December 17, 2014, 11:32:06 PM

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Messages - agierke

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1
i wouldnt be shocked if we dont see a 5d4 next year at all. there will be a new camera released next year but i dont see any reason it will be an update to a still very relevant 5d3.

i know this is a rumors site and the lure to come to this site is to talk about new stuff coming but i have a feeling that upgrade cycles are going to be longer than we have seen in the past. the market is not what it used to be even 10 years ago. there has been a shift in the consumer market away from point and shoots and the professional market is pretty well saturated. i know i personally am feeling upgrade fatigue...i dont care much for what a potential 5d4 may be or when it is even coming as i dont want to replace my camera a mere 3 years after i bought it. especially when it still is a top performer for everything i could possibly want it to do.

the 5d3 is by no means an "old" camera...thats a ridiculous notion. i can easily see myself shooting with it for another 5 years + without having any want for additional performance.

wait for the next best thing....you'll be shooting on that powershot for a loooong time.

2
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To my mind the fact that it has been manipulated completely destroys the validity of the message....To my mind you cannot say "look at what it is now" if what you are showing isn't a totally honest representation of what it actually is.

well you may be missing the point then. a qoute from Gursky regarding the photograph:

Quote
He has described the genesis of this work, saying, ‘there is a particular place with a view over the Rhine which has somehow always fascinated me, but it didn’t suffice for a picture as it basically constituted only part of a picture. I carried this idea for a picture around with me for a year and a half and thought about whether I ought perhaps to change my viewpoint ... In the end I decided to digitalise the pictures and leave out the elements that bothered me’ (quoted in Annelie Lütgens, ‘Shrines and Ornaments: A Look into the Display Cabinet’, Andreas Gursky: Fotografien 1994-1998, p.xvi).

Gursky digitally erased buildings on the far side of the river from his picture. This manipulation enhances the image visually, giving it more formal coherence. Rather than the sense of a specific place, the picture conveys an almost Platonic ideal of a body of water traversing as landscape. Gursky talks about this image in terms of its contemporaneity, saying, ‘I wasn’t interested in an unusual, possibly picturesque view of the Rhine, but in the most contemporary possible view of it. Paradoxically, this view of the Rhine cannot be obtained in situ; a fictitious construction was required to provide an accurate image of a modern river’ (quoted in ‘... I generally let things develop slowly’, Andreas Gursky: Fotografien 1994-1998, p.ix).


There was never the intent to represent a factual place, rather an image that represented an idea based on Gursky's personal experience with a place. there was no other way to achieve the image Gursky had in his mind but to digitally manipulate it.

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Very eloquent, but I completely disagree with the power of the image

that may be because you may not be the intended audience for this image. imagery is often created with a narrower target audience than the mass public. just because an image reaches a wider audience doesn't necessitate the artist to then extend its meaning beyond the original intent. from the interview, Gursky makes its clear what the image was to him and what he was trying to achieve. the photograph ended up resonating with someone to the tune of 4.3 million dollars. so be it....good for him!

i have never quite understood the tendency in photography for there to be such stringent and narrow rules applied to what is or isn't a valid photograph. in art, rules are a foolish notion at the outset. if there is one rule in art it is this....whatever rules that attempt to establish a standard are typically shredded to bits in time.

3
Reviews / Re: One of the "Best cameras of 2014" lists
« on: December 02, 2014, 10:17:52 PM »
Quote
I just wish folks were consistent.

which folks are being inconsistent? it seems to me that the same characters (including myself) that dismiss DxO for their methodology do so consistently regardless of what brand they are scoring.

4
Street & City / Re: Why is poverty so photogenic?
« on: December 02, 2014, 02:00:17 PM »
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I contend it isn't

i agree with this. i generally dont find photos of poverty or those living in it compelling at all. often they take on a position of gawking and fail to treat the subject with any kind of thoughtful consideration.

Mary Ellen Mark's work would be an example of photographs of poverty that i do find compelling. it moves beyond just being a bystander staring stupidly at a tragic scenario while making no effort to understand the humanity within the situation. Mark delves into these people's lives and shows a truer portrait of who they are. we as viewers can then begin to feel a greater range of emotions beyond that of the shock of squalor.

its a subject matter that seems tempting to most to photograph....but i wouldn't call it inherently photogenic. i actually banned my students from showing "pictures of bums" on the street because i found the results to be insensitive, inconsiderate and lacking any kind of emotional depth. the subject is too often portrayed as spectacle and attempts to move beyond that and find some kind of emotional understanding are rare.   

5
Canon General / Re: First time shooting a wedding...
« on: November 25, 2014, 10:15:13 AM »
why is the officiant wearing a graduation gown...lol. did he do a graduation earlier in the day?

6
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Why the need or want for a second body? Personally I've survived 15 years of not having a second body and none either film 35 or MF or digi FF have let me down. - I have and several lenses let me down tho, in which case id just adapt and use another one.

anyone who gets paid to shoot a wedding should absolutely have a 2nd body on them. even if its a rebel. you would be crazy not to and certainly tempting fate.

i had a shutter explode on me while i was shooting getting ready shots. it was my only camera. thank god i was the 2nd shooter and the main shooter was able to toss me her spare 3rd body. could you imagine if i was on my own! after that i immediately got a 2nd camera.

now i carry 3 bodies with me. 2 for shooting and the 3rd for end of the world nightmare scenario backup. and i always have a 2nd shooter with me.

ive been shooting professionally for 15 years now on my own and with about a dozen other photographers over the years. every single one of them carried 2 and sometimes 3 bodies with them on shoots. regardless of what kind of job it was. during that time i have seen cameras die in a variety of ways...more than i care to recall.

part of being a professional means you can get the job done no matter what. not having a back up camera is inexcusable under paid circumstances.

oh...and to the OP, get another 5d3 if you can. why not?

7
thx phil, i will give that a try.

8
Any additional info on the status of this? I am trying to get a 5d3 tethered to a Mac using OS X Yosemite.

Tried the AU Canon download of EOS Utility 3 and it still says that it is incompatible with the operating system. Tried looking for a US download on Canon USA site and couldn't find anything.

Any help would be greatly appreciated. Thx

9
Lenses / Re: Thoughts on Having a 35 and a 50 on Crop?
« on: October 09, 2014, 01:25:30 PM »
I use both focal lengths on full frame and have found them to be different enough to remain useful enough for my purposes. Typically I will use the 35mm when I want to include more environment in the shot or when I'm dealing with groups. The 50mm i will use for single subjects  when i dont quite want the compression that would come from 85mm and above.

10
Videography Technique / Re: Real Time Playback While Recording
« on: October 06, 2014, 04:57:16 PM »
ah, that makes sense. i tested in eos utility using live view but was trying to gain access to the full screen. i think ill be able to get by using eos utility...though not ideal.

thx for heads up.

11
Videography Technique / Real Time Playback While Recording
« on: October 06, 2014, 02:56:43 PM »
ok, so i got roped into a video shoot by a buddy of mine (i'm a stills shooter and have resisted previous requests to produce video content).

anyway, i have most of the basic stuff sorted out but i am running into trouble figuring out how to have the video displayed on my macbook pro while i shoot so i can have use of the bigger screen. i have the hdmi adapter to connect the two.

what software do i need and what procedures do i need to do to get this up and running? thx in advance for any insight you may have.

12
thats great for the type of photography he shoots...but let me see him try to shoot a full wedding with that rig or a heavily scheduled fashion shoot or sports....

mirrorless is a neat technological development but i don't see it ever replacing entirely the convenience of looking through an OVF and being able to see and react quickly to your subject matter.

call me old school....   

13
i agree with those saying to hire 2 separate individuals to cover photo and video. 2000.00 is on the low end for both so i would temper your expectations in terms of the quality of the product of each.

i will only enter into a contract with a bride and groom after i have done an in person meeting. the reason behind this is i find that making sure our personalities match is vital for having a successful day. i want my couples to want me and i want to make sure i don't get involved with individuals who will be impossible to please. as a wedding photographer, you spend the most intimate moments of the day with the bride and groom. i advise my couples that you want to make sure you dont get stuck with a creep or weirdo.

additionally, it was pointed out that you should ask for references. though this may sound like a good idea, i personally will not release personal info of my past couples so that strangers can then call them to ask how their day went. i find this strange...and would not want to receive these types of calls myself. if a prospective couple cannot determine my abilities and professionalism as a photographer from the in person consultation and my portfolio, then that is a situation i walk away from. if references are really needed, then testimonials should suffice. no way i'm releasing my couples info though....

so i would say these are the initial critical criteria you should use:

1. demeanor...are they professional and will the couple be comfortable with them.
2. style...do you like the quality of their work.
3. price...you can only afford what you can afford.

after that, all the details should be worked out during consultations. a competent professional will answer all questions regarding the day whether you ask those questions or not. i break down the entire day during my consultations which allows the bride and groom to ask the questions they wouldn't have thought of on their own.

14
Lighting / Re: How to Extend Flash Performance (Life on Site)
« on: September 09, 2014, 11:49:56 PM »
Is there any risk of these external packs (not the cp-e4 but the Godox etc.) blowing out the strobe?

i had a quantum turbo sc blow a 580 EX and a 580 EX2. switched to PowerEx/Imedion rechargables after that.

i also do what RLP does and run an Einstein on a VML to handle the heavy lifting. my speedlight is only responsible for providing fill light on my subject. i'll go through an entire reception on one set of 4 AA's with them only getting sluggish if i shoot really heavy.

15
Canon General / Re: How do you cull your photo's?
« on: September 07, 2014, 11:49:24 PM »
i regularly deal with 4000+ images from a wedding between 2 shooters.

to reduce culling time i have begun using Adobe Bridge. on a Mac you can hit the space bar and it will enlarge the image to full screen (large enough to quickly tell if critical focus was achieved). you can then cycle through images with the arrow keys. i delete anything that isnt in focus, has blinks, flash misfired, etc. once i am confident the remaining images are all acceptably usable images, i hit space bar again to return to the thumbnail window where i then start removing redundant images. i try to get it down to about 800-1000 images total. from there i upload the raws into lightroom where i make my final adjustments and then output the final Jpgs.

i used to do this all in lightroom but it took too long even if i did the 100% preview on upload. the bridge method cut the culling time by 2/3rds for me.

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