Ob es nun genau sechs Monate her ist kann ich Euch gar nicht sagen, es war auf jeden Fall Anfang 2014, dass ich den schon lange angepeilten Wechsel umgesetzt habe. Mir wurden meine bisherigen Kameras zu schwer und ich wollte leichter werden. (… wer jetzt blöd grinst ist dran!) Was war also passiert zu Beginn des Jahres? Nun, ich nahm meine schweren Nikons, die D800, die D3 und die D3s und habe sie zum Teil verkauft, getauscht oder in den Schrank gelegt und angefangen alle Jobs mit den spiegellosen Systemkameras aus dem Hause Sony und Fuji umzusetzen…….
Since the beginning of the medium – supposedly the view from Niepce’s window in 1826 or thereabouts – we have been chasing more. More is supposedly better. More of what? More of everything: resolution, clarity, size, maximum aperture, focal length, width…anything that can be quantised. It is arguable that the sufficiency was achieved for the capable photographer quite some time ago; what’s more interesting is that sufficiency has also been met and far exceeded within the reach of the typical consumer, too. And I think finally, several years afterwards, people are beginning to realise it, too. So: where does photography go from here?……
See on blog.mingthein.com
We all got used to it: “Best image quality ever!” “World’s fastest autofocus!” “Smallest, big sensor camera in the world!” Every manufacturer feels the need to claim superlatives when introducing a new camera. A simply but honest “carefully improved” does’t cut it today. In some cases even such a statement would be rather generous. What’s the difference in between a Canon 600 and a Canon 650? What’s the difference in between a Sony NEX 5N and a NEX 5T or NEX 5R? It’s clear that they can not reinvent the wheel with every single model but sometimes they bring out models just because another year is over and there has to be a new model to generate sales and to put the old one on sale to – well – to generate even more sales. Who’s to blame? I’m afraid it is us. We constantly ask for new cameras. If a manufacturer decides to keep a model for a long time we got nervous. It doesn’t matter that the model was a milestone and far ahead of competition when it came out. We want something new. Where is the progress? “If Canon will not update camera X soon I have to switch to Nikon.” And because manufacturers don’t want you to switch to their competitors the shell out new cameras like crazy…….
“This might end up in crying. If you’re not prepared to cry about it, I’m not sure you’re making art. And if you’re not prepared to dance in anticipation, you’re definitely not making art.” ~ Seth Godin
I don’t imagine there’s much point, this far down the line, in another rant about how photography has become a technocracy, a place where the artifice means more than the art. But is anyone else feeling that all this technical perfection is leaving too little room for the humanity we long for? People don’t resonate with perfection, because life isn’t like that. “Perfect” photographs get Liked on Facebook. They get “Great capture, Man.” They do not stir the heart. I’d guess it’s one reason that some of us still love film – the possibility of tactility and imperfection, the reminder present in the grain and the register marks, the odd scratch, of the medium itself and the human being who held the camera. It’s something, for all the good that digital photography makes possible, that we’ve lost…..
See on davidduchemin.com
Im Gedankenaustausch kam es zu folgenden möglichen Theorien:
- Ich hatte die Sony nicht lange genug, um mit ihr warm zu werden. Hmmm… kann sein, aber ist es nicht auch ein Zeichen, dass man mit einer bestimmten Kamera erst “warm” werde muss? Mit meiner Fuji X-E1 dauerte es keine halbe Stunde und ich kannte mich schon in allen wichtigen Einstellungsmöglichkeiten aus. “Warm” wurde ich mir ihr sofort.
- Das Exemplar der A7, das ich hier hatte, war irgendwie nicht in Ordnung. Kann natürlich sein. Das ist jetzt weder zu bestätigen noch auszuschließen. Wäre schade, wenn mein Eindruck durch eine leicht fehlerhafte Kamera beeinflusst worden wäre.
- Ich suche nur nach Gründen, mir KEINE A7 kaufen zu müssen. LOL, diese Idee stammt von mir selbst. Es ist natürlich gut möglich, dass ich, um nicht in Versuchung zu geraten, über-kritisch mit der A7 umgegangen bin.
- Die Sony A7 passt mir einfach nicht richtig. Dies scheint mir die nachvollziehbarste Theorie zu sein…….
See on retrocameracs.wordpress.com
n the past 4+ years that my blog has been up, I have used lots of different cameras. The sensor sizes have varied from 1 / 2.33 to 1 / 1.7 to micro 4/3 to APS in more different cameras than I can count, or remember. The quality of my images has varied a bit with general improvement as time went by and as I predominately used APS size sensors. During this evolution my highest image quality (IQ) was obtained with my Fujifilm X100 and then with my Fujifilm X-E1 cameras and various XF lenses. Another major factor in my improvement in IQ was achieved through my switch to taking my pictures in only raw format and then using various software programs to develop them. The issue I am pondering now is “what is next?” Should I continue to seek better image quality or just worry about getting the picture?……
See on everchangingperspective.com
For the better part of two years I have been mainly working and hobbying with only two systems – the fantastically portable and sumptuously rich file-producing machine that is the Ricoh GXR-M and the more modern, game-changing Fujifilm X-Pro1. Anyone who has been following my work over the past six months will know that I have a huge amount of praise for the GXR-M, a system to which I switched after an innocent two-year-old child who wouldn’t sit still during a shoot, one day last year, completely destroyed my faith in certain X-system lenses when I couldn’t lock focus on her face no matter how persistently I tried. Since that day, the GXR-M and manual lenses were my saviour. No AF – no option but to get on with the job the hard way; and it was fun (while it lasted). However, Ricoh’s now apparent and complete abandonment of the GXR system as a whole, coupled with Fujifilm’s continued support for even the oldest of their X-system cameras has seen me going back to my X-Pro1. After many firmware updates from Fuji, both to their bodies and their lenses, the whole system is just so much easier and quicker to use than it was a year ago. Not only that, but the fact that Fujifilm continue to support their X range of cameras and lenses affords me huge faith in their favour, in the knowledge that unlike many manufacturers, we’re not forgotten or sold down the river with only the one paddle. The X system just keeps evolving, not only with software updates to older camera bodies but also, with the introduction of newer bodies, compatible of course with the entire XF lens line-up; and now, as X-shooters, we welcome the the brand spanker of them all, the apparently gorgeous and no doubt incredibly performing X-T1. Bugger…
See on roblowephoto.wordpress.com
If only I had a yen for every time this question came up in the Fujifilm SLR/X series forum at DPReview, I’d… be able to buy a chocolate bar or two. There are some good answers in the thread for anyone that looks for community consensus. My short answer: if you are shooting anything remotely action-oriented outdoors in bright sunlight, you will not be able to see your subject. Even today’s best EVFs lack the contrast and brightness necessary to stand against the sun, not to mention refresh rates that are able to obviate vertigo. If you are in a cold environment and need to change focus parameters, among other things that rely on the back panel, the X-T1 won’t cut it. It is unbelievably clumsy to use with gloves on. The rear AF button isn’t the do-all AF-ON button that it is on Canon/Nikon bodies. I am ecstatic about the X-T1. It shows Fujifilm improving on most things. But the X-T1 is in no way a replacement for a DSLR in the arenas where DSLRs reign supreme. A great mirrorless camera is still a not equal to a great DSLR of any stripe unless weight, size, lens selection (this refers to APS-C DSLRs), are the deciding factors….
See on ohm-image.net
One feature I am starting to really appreciate on the X cameras is the way the focus point can be moved into even the furthest corners of the image frame. When photographing people I like to put the focus point on their eye. With most other cameras this is often difficult to do when the model’s face is near the edge of the frame. The X cameras have 49 focus points scattered over most of the image frame making it easy to place one close to the edge of the frame. Plus the size of the focus rectangle can be change on the fly by turning the rear command dial. While many pro DSLR cameras have even more focus points than the X cameras, these points are usually grouped towards the middle of the frame leaving a large border along the edges of the frame without any focus coverage. DSLR photographers have learned to “grab focus” and then move the frame to compose the shot. With a Fuji X camera that isn’t necessary, and that is one reason I like it for lifestyle photography……..
See more pictures on aboutphotography-tomgrill.blogspot.de
That’s what I’m about. Thats what drives me, thats where I find my bliss in photography. But really, what does that mean? What is that really about? I suppose when you get right down to it, that is my method, that is how I would describe my style. But my motivation, my aim, my story…. the purpose behind my portraiture is to reveal a persons character, to reveal their mood, their personality. To do that I sculpt with light. Why sculpture? why do I compare my photography to that art? not painting or drawing?
“Every block of stone has a statue inside it and it is the task of the sculptor to discover it.” Michealangelo
This is how I look at the space in which I photograph.. I place my subject in it, and I try to carve away at the darkness in such a way that as they are revealed to my camera, their character and mood becomes apparent. I look at different environments the same way a Sculptor looks at different media. For me the studio is a block of pure flawless stone, where I can totally control what each flash of light will do, where I have total control over how the darkness is chiselled away. Shooting on location is sculpting from a flawed, cracked unpredictable rock, you have to study it carefully as you plan how you are going to reveal the person inside. This is how I think about every image I create, and that is why I am sharing this, to give you an insight into the passion I have for creating images for my clients. Whether it is a model, a mum, a family or a CEO, I look at every image as if I am trying to reveal the statue inside, to reveal who they are……..
See on edjonesphotography.com