these incredible, artistic wedding pictures and decided “I want to do that.” So, you buy all the equipment, flashes and fast lenses that you can afford and set out to create beautiful, moving images. You spend all this time and energy in pursuit of the artistic and then suddenly discover that you can’t shoot the mundane … and let me tell you, there is a lot of mundane to shoot at a 7-hour wedding.
It’s not our fault that we don’t always learn how to take these shots. They aren’t the sort of shots that get featured on the web or in the pages of a magazine. It’s great to see those beautiful shots of an outdoor wedding and the incredible formals but what about the other 500 pictures the photographer took? You know, the ones in the dark hall with the dancing people? You don’t see many of those on the ol’ website because they aren’t quite as dynamic. Still, being able to take a good table shot or dancing shot is every bit as important as the perfectly lit formal. For some clients it may be more important, depending on who is sitting at the table or dancing on the floor.
My first rule of photography is this: Get the shot. First, learn how to get the shot, any shot, in any situation. Then, learn how to get it in an artistic and creative way (if needed). Don’t spend so much time learning the “hard” shots that you neglect to learn the “easy” ones. You may find that the “easy” ones aren’t so easy after all.
Rainbow Whirlwind, Seljalandfoss, Iceland. I don't need to show much of the waterfall, or the water at the bottom of the fall, to give you a sense that this is a waterfall--and a very large one at that.
If you like this article, you can now get the book! Joe has expanded the “Tuesday Composition” series into an inspiring new ebook on composition, especially for nature photography. Check it out: The Tuesday Composition.
It is all too easy to forget that when we photograph that we are usually photographing for someone, even if only ourselves. Photography is a type of communication, and the best way to compose a photograph to communicate someone depends on both what you’re trying to communicate and who you are trying to communicate it to. Familiarity is key–if you’re trying to photograph a particular type of animal, if your viewer is likely to be familiar with the animal you’ll want to approach photographing it differently than if they aren’t likely to have seen one before.
It’s helpful to draw an analogy with a dinner party conversation. If you and I are chatting and I start talking about Death Valley, I’ll probably guess that you’ll have heard of Death Valley. I’ll guess that you’ll know it’s a large desert area in California, that it gets very hot there, and perhaps that it has sand dunes. If I start off the conversation by reiterating a bunch of stuff you already know about Death Valley, you’re going to get bored pretty quickly. On the other hand, if I start talking to you about the Aeolian Buttes, I’m probably going to start with an assumption that you know a little less about it, and start with a more basic information.
Of course, when I’m talking to someone, I have the opportunity to adjust this on the fly, if you say “Oh, I love that part of the Mono Basin”, I can move along. But in photography (and writing as well), I don’t have that flexibility. I have to choose up-front how much to say in my photograph, and how much not to say.
Noa Lake, East Greenland
If I don’t say enough, I may not actually “get across” whatever it is I want to get across. If I really want to show you how cool the oddly pink Noa Lake is in East Greenland is, a little detail of pink water may be aesthetic, that may be a great piece of art, but if I’m trying to tell you about the lake in general I’m going to have to include the whole lake, the surrounding landscape, mountains and lichen. I’m going to have to establish a sense of scale, I’m going to have to use the other parts of the photograph to help you realize that the pink stuff is pink translucent water and not just a trick of the light.
On the other hand, If I say too much, if I “overexplain” something in a photograph by showing you to much of it and/or by emphasizing it, you may not be insulted but you’ll certainly not be particularly interested. (more…)
