shutterbud

<p>No.2</p><div></div>

<p>Got these</p><div></div>

<p>If you want to do Street, get a prime lens which affords a 35mm equivalent focal length of between 35 and 75mm. Then concentrate on your technique. I've been using a 50mm on an APS-C for about 8 months now and while it is a bit long to be ideal, it has a natural rendition which I find pleasing. The D90 is getting a wee bit long in the tooth, though in the right hands and decent light should not be too limiting. I suggest a Nikon 24, 35 or 50mm f/1.8- f/2 prime. Or maybe even two lenses. Remember your 17mm gives an EFL of just under 27mm so you could get a 28. You'll find that a small 50mm prime looks a little less threatening than an extended zoom too.</p>

<p>No.2</p><div></div>

<p>I haven't been very productive this last few weeks, but did manage to capture a few frames</p><div></div>

<p>How has your reply moved the question on in any way? Or invalidated my post? Write it or don't. After it has been written, we can read it and form an opinion.</p>

<p>You need to want to do it. You might make a small profit, or Oprah might read it and make it the next big thing, or you might lose money. But you need to want to write it. If you don't believe in the value of your own work, you can't expect anyone else to. There have to be top-notch shots in it but it's success will probably be dependent on how well you can write. It's a lot of work, but it might be what you're most proud of in the end.</p>

<p>I used to drive better after a few joints.</p>

<p>Wouter hits on a crucial point. Some photographers get lucky, some "get lucky" often.....after years of practice and every one of them/us works the way they/we think is best for them/us, which might not necessarily be the same from one year or project to the next. I am sure all of us have grabbed a shot on instinct which has turned out really well and there is no doubt that "the fleeting instant captured for eternity" is a very powerful aspect of photography. The other day while doing some Streetwork, I left my shutter on high speed mode. Although I only captured in very short bursts, it was quickly clear that the tilt of a hand or micro-expressions between this or that tenth of a second, could make a difference, sometimes to the whole narrative of a frame.<br>

These days, one has to differentiate between our respect for a photographer and the results captured, which seem to be in diminishing ration due to the (un?)fortunately/inevitable complication of technology. There is no doubt that a shot captured while using a film camera at ISO 400 using manual....well everything, is far more of an achievement than a shot taken via photographic machine-gun at ISO 6,400 from a tripod.</p>

<p>This discussion is apposite, as I have made a significant change in my shooting over the last 7 months or so. I take far fewer shots these days and even from this lower number, I reject a fair amount. I have become more demanding of myself and I can see a big difference in the quality of my work. But yes, some spontaneity has been lost. I was looking through my shots from the last few years last night and there are some nice moments captured, but there are also loads and loads of wasted opportunities. This is down to my inexperience certainly and I hope that I would do a better job today if faced with the same scene, but it was very frustrating to look back over several hundred frames and see something wrong with almost all of them. It's great that I am improving and I suspect that it is almost inevitable to have this reaction if one is to improve, but when I think of the time and effort it took to take those mediocre shots and my joy in them, it makes me feel a bit silly </p>

<p>What Prince is doing is just wrong; clearly, blatantly and simply wrong. While Art is essential to our cultural life, something fundamental has been missing from the so-called Art World for a very long time.</p>

<p>I teach ESL and I remember teaching some young kids what to do if they see a snake.<br>

Stop.<br>

Back away very slowly for 5 paces<br>

Ruuuuuuun!<br>

It was great fun. [and I hope accurate]</p>

<p>I'd buy a Sony A7S plus Zeiss 55/1.8, a new laptop, DXO Optics Pro plus film pack, and with the rest I'd visit my home country for a few weeks, then relocate to Japan.</p>

<p>I have to say it seems very much to be the case that some US police departments are at war with the people they are supposed to protect. We have seen a spate of appalling incidents recently. And as has been noted above, it seems a disturbingly large proportion of the American Public support whatever action is taken by them. I have read many disgusting posts on another famous photography forum which are exemplified by the quote "If a police officer wants to see you dead, I want you dead too."<br>

The LAW doesn't get a look-in. The police seem think they are The Law. Perhaps they all need to get fancy gold helmets and redesignate urban areas as Megacities?</p>

<p>Digital imaging is incredibly complex. This is something we all know but when trying to evaluate a potential purchase most people, specialists & nonspecialists alike naturally tend to want hard facts to work with. There is little doubt that the factors routinely discussed [DR, CD, ISO noise etc] are important when considering a new body and other factors [CA, Distortion etc] regarding a lens are equally important but of course they are not the only data which need to be known. Some people will reject one product for reasons others find irrelevant or even ridiculous. However, given how much time, effort and money many of us devote to photography, we do require a way of deciding whether this or that camera is right for us. Unfortunately, most of the time, this only comes with experience, which is why many of us, having found a company we trust, stick to it. Our ability to overcome the known shortcomings of a product can sometimes be more important than the shortcomings themselves. I sometimes feel rather sorry for review sites. The amount of effort involved in providing a comprehensive review these days is high. And then someone inevitably comes along to point out a 1% difference in measurements between this or that site. It is bewildering.</p>

<p>I don't believe for one minute these laws have been passed to protect the general public. It is to protect privilege and increase revenue. I would also add that the disgusting antics of the Papparazzi still go on. So they make money out of showing a starlet's knickers (or lack thereof) while enthusiasts are penalised for no good reason. IF you decided to parade aroumd the Pompidou Centre with your lover and get found out, that's your fault. I strongly respect the rights of individuals not to be harassed or portrayed in a deliberately humiliating light, but, as ever, its one law for "those and such as those"...and another for "us"</p>

<p>I ditched my Nikon gear because I was so fed up with Nikon's lack of q.c. and the general contempt for their customers that they have shown in the last few years. They are not the company they used to be and care far more about their profit margin than making their cameras properly these days. Also, giving with oee hand and taking with another is now an established decision in their camera line-up. And their lens line-up makes no sense.<br>

Panasonic give a damn and it seems almost every new thing they do is an improvement. Ditto Olympus and Fuji.</p>

 

<p>I only own digital bodies, but from the get-go I decided that primes were for me. I have occasionally thought of buying a better zoom than the bundled lens [which I never use now] but there always a kick-ass prime at that price point. I have shot with a 28,35 and 50 and concentrate mostly on SP. I can't quite understand the current fad of 35mm for SP, but loads of people seem to be happy to ignore the perspective issue and/or not fill the frame these days. It seems that wide is cool and never mind the distortion. I spent several months with a 28 and boy it was demanding for SP. Filling the frame in such a way as to make the subject look natural was difficult- you have to get very close. I remember going for an informal portrait with a 35mm on a couple of colleagues and you could see their smiles freezing over as the lens got closer and closer. I reckon it had to be within a foot for a full headshot and then it just looked wrong. Perhaps if I was shooting with a classic 35 mm film body, the distortion would be much reduced? Shooting with u4/3 the actual FL is halved, which I am sure makes a big difference. But the 25mm, which equates to 50 EFL, seems quite natural and has done me for a while now. But whenever I have used a zoom, I tended to use the long end, around 75mm EFL quite a lot</p>

<p>Big city life is a new mode of interaction for humans. In Tokyo, New York [to a lesser extent] or Shanghai, I have a great sense of freedom. I love the fact that no-one knows or cares who I am, that I can be anything within limits, depending on the way I dress, the accessories I have, what I am doing/reading/buying. Put me in a backpack and torn jeans wth a pair of Converse and I am on a three month trip around the world and probably slightly lost. Put me in a good jacket, real trousers, shoes and a nice leather briefcase and I am anything from a teacher to a manager in an import/export business. The character of megacity transport means that we have nothing to do, nothing at all engaging to look at and no-one wants to talk to us for an hour or more. Would anyone just stand in their hallway for an hour? This is why, whenever you go on the subway in a megacity today, 90% of people are glued to their "smart"phones, which makes them look like zombies. I don't have one. I look around. When I am shooting, I feel like I inhabit my environment far more actively, yet have picked up a sense of tact and empathy I didn't have or need before I got into SP. I am both more involved and more foreign now- seeking out and engaging dissonance, or sneaking up on people and places, crouching down and looking intently. I think the photographs linked to are more Japanese than you are giving them credit. The Japanese dwell on their disconnectedness often since they are all under social pressure unthinkable in the Secular West. I feel free in a big city. Very few Japanese have that feeling in their lives.</p>

<p>Philosophy might be free but philosophers still need to pay the bills. I think it would be better to have this service paid for by a large, disparate community which is interested in substantive debates, rather than a conglomerate "sponsoring" content. If you want something, you have to support it or Big Money turns it to crap. Every time I log on to FB now I get told "You best friend has invited you to like "BP; putting the planet first!" Obviously Mark thinks that several billions of dollars is a paltry sum to be expected to live off, which justifies annoying the hell out of several hundred million people to increase.</p>

<p>Once again, you are [deliberately?] missing the point. Go back and try again Jeff.</p>

<p>For goodness sake Jeff.<br>

We're not allowed to say a photograph is good anymore, is that it? You're not Yoda. Give it a rest, eh?</p>

 

<p>I think the difference between the photos <em>I</em> linked to and those of Pete Turner, is that Mr Turner is good at what he does! :-)</p>

<p>OK. Thanks for taking the time to look. I can connect the comments to the images. I'll put t down to stylistic differences. :-)</p>

<p>Hi all<br>

This is an honest question. I am on The Inspired Eye mailing list and I clicked on this link and thought, "Eh?" then looked at some of the comments below. I would really like to know if there is something in these phtographs which I am missing, because apart from "Green Wall" I can't see why the photographer took these frames. </p>

<p>http://www.theinspiredeye.net/parramatta-road/</p>