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05-29-2017, 11:39 AM - 2 Likes   #16
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QuoteOriginally posted by alamo5000 Quote
Early on advice that I was given by a salty old photographer who has had more stuff published in major mags than I can even think up:

"Your camera doesn't suck. YOU SUCK!"
One is certainly welcome to their opinion, but I will continue to think that it is my camera that sucks!

05-29-2017, 11:45 AM   #17
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Back in 2015 there was a Charlie Rose show on Apple. At that time it was stated that Apple had over 800 (yes, eight hundred) engineers and specialists working on the camera for the iPhone.

That kind of commitment gives it a pretty good chance of being a good camera.
05-29-2017, 12:00 PM - 2 Likes   #18
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QuoteOriginally posted by AggieDad Quote
Back in 2015 there was a Charlie Rose show on Apple. At that time it was stated that Apple had over 800 (yes, eight hundred) engineers and specialists working on the camera for the iPhone.

That kind of commitment gives it a pretty good chance of being a good camera.
But the laws of optics still apply.
05-29-2017, 12:23 PM   #19
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QuoteOriginally posted by normhead Quote
You wonder how much money some guys and gals have to spend before they figure this out. It would seem, they are always thinking the next "latest greatest" camera is going to be so good it let's them access their unrealized photography talent.

For most of us it comes down to we don't have unrealized photographic talent, we have absent photographic talent.

One of the joys about studying photography is getting to hang for a bit with guys with talent in spades. You know your place in the world of photography right off the bat. Me, I'm probably a good to average photographic technician, but artistic vision is not my strong suit. It was worth taking a year of my life just to understand that.
I have been somewhat fortunate to have some fairly good mentors. I clearly have made improvements but I also have a really long way to go. There is so much about lighting that I don't know.

The good thing for me is I view photography in a different light than some people. For example I just came back off a business trip and while we were walking around as a group I took my camera. It was my way of checking out. I might as well have played 18 holes of golf. I had to turn off all that work related stuff and start trying to pay attention to what I was doing with the camera and more importantly the surroundings around me.

I haven't quite gotten anywhere near where I want to be photographically speaking. With my upcoming move though I may or may not have more chances to shoot interesting subject matter. As far as down right artistry goes I am no where near where I want to be. I have a friend who is a painter who has work hanging in the Metropolitan Museum in NYC. He's provided tons of expertise getting that information into my own brain is a long term process to be juggled with other things.

Also I haven't quite decided to specialize in anything just yet so that's limiting as well. There are some people here are the forum that are far and away just amazing photographers.

Another thing many of my friends (who are actual professionals) do is set up entire projects and see them through. Believe me, there is a whole lot of intellectual work to be done. It's not all in your trigger finger. 90% of this stuff is in your head and 'what you know'.

If I had to rank myself it would be 50/50 at best. I know that I have yet to hit my stride.

05-29-2017, 12:40 PM   #20
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QuoteOriginally posted by alamo5000 Quote
If I had to rank myself it would be 50/50 at best. I know that I have yet to hit my stride.
After my year at Photo Arts at Ryerson, I worked as a hospital ward staff type worker, and cabinet maker before teaching building construction and then photography for 15 years before retiring. At this age, I'm happy to look at all the things I could have done and let go of them. The fact that I know how to do a lot more than I do doesn't bother me at all. More committed people than I are doing them.

Just having both a K-3 and a K-1 available is creating serious issues for me. Every trip out the door leads to a serious internal discussion of what trade offs I'm going to live with today. Having just one body, you don't have to think so much.

Even if I take them both, I have to decide what'a in my hand and what's in the bag.

I kinda miss the old days.

Then it was just a matter of what lenses. Now it's what lenses for what camera and which ones can we share between the two?

---------- Post added 05-29-17 at 04:01 PM ----------

QuoteOriginally posted by AggieDad Quote
Back in 2015 there was a Charlie Rose show on Apple. At that time it was stated that Apple had over 800 (yes, eight hundred) engineers and specialists working on the camera for the iPhone.

That kind of commitment gives it a pretty good chance of being a good camera.
But it does beg the question, did Nikon, Canon, Pentax and Sony combined ever have 800 engineers working on their cameras?

When it comes to writing off R&D costs over multiple systems, Apple has the "camera companies" beat by a long margin.

Last edited by normhead; 05-29-2017 at 01:02 PM.
05-29-2017, 05:38 PM - 1 Like   #21
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QuoteOriginally posted by D1N0 Quote
Are people still trying to shove the idea an iPhone is all we need down our throats? Very ugly fake bokeh in that pic.
I don't think anyone's trying to push that opinion. I believe the camera selection was an artistic decision to reflect the spirit of the article, which is the idea of a trendsetting fashion icon emerging from the plebian realm of social media rather than the traditional ranks of socialites and fashion houses. The point of the article is that advancements in technology are leveling the playing field among artists, and I can certainly see that being the case with the iPhone.
05-29-2017, 06:12 PM - 2 Likes   #22
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QuoteOriginally posted by pathdoc Quote
I never questioned it. But any average Joe (or Josephine) who saw in isloation the results of such a shoot and "Taken with iPhone" (insert version here) would have every right to feel hoodwinked if, having failed to achieve such results on purchasing one themselves, they later found out how much energy and effort had gone into it.
That would be a great lesson for them to learn then, that talent and skill is more important than gear.
And the Elle Magazine cover does not proclaim "Taken with an iPhone" anywhere on the cover, although it may say elsewhere; I don't know since I don't subscribe.

QuoteQuote:
I think this degree of cynicism (or is it postmodernism?) is unjustified.
For decades we've manipulated the image to our will.



Photoshop, the Darkroom, and "Truth" - PhotoWings

Photoshop has just made it more accessible.
05-31-2017, 09:54 AM - 1 Like   #23
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QuoteOriginally posted by lytrytyr Quote
But the laws of optics still apply.
Exactly!

And the laws of biology (especially psychology) apply even more so.

Who cares how accurately the device measured the photon fluxes for an array of ray angles if the image triggers the intended emotion.

05-31-2017, 10:42 AM - 1 Like   #24
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QuoteOriginally posted by AggieDad Quote
Back in 2015 there was a Charlie Rose show on Apple. At that time it was stated that Apple had over 800 (yes, eight hundred) engineers and specialists working on the camera for the iPhone.

That kind of commitment gives it a pretty good chance of being a good camera.
And yet there's a half dozen or more Android smartphones with better rated cameras. Yup, phone cameras are getting better. Apple's PR assisted by friendly bloggers are better yet.

BTW, I very recently saw a series of exceptional shots taken for a magazine using a more than 100 year old camera. The subject? Formula 1 racing. The photographer matters more than the gear.
http://www.boredpanda.com/photographer-shoots-f1-old-graflex-camera-joshua-paul/

Last edited by gatorguy; 05-31-2017 at 10:48 AM.
05-31-2017, 11:18 AM   #25
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QuoteOriginally posted by johnmflores Quote
For decades we've manipulated the image to our will.
You have demonstrated, with this shot, a carefully planned series of adjustments... but no falsification.

Boriscleto'd forever.
05-31-2017, 12:18 PM - 1 Like   #26
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QuoteOriginally posted by pathdoc Quote
You have demonstrated, with this shot, a carefully planned series of adjustments... but no falsification.

Boriscleto'd forever.
Adjustments that make items that had equal tonality into items of different tonality are a kind of falsification. Burning and dodging may not be as blatantly manipulative as entirely removing (or adding) something from the scene but the do falsify the atmosphere, lighting, and visual relationships between objects.

There's no possible exposure setting or film/print latitude/contrast selection for the real scene that would have created that manipulated James Dean image.

Whether such manipulation is good or bad is a different matter.
05-31-2017, 05:22 PM   #27
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My guess is that Georges Antoni - an established photographer - used a DSLR in his career before this shoot and has gone back to the DSLR since it.

ie this is a novelty that Antoni himself doesn't believe is anything else.

Another Australian, Jerry Ghionis, regular winner of international Wedding Photographer of the year, also did a wedding once with a phone. Guess it's crossed off his bucket list now, too.
06-01-2017, 07:46 AM   #28
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QuoteOriginally posted by gatorguy Quote
BTW, I very recently saw a series of exceptional shots taken for a magazine using a more than 100 year old camera. The subject? Formula 1 racing. The photographer matters more than the gear.
Photographer Shoots Formula 1 With 104-Year-Old Camera, And Here’s The Result | Bored Panda
Yes, fantastic images. I love the idea of being forced to rethink what kind of shots you can take based on the gear that you have. This forces a photographer to think outside of their box and the results can very often be interesting.

QuoteOriginally posted by pathdoc Quote
You have demonstrated, with this shot, a carefully planned series of adjustments... but no falsification.

Boriscleto'd forever.
Oh well.

QuoteOriginally posted by photoptimist Quote
Adjustments that make items that had equal tonality into items of different tonality are a kind of falsification. Burning and dodging may not be as blatantly manipulative as entirely removing (or adding) something from the scene but the do falsify the atmosphere, lighting, and visual relationships between objects.

There's no possible exposure setting or film/print latitude/contrast selection for the real scene that would have created that manipulated James Dean image.

Whether such manipulation is good or bad is a different matter.
Even a simple thing like framing and cropping has a significant impact.

Have You Ever Seen the Uncropped Version of the "Napalm Girl?" - Reading The Pictures

Photographers are not arbiters of reality, merely interpreters.
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