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11-05-2017, 11:50 PM   #16
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QuoteOriginally posted by Alex645 Quote
e) This seems totally cosmetic, but there is a perception that a pro must shoot with pro level gear. This expectation comes from models, agents, clients, etc, that are delusioned that because they've always seen a Canon 5D Mark IV or Nikon D5, that you can't possibly be serious showing up with a Pentax K-1 or a 645Z instead of a Hasselblad. When I was a film pro, I struggled with this attitude with my pro-level Minoltas that when they were stolen, I threw in the towel and replaced it with all Nikon gear. The Nikon didn't make me a better photographer, but in everyone's eyes it did. If anyone bothered to compare my Minolta images vs. my Nikon images, they would have seen little or no difference.
That is a bigger issue than often acknowledged - when I was working professionally in South Africa about 20 years ago I was confident enough hauling out the 67 & 67ii, but I didn't having to do 35mm work with the Z-1 for similar reasons.

11-06-2017, 02:55 AM   #17
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QuoteOriginally posted by Lord Lucan Quote
I found his "excuses" - sorry, "reasons" - for having expensive kit himself were a bit sketchy; "efficiency" he said, but he did not explain why he used a 5D rather than a less expensive Canon (or Pentax). No doubt he had reasons, but did not really offer them.
When comes to Karl Taylor, he doesn't need to find excuses to work with top quality equipment.

QuoteOriginally posted by Lord Lucan Quote
And you cannot do good cooking with a rubbishy oven.
There were a lot of people who said that he has these great results because of the gear he uses. But there are a lot of so called PRO photographers that can't get a great product image like the one from this video with top quality camera, lenses and studio lights.

11-06-2017, 03:23 AM - 1 Like   #18
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QuoteOriginally posted by Dan Rentea Quote
There were a lot of people who said that he has these great results because of the gear he uses. But there are a lot of so called PRO photographers that can't get a great product image like the one from this video with top quality camera, lenses and studio lights
I hadn't heard of him before, but I'm getting the impression of somebody who hears 'It's easy for you' a lot.

Successful people are the ones who solve problems, not make excuses

---------- Post added 06-11-17 at 03:28 AM ----------

QuoteOriginally posted by Lord Lucan Quote
They say a bad workman blames his tools. A good workman does not, but that is because a good workman makes sure he has good tools, so he cannot blame them
I like that
11-06-2017, 03:54 AM   #19
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QuoteOriginally posted by ffking Quote
I hadn't heard of him before, but I'm getting the impression of somebody who hears 'It's easy for you' a lot.

Successful people are the ones who solve problems, not make excuses[COLOR="Silver"]
He has some amazing tutorials, ones of the best I've found online. He is more interested in make the viewers understand the light than make them buy expensive gear. In my eyes, he is the perfect example of a PRO photographer, starting from his images, his studio, his marketing, his attention to details.

Karl Taylor Education | Photography training by Karl Taylor

11-06-2017, 04:22 AM   #20
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QuoteOriginally posted by Dan Rentea Quote
He has some amazing tutorials, ones of the best I've found online. He is more interested in make the viewers understand the light than make them buy expensive gear. In my eyes, he is the perfect example of a PRO photographer, starting from his images, his studio, his marketing, his attention to details.
I'll certainly take a look - thanks
11-06-2017, 06:13 AM   #21
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QuoteOriginally posted by Alex645 Quote
there is a perception that a pro must shoot with pro level gear. This expectation comes from models, agents, clients, etc, that are delusioned that because they've always seen a Canon 5D Mark IV or Nikon D5, that you can't possibly be serious showing up with a Pentax K-1 or a 645Z instead of a Hasselblad.
Didn't people buy 35mm film backs for their Bronica, Mamiya or Hassleblad in order to impress with the camera but economise with the film? I think the official reason for those backs was to take 35mm panoramas with (AFAIR) 24 x 55 mm format, but I believe that they could be masked down to 24 x 36 too. I certainly read one book aimed at pros suggesting they might do that for wedding photography.
11-06-2017, 12:16 PM   #22
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Back to the original question, does anybody have any further thoughts about possible design conflicts in a camera - how maximising one thing reduces the optimisation of another?

11-06-2017, 12:40 PM   #23
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a) Technology, by design, makes it easier for the human with less skills. Less technology requires more skills from the photographer.
b) Non-linear process, like much of digital imaging, encourages experimentation and risk, but linear process, like much of film imaging, encourages vision and commitment.
c) Certain plastic connecting parts, like the rear lens mount or flash shoe will break easily but less likely to damage the attached part. Metal counterparts are less likely to break, but may bend and damage attached parts in the process.
d) Planned obsolescence (commonly seen in frequently updated and new Canon cameras) sell more than fewer model updates that are more significant in tech gains (more common in Pentax).
11-06-2017, 01:15 PM - 1 Like   #24
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The list of design conflicts is pretty good.

What is interesting is that there are some very strong design considerations that push cameras to be mid-sized:

Cameras can be too small:
1) poor DR imposed by the physics of light (the photon flux in scenes of everyday life)
2) poor subject isolation (DoF) for lenses of practical aperture
3) poor physical ergonomics

Cameras can be too large:
1) the camera body and lenses (especially telephoto lenses) become unwieldy
2) the cost of silicon (or film) becomes prohibitive

Thus, camera makers and camera buyers are likely to gravitate to cameras of a certain middle size. There's a sweet spot around 35 mm FF in that most camera bodies and lenses in that format fit in the human hand and use a sensor of about the size and sensitivity of the human retina. In turn, the volume of production of those mid-size cameras drives a lot of development of component technologies (sensors, AF, mounts, meters, etc.), lenses, and accessories scaled to suit mid-size cameras. This makes these mid-size formats even more attractive to everyone.

Of course, that's not to say there won't be people that opt for tiny or huge cameras as their "perfect camera."
11-06-2017, 02:35 PM   #25
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K-1 with better af and less shutter shock would be my perfect camera I kind of stopped worrying about cameras, precisely because there are no perfect cameras (yet). To me personally if money was plentiful, Sony a7r3 seems like an almost perfect camera in many ways, and if you got the money, lenses are great too (that Sony glass is pricey for sure).
11-06-2017, 04:44 PM - 2 Likes   #26
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An Analogy

If you think a discussion of the perfect camera can be polarizing you should hang out with hammer guys

The Perfect Framing Hammer*


* which isn’t very good for roofing or cabinet making.
11-06-2017, 05:02 PM - 1 Like   #27
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I always thought that the 4x5 field camera is the perfect camera.
11-07-2017, 12:07 AM - 1 Like   #28
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QuoteOriginally posted by gaweidert Quote
I always thought that the 4x5 field camera is the perfect camera
well, I suppose that's what a lot of members here grew up with it as the pocketable version of the 8x10

Last edited by ffking; 11-07-2017 at 06:00 AM.
11-07-2017, 11:33 AM - 1 Like   #29
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The perfect camera is the one that you have with you when the opportunity arises for the perfect photo.
11-07-2017, 12:53 PM - 1 Like   #30
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QuoteOriginally posted by sibyrnes Quote
The perfect camera is the one that you have with you when the opportunity arises for the perfect photo.
+1. Hoping it would not be a smartphone
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