LensWork Daily

LensWork Road Show 2014

The 0.22 Megapixel Nikon D800E

The 0.22 Megapixel Nikon D800E

First, Kevin Raber is a terrific photographer and I really like his work — so no fair misinterpreting my comments here as anything against Kevin or his skills. I also really like this image from the Luminous-Landscape website — one of my favorite websites, by the way. We all owe a great debt to Michael Reichmann for all he (and Chris, and now Kevin) are contributing to the photographic community. So, I'm not sniping, really I'm not.

But, I do chuckle every time I see this kind of thing on the Internet. This really nice photograph is a whopping 0.22 megapixel image made with a 36 megapixel camera. By my math, that about 0.6% of the camera's capabilities. And it looks pretty good, wouldn't you agree? Should Raber want to (and he should!), he could make a huge print with this whopper of a camera. Good for him, and good for the camera.

My question is this: How many of today's photographers need to — let alone want to — make a stunning, tack sharp 24" or larger print? For those who do, it's a great thing that we have such cameras to work with. But I do worry about how long such behemoth prints are going to be an important part of photography. Right now, they are all the rage in galleries who sell art by the square inch. More and more, however, I find the people I see viewing photography on an iPad, a phone, or even on their HD TV at home using an simple slide show. And I'm not talking only family snapshots. Serious photographic artwork is being produced for the tablet world. I have often wondered if fine art photographers tend to ignore this because there isn't an easy path to monetize it. But, I digress.

Michael Reichmann touched on the edges of this recently in his report from PDN PhotoPlus 2013. Here's my spin on this same line of thinking that I first published years ago . . .

For all of us who are of a certain age and know what the term "N+1 development" means, we would often silently snicker at the foolish tourists who popped out of the cars at Wawona Point and snapped of a frame with their shiny new 35mm camera, thinking in their naiveté that they were making an image that would look just like Ansel Adams'. Ha! We would knowingly smile, content in the unshakable knowledge that our sweat-laden, fastidiously crafted sheet film-produced photograph would toast their grainy little machines. Give me a Red Dot Artar and I will rule the world! Bwa-ha-ha-ha.

Fast forward about 40 years to today. Out pops the tourist from their car who then carefully aims their iPad or smartphone at Yosemite Valley and snaps a digital image. I still want to snicker, but I'm not sure I have anything to snicker about anymore — especially if both theirs and our images are destined for viewing via iPad, computer monitor, or HD TV screen. Bluntly said, the basis of our feelings of superiority in our craft are entirely founded on the large print — a presentation medium that has the specter of anachronism hovering around it like vultures circling in the sky. We serious photographers use better, more expensive, "professional" cameras — sheet film antiques or gazillion-megapixel-cost-of-a-house type devices. Why? So we can make giant prints and hang them in galleries. (I've often chuckled at the double entendre of that phrase — are we displaying them, or choking them to death?)

Well, we are all photographers and intimately involved in the medium — so let me ask you, how many gigantic prints have seen today compared to images on a digital screen? This week? This month? I love prints. I adore them, I make them, I collect them, I treasure them — but compared to images on digital screens and what greets my eye every day, the count is paltry. The tide hasn't just turned; it has tilted the very axis of the planet.

Which brings me back to Kevin Raber's wonderful image. I'm delighted for him that he used a Nikon D800E to photograph this scene. That said, for me, had he used an iPad, my viewing experience would be no different. I am delighted to have the opportunity to see his image, even if it is only at 0.22 megapixels. I enjoyed the moment of viewing it. I'm glad that he took the effort to go there and make the image — and then share it will all of us. It just strikes me as odd that he could have accomplished that same outcome with a tool that didn't cost more than my first car.

Ah, but the prints! "Had he used an iPad, he couldn't make a giant print," you say. True. But, wouldn't it be interesting to know how many large scale prints Raber will make/sell from his trip with this camera? I'd bet megapixels of cash that it won't be a drop in the bucket compared to the number of people who just saw his print at 0.22 megapixels at Luminous Landscape and now here.

There is an economic component all of this that is troublesome, too. Has it occurred to you that a giant print in a photographic gallery costs about the same as the giant HD TV that could display it? If you were a consumer looking for the pleasure of seeing great images in your home — as opposed to a collector of investment quality prints — wouldn't it make sense that you might be tempted to buy the TV rather than the print and then have the ability to display thousands of images that fit your mood or the season? I'm not suggesting that those who love photographs might be tempted, but those who love images might be.

I'm not pleading any case here for any opinion or position. I'm just observing a few of the odd realities of life here in the digital age. It's certainly not my place (or anyone else's) to tell a photographer what he/she could/should use to make their photographs. I can't help but wonder, however, what the future of these great machines will be if the importance of giant prints ceases to command a place in our hearts. Michael Reichmann said it succinctly when he proposed that we consider the LP record, the VHS tape, the cassette — and possibly the DSLR. As more and more of photography is driven off the printed page, what does that portend for cameras, for prints, for galleries, for us? We'd best not ignore this — at our peril. I can't help but conclude that we are being pushed to one inevitable conclusion — content. King it is, and will be even more so in the future.

Brooks' books on photography and the creative process are available in print from Lulu.com, and as eBooks for Kindle or EPUB readers. As one of the membership benefits, these eBooks are available in their entirety to members of LensWork Online via download.

Our Culture Is Our Resistance by Jonathan Moller

Our Culture Is Our Resistance by Jonathan Moller

From Our Culture Is Our Resistance by Jonathan Moller
From LensWork Extended #65
© 2006 Jonathan Moller. All rights reserved. 
Reproduced with the permission of the photographer.

Image Comments by Jonathan Moller

Image 106 p186 PAC Praying

Audio MP3 run time 5:17

The portfolio can be seen in its entirety in our LensWork Extended back issues. Plus, full audio interview with Jonathan Moller is available to members of LensWork Online.

Discussion
Add your comments and observations to the discussion by using the "Comments" link at the bottom of this post.

LensWork Extended #109 Downloadable Editions

 

LensWork Extended #109 Downloadable Editions
LensWork Extended #109 is now available for purchase and immediate download to your computer, iPad, or Android devices from our online store.

For current members of LensWork Online, LensWork Extended #109 portable editions for iPad and Android are now available to download. Login here.

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December 2013 Alumni News

December 2013 Alumni News Now Available

The LensWork Alumni News is a distillation of news and events from photographers whose work you've seen in LensWork and LensWork Extended — people and work that we know you'll be interested in!

This free publication features news from:

• Marc Erwin Babej
• Wynn Bullock
• Brigitte Carnochan
• Beth Moon
• Howard Schatz
• Markham Starr

Click here to download the December Alumni News pdf (1.4 mb)

Panasonic G6 — Update

Panasonic G6 — Update

Upate #1.) I happened to notice that the price dropped on my newly arrived Panasonic G6 (Thanksgiving Day) at both Amazon.com and at B&H. I immediately fired off an email to B&H (where I purchase mine) and they promptly and courteously refunded my credit card for the difference — $639 down to $499. Nice to have the $140 back. Of course, I will no doubt reward their good customer service by spending a lot more than the $140 refund on accessories in the near future. Pays to do business with good folks. That's right, $499 for this amazing camera and lens. Not my job to sell you guys on anything, but I just can't help but comment on the capabilities of this camera for the unbelievable price. Just passing on information for anyone who might find it useful.

Update #2.) Today I finally had a chance to print some test images. This morning I went back to the location of my "Popular Editions" print Fallen Log, Rain, Mt. Erie, Fidalgo Island, 2006 that I'd photographed with a Sony DSC-R1 camera in 2006. Same drippy, windy, foggy weather today, so I thought it might be a fun comparison test. All I can say is, WOW. I am blown away by the improvement capabilities in these short 7 years. Rather than describe the differences, I'm making the new image available as a printable, 15" PDF. Download it, print it yourself, and see if you agree that this is a pretty amazing result from a $500 camera.

Speculation addendum: I can only assume that Panasonic has lowered the price on the G6 because they have some inventory to sell before they introduce another, even shinier cutie. Maybe a G7? Whatever it is, it'll probably be even better than the G6. I love upgrading to significant new capabilities, but I must admit that I do shake my head at the rapidity of the never-ending parade of seduction. I try to bring sanity to my life by skipping a bunch of generations until there is practical and visible improvements — which also brings sanity to my wallet by buying at the end of a product life cycle when the prices are reduced. I can't wait to see what Panasonic introduces in the next generation, but I'll likely skip it now that I have this G6. I'm sure I'm not the ideal customer for camera manufacturers who need to sell their latest gear, but I've universally found that I don't need the bleeding edge equipment to make images I can be proud of. Just one man's opinion.

Panasonic G6 — A Game Changer

Panasonic G6 — A Game Changer

For years now, I've used a strategy that employs two cameras so I don't have to change lenses in the field quite so often as well as to insulate me from camera failure while far away from home. It's worked and served me well in Japan, China, and in the Utah deserts. But, life has moved on and I felt it was time to upgrade my aging Panasonic G2 cameras. They are (gasp!) almost four years old — quite Jurassic in the digital age.

After considerable research and vacillation, I decided to forego a complete system change and simply upgrade to a Panasonic G6. It arrived a few days ago and here are some initial thoughts.

I thought it was a simple upgrade to a newer camera with a larger resolution sensor. I did not anticipate it being such a game changer.

• First, it's incredibly lightweight. I knew the numbers on the spec chart, but they didn't prepare me for having it in hand. In fact, when the UPS guy delivered the box, my first excitement was quelled because the box was so lightweight that I thought B&H must have shipped only the two extra batteries I ordered. I opened the box and was surprised to find both batteries and the camera box. This thing is so small and feather weight that I'm rethinking my entire portable pack. And, I should add, this is the BIG camera in my new two-camera system. The second camera will be the micro-sized GM1 which won't arrive until December.
• Evidently, the next big wave of progress in digital cameras is customization. This new G6 has 7 programmable function buttons — 5 of which are actual buttons and the remaining two are touch screen buttons. Seven. In other words, you sort of build the camera you want for the functions and choices that make sense to you. Then there are the four "Custom" profiles that record each combination that you make. Set the seven buttons as you need for one kind of shooting and that's "Custom 1." Repeat three times and it's sort of like having four different cameras for four different shooting scenarios.
• Wifi. When I started photography seriously some 40 years ago, I would have laughed at you if you'd told me that I was going to be so excited about operating my camera, hands-free, by using my phone. Or transferring my photographs to my portable tablet without cables. Or operate my flash unit without any connection to the camera. Or automatically uploading my images to a remote storage facility in Japan, as I make them, from anywhere in the world. Or that I would apply GPS data to each image via my phone. Wifi meets camera and smartphone; it's a mind-warp. One of the most practical tricks I can see will be to use my phone as an alternative to a cable release. (I dare you to read that last sentence again.) The touch screen on my phone shows a real-time display of what the camera sees through its lens, then as I touch the screen on my phone, the camera instantly focuses on that object in the photograph and makes the exposure. I cannot imagine a more stable environment that will keep the camera motionless, ensuring a sharp image. I couldn't, that is, until I thought more about the new . . .
• Electronic shutter. Turns out those flopping mirrors and moving mechanical shutter parts all exhibit momentum. Duh! And that momentum can translate into vibration that obscures detail in the final image, even in tripod shooting situations. Introducing the electronic shutter — which makes an exposure without moving a thing. No momentum to overcome means no vibration. Not a solution for all images because of something called "rolling shutter effect," but for the vast majority of my work it is a perfect solution. I anticipate using the electronic shutter for 80-90% of my work.
• My old G2 cameras had a touch screen, but it was primitive. I used it on rare occasions. The new G6 is touch-screen centric, if you want it to be. I do. Touch the screen to change any setting in the camera. Touch the screen to focus on a pinpoint in the image. Touch the screen to fire the shutter. Touch the screen to advance the film. (Just seeing if you are awake.)
• The G6 has smaller batteries — about half the size as my previous cameras — but the same shot count. They are small enough that I can carry several in my pants pocket without noticing. I'm starting to worry about the camera bag manufacturers' futures.
• My aging eyes find the new "focus peaking" a joy. The edges of objects at the sharpest focal distance glow in a visible cyan color. Easy and very visible feedback about exactly what the camera will capture with sharpest detail. Very sweet. Here in the digital age, missed focus has replaced "bad exposure and development" as my number one nemesis. Focus peaking has just removed that issue for lots of images.

Of course, everything I loved about my previous cameras is still here — auto-bracketing, all my lenses fit the new body, movie mode is perfect for what I need, mostly 720p with occasional 1080p videos — and Panasonic listened and added a jack for external mics. Panorama shots are even easier, and the hand grip makes the whole package comfortable for my clumsy paws and stubby fingers.

The fully-articulated screen has become such a mandatory component for me that it really was one of the most important features that steered me away from the popular Olympus E-M1 (which is, no doubt, a more robust camera that will appeal to lots of folks).

I was happy with 12 megapixels in my old cameras, so the 16mp in the new camera are just a bonus.

Initial tests seem to point to a 1-2 stop improvement in sensor noise. This is a very big deal for us M4/3 users. ISO 800 on my old G2 looks noisier than ISO 1600 on the new G6. At ISO 3200, the G6  might be every so slightly noisier than ISO800 on the G2, but in either case a quick pass through Noiseware Pro and it's all gone. I won't hesitate to use ISO 3200 on the new camera, even for work I want to be critically viewed. I topped out at ISO 800 on the G2.

The bottom line: more capabilities with less weight; features that I'll use every day instead of just fluff that fills the brochure; a practical tool I can use and abuse without feeling guilty about the mortgage to pay for it if I had stepped up to the expensive, big boy cameras. I think the biggest problem I'm likely to encounter with this new G6 is that is just doesn't look like nor feel like a serious camera — in spite of its incredible capabilities. There is a psychological factor about this that makes it appear real, but is not. For photographers who want the latest and greatest toys, the Panasonic G6 isn't likely to make their short list. Nikon D800 it ain't. It is, however, a sweet camera I will be (my back will be) delighted to carry all over the world. I look forward to new projects and images that will, hopefully, outlive the device used to make it.

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The Stata Center by Daniel Jackson

The Stata Center by Daniel Jackson

From The Stata Center by Daniel Jackson
From LensWork Extended #70
© 2007 Daniel Jackson. All rights reserved. 
Reproduced with the permission of the photographer.

Image Comments by Daniel Jackson

Jackson 0862-06

Audio MP3 run time 3:37

The portfolio can be seen in its entirety in our LensWork Extended back issues. Plus, full audio interview with Daniel Jackson is available to members of LensWork Online.

Discussion
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Bosco Gin by Jenny Ellerbe

Bosco Gin by Jenny Ellerbe

From Bosco Gin by Jenny Ellerbe
From LensWork Extended #69
© 2007 Jenny Ellerbe. All rights reserved.
Reproduced with the permission of the photographer.

Image Comments by Jenny Ellerbe

Image 268 (Chair)

Audio MP3 run time 4:08

The portfolio can be seen in its entirety in our LensWork Extended back issues. Plus, full audio interview with Jenny Ellerbe is available to members of LensWork Online.

Discussion
Add your comments and observations to the discussion by using the "Comments" link at the bottom of this post.