Canon 5Ds-r Martin Parr / Magnum - Just use it on Program Mode !

[Nitroman]

Well this is interesting and as usual, controversial.

Canon Professional Network interview documentary photographer Martin Parr from Magnum about his use of the new 5Ds r and his print workflow.

http://cpn.canon-europe.com/content/education/technical/martin_parr_lifes_a_beach.do?utm_source=newsletter_august_2_15&utm_medium=email&utm_campaign=Newsletter

Just use in in Program not Manual Mode, get a wet behind the ears college intern to process all your digital files and then printed them as 10" x 8" for 50p.

 

[RGF]

To each their own ..

 

[tron]

So here is another controversial (or not?) suggestion for the photographer: Get a Canon 100D with 18-55 IS STM lens and shoot in program. It is lighter, smaller and the IS STM lenses have really good quality. The set is unobtrusive so it is proper for street photography. It also includes a built in flash

 

[Sporgon]

So here is another controversial (or not?) suggestion for the photographer: Get a Canon 100D with 18-55 IS STM lens and shoot in program. It is lighter, smaller and the IS STM lenses have really good quality. The set is unobtrusive so it is proper for street photography. It also includes a built in flash

I would think he's being mischievous by saying just 'Program' mode.

If you look at what he shoots and his style, P mode will always set the middle ground. Then he can use the front command dial to change to either whatever shutter speed or aperture he wants, if the 'P mode' hasn't got it near enough. Compensation on the rear command wheel as usual.

In rapidly changing circumstances it does work quite well. Give it a try.

 

[tron]

So here is another controversial (or not?) suggestion for the photographer: Get a Canon 100D with 18-55 IS STM lens and shoot in program. It is lighter, smaller and the IS STM lenses have really good quality. The set is unobtrusive so it is proper for street photography. It also includes a built in flash

I would think he's being mischievous by saying just 'Program' mode.

If you look at what he shoots and his style, P mode will always set the middle ground. Then he can use the front command dial to change to either whatever shutter speed or aperture he wants, if the 'P mode' hasn't got it near enough. Compensation on the rear command wheel as usual.

In rapidly changing circumstances it does work quite well. Give it a try.

I think by mentioning front dial change you just describe program shift that exists since my EOS 620

I was mostly referring to camera choice

 

[Sporgon]

So here is another controversial (or not?) suggestion for the photographer: Get a Canon 100D with 18-55 IS STM lens and shoot in program. It is lighter, smaller and the IS STM lenses have really good quality. The set is unobtrusive so it is proper for street photography. It also includes a built in flash

I would think he's being mischievous by saying just 'Program' mode.

If you look at what he shoots and his style, P mode will always set the middle ground. Then he can use the front command dial to change to either whatever shutter speed or aperture he wants, if the 'P mode' hasn't got it near enough. Compensation on the rear command wheel as usual.

In rapidly changing circumstances it does work quite well. Give it a try.

I think by mentioning front dial change you just describe program shift that exists since my EOS 620

I was mostly referring to camera choice

Hey when it comes to camera choice how often would any of us see the difference in an image competently shot on a 100D plus 18-55 STM ? That lens is razor and the 18 mp sensor is no slouch.

He did say he prints big

 

[tron]

So here is another controversial (or not?) suggestion for the photographer: Get a Canon 100D with 18-55 IS STM lens and shoot in program. It is lighter, smaller and the IS STM lenses have really good quality. The set is unobtrusive so it is proper for street photography. It also includes a built in flash

I would think he's being mischievous by saying just 'Program' mode.

If you look at what he shoots and his style, P mode will always set the middle ground. Then he can use the front command dial to change to either whatever shutter speed or aperture he wants, if the 'P mode' hasn't got it near enough. Compensation on the rear command wheel as usual.

In rapidly changing circumstances it does work quite well. Give it a try.

I think by mentioning front dial change you just describe program shift that exists since my EOS 620

I was mostly referring to camera choice

Hey when it comes to camera choice how often would any of us see the difference in an image competently shot on a 100D plus 18-55 STM ? That lens is razor and the 18 mp sensor is no slouch.

Exactly! (That's why I suggested the STM version of 18-55)

He did say he prints big

OK hence the

I guess he knows why he prefers 5Ds but still 100D is just fine for the streets and the beach

 

[tomscott]

Ive met Martin Parr at Paris Photo as my tutor at the time was in a similar circle. When I met him he was revelling in the atmosphere sat having pictures taken with a girl on each knee being a complete letch.

He certainly came across as a playboy photographer in that I mean uses his 'fame'. He only got into magnum by one vote, but controversy is always good and he has certainly made a career of it.

If you haven't seen the BBC 4 production of The Genius of Photography you should. You will see exactly what I mean.

 

[distant.star]

.
I've always liked Parr. Very inspirational.

Nice to see his stick in the eye to the gearheads! It's about the image -- and as he said you have to take a lot of bad ones to get a good one. I excel at the bad ones!

 

[tron]

.
I've always liked Parr. Very inspirational.

Nice to see his stick in the eye to the gearheads! It's about the image -- and as he said you have to take a lot of bad ones to get a good one. I excel at the bad ones!

I agree about taking a lot of pictures to get a good one. But by having (actually promoting) 5Ds he is a gearhead too...

 

[GuyF]

Ive met Martin Parr at Paris Photo as my tutor at the time was in a similar circle. When I met him he was revelling in the atmosphere sat having pictures taken with a girl on each knee being a complete letch.

He certainly came across as a playboy photographer in that I mean uses his 'fame'. He only got into magnum by one vote, but controversy is always good and he has certainly made a career of it.

If you haven't seen the BBC 4 production of The Genius of Photography you should. You will see exactly what I mean.

Yup, to say Parr is over rated is an understatement. His pictures of the banal could be taken by anyone with a mobile phone. (Cue someone demanding I do this to prove how easy I claim it to be - I won't, I have standards.) Throw enough crummy pictures at a wall and eventually someone will declare it an exhibition. Stardom awaits.

The Genius of Photography was an excellent series and for those without access to the BBC, well worth getting the DVD.

 

[unfocused]

.
I've always liked Parr. Very inspirational.

Nice to see his stick in the eye to the gearheads! It's about the image -- and as he said you have to take a lot of bad ones to get a good one. I excel at the bad ones!

Yes, Parr is one of my favorite contemporary photographers. Reminds me of Erwitt and Winogrand. Likes to poke a bit of fun at today's world, but not mean spirited. Don't know what he's like personally, but he sure seemed pretty entertaining in the video.

Apparently, he also is a great example of "P" is for professionals.

 

[Hector1970]

Parr is a fantastic photographer. His photos are either very cutting or capture an amazing snippet of life.
His books are excellent. I'd say he's well able to use a camera but he's probably not worried about the technical aspect. He's looking to capture something we all look at but never see. He's a bit of an oddity in Magnum but is probably one of their most famous photographer. Those BBC programs The Genius of Photography were great.
What's a great piece of viewing is BBC's What do artists do all day on the photographer Tom Wood.
It was fantastic insight into a photographer.
What an amazing gentle personality he had.
His body of work is brilliant. Looks ordinary at first glance but special once you understand the context and how the photos came about.

 

[Mt Spokane Photography]

Well this is interesting and as usual, controversial.

Canon Professional Network interview documentary photographer Martin Parr from Magnum about his use of the new 5Ds r and his print workflow.

http://cpn.canon-europe.com/content/education/technical/martin_parr_lifes_a_beach.do?utm_source=newsletter_august_2_15&utm_medium=email&utm_campaign=Newsletter

Just use in in Program not Manual Mode, get a wet behind the ears college intern to process all your digital files and then printed them as 10" x 8" for 50p.

Since he has the credentials and experience, I think his approach obviously works for him.

Before I'd criticize him, I'd need to show that I consistently do better.

 

[Tinky]

Martin Parr is high-art. Look beyond the gear. Look beyond the settings. Look at the vision.

I know it's a gear forum, but ffs. Theres taking an interest and there is revealing yourself to be a disingenuous philistine.

I don't think Parr is being ironic in the interview, but it seeps, bleeds and spills from every other orafice of his work.

Take a step back and forget about the gear. Yeah, I'm sure a lot of you could take more control and do technically better. But you don't have his vision. I get it. I get him. A 5Dr doesn't come into it. He used to shoot on a Nikon f90 with superia film.

I like that.

 

[sanj]

Martin Parr is high-art. Look beyond the gear. Look beyond the settings. Look at the vision.

I know it's a gear forum, but ffs. Theres taking an interest and there is revealing yourself to be a disingenuous philistine.

I don't think Parr is being ironic in the interview, but it seeps, bleeds and spills from every other orafice of his work.

Take a step back and forget about the gear. Yeah, I'm sure a lot of you could take more control and do technically better. But you don't have his vision. I get it. I get him. A 5Dr doesn't come into it. He used to shoot on a Nikon f90 with superia film.

I like that.

Please.

 

[AprilForever]

Martin Parr is high-art. Look beyond the gear. Look beyond the settings. Look at the vision.

I know it's a gear forum, but ffs. Theres taking an interest and there is revealing yourself to be a disingenuous philistine.

I don't think Parr is being ironic in the interview, but it seeps, bleeds and spills from every other orafice of his work.

Take a step back and forget about the gear. Yeah, I'm sure a lot of you could take more control and do technically better. But you don't have his vision. I get it. I get him. A 5Dr doesn't come into it. He used to shoot on a Nikon f90 with superia film.

I like that.

Please.

I looked at his pictures; they looked rather banal. As far as vision is concerned, his vision does not inspire me. Also, his pictures seem a severe waste of gear if taken with anything more than a cheap powershot. Also, why is it that gearheads are evil, but true artists like Mr. Parr are not evil, even when said true artist is a terrible artist who is a gearhead who calls himself an artist?

 

[GuyF]

Having just returned from the Scottish National Gallery in Edinburgh (where there's a wee David Bailey exhibition on), if Parr is high art then the art world is screwed. Unless of course you were being post-modern ironic, in that case, yes, I suppose he is...

 

[StudentOfLight]

If you don't do the final edit of your images then how is the resulting image your vision?

 

[Tinky]

This is actually hilarious.

You might not get it. But then with art, not everybody does.

Sanj, you may not agree, but plenty do, even Magnum. So 'please' yourself.

I envy that his work is immensely thoughtful, yet appears effortless. It's social commentry. It's the human condition. It's provoking. It's cheeky. It's funny. It's insightful.

I've worked with one of Scotland's greatest contemporary sculptors, he usually works with another artist to assist with a lot of the manual work, but the vision is 100% his, even if he has not sanded every bit of glass fibre, shaped every molecule of clay.

A film director does not light every scene, or even increasingly, shoot every scene, but the overall work is no less his vision.