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Messages - agierke

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Third Party Manufacturers / Re: Yongnuo 35mm f/2 Canon Clone on the Way
« on: January 05, 2015, 01:08:45 AM »
then we will have some real copyright and patent fights.

this is the aspect of Yongnuo that just doesn't sit right for me. i'm not a fan of others stealing designs and then undercutting the price of the original product. i understand that there are some out there who wont care as long as they are saving as much money as possible, but my sense of fairness keeps me from purchasing anything from companies like Yongnuo (or almost anything coming out of china for that matter).

i know there are plenty of fans of Yongnuo on this site....just something to think about is all.

calibrating your monitor will only get you so far. if you really want to have full control over your colors when printing you should also get something that will build profiles for the papers you will be printing on.

i use the ColorMunki to both calibrate my screen and build profiles for a handful of different Hahnemuhle papers i use. i print on an Epson R2880. the results are pretty good though i have to admit that i don't keep my screen and paper profiles up to date as much as i should. there may be more robust and accurate hardware out there but this combo is sufficient for my tastes.

one thing you have to remember is that you will never get exactly matching results. you are essentially translating the look of one medium (back illuminated screen) to another medium (photo paper). because light is acting differently on the two mediums means that density, contrast, and color will change between the two. the goal is to minimize that change as much as possible. to add an additional variable...once printed, an image will perceptually change color as you move the print to different lighting conditions.

i still maintain that color management is the absolute most frustrating exercise in all of photography. it is bad enough to just try to maintain consistent color from screen to print but factor in the fickle nature of desktop inkjet printing and you enter a mind numbing world of frustration. i cant express to you the expletive filled rages that i would go into trying to get the perfect results from desktop printing, but my wife learned to stay way clear of me when i was attempting to do so...

in the end i abandoned my pursuit of "perfect" colors and settled on "close enough"....simply to save my sanity. i also added the services of WHCC when i needed quick client prints as i found their results to be quite good with little fuss on my end.

Speedlites, Printers, Accessories / Re: Lighting setup for studio portraits
« on: December 28, 2014, 12:19:34 PM »
pookie, can you talk about the differences you have seen between the Einstein units and the Elinchroms? i have einsteins but am curious about the potential of switching.

last i heard, you needed a permit to shoot with a tripod on the streets in NYC so those extended exposures you are planning may be a bit tough to pull off. every time im in new york for shoots, we have to be hyper vigilant about how and where we shoot. 

Come to think of it, the RAW files will give me a chance to process it both ways and compare the results from the same set of shots.

that is what i was suggesting. good luck. im pretty sure it wont be as difficult as you may think

a while back i did some stitching of some panos where i applied lens correction to the files in ACR before stitching them together. i recall there being additional smearing/ghosting of details around where the edges of each frame overlapped (more so than when i just stitched straight out of camera shots).

im not sure but its possible software will take into account lens distortion in the algorithms used to stitch shots together. don't quote me on that..

maybe having the lens correction done in camera will circumvent the sloppy blending i experienced when i used ACR to do lens correction. not sure. you can very easily do the test yourself in a few minutes.

EOS Bodies - For Stills / Re: I'm getting impatient for the new 5D 4.
« on: December 17, 2014, 12:10:43 PM »
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'll be shooting on that powershot for a loooong time.

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:

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.

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.

Reviews / Re: One of the "Best cameras of 2014" lists
« on: December 02, 2014, 10:17:52 PM »
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.

Street & City / Re: Why is poverty so photogenic?
« on: December 02, 2014, 02:00:17 PM »
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.   

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

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?

thx phil, i will give that a try.

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

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.

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