Today’s article is a repost of a classic from two years ago (has it really been that long?) I bring it up again on the back of an interesting offline discussion I’ve been having with one of my email school students. How many people think about the relationship between idea, subject, composition and the final presentation format before hitting the shutter? The missing link is usually the last one – and almost always results in a necessary compromise in composition. But, there are ways to fill the empty space, as you shall see…
Today’s article attempts to answer a question which I’ve been asked quite a few times, both in comments and offline correspondence: what is the ‘medium format look’, and why do we find it attractive?
We must first assume that the output medium is sufficient to identify differences. Beyond the obvious very large print or Ultraprint, if you’re judging images at web sizes on a computer – or worse, a phone – sorry, you’re just not going to see it. A typical web image is less than 1% by area of a 40-50MP medium format camera. There is simply no way you can oversample that much resolution information in a meaningful way to those sizes, unless you’re heavily, heavily cropping, I suppose. How large would you have to go to see the difference? I’d say at least ~4MP (2560×1440, most 24”-30” monitors) or better yet, 4K. And that assumes the downsizing has been done in an optimal way, of course. It’s quite possible that some methods will completely throw away any resolution advantage whatsoever (line skipping, for instance).
What I’m going to attempt to do is break it down into five main categories – for digital – and please feel free to add your thoughts in the comments if you feel I’ve missed anything.
A couple of days ago, we looked at the inexact science of color and emotion: I don’t think anybody is going to argue that the mood and feeling of an image is influenced heavily by the dominant color palette, both in terms of the color of incident/reflected light and the color of the subject elements themselves. But how does this translate to black and white images? Obviously, it’s very possible to do since not every monochrome image feels the same. Even within the same sort of general lighting – say low key – it’s possible to produce variations in mood. How?
Today’s post is one from the archives; back nearly to the beginnings of the site. I’m pulling it out again to set you up for what comes next.
A series of experiments was done many years ago that showed humans have been conditioned to expect certain things in the way of color: blue ketchup just doesn’t fly, for instance. The theory is that it’s a primeval subconscious response to warn us of danger. Think of it this way: rancid meat looks a certain way, and has a certain color. Even if we can’t smell it – looking at a photograph of vomit or something decomposing makes us go ewwww. Such examples are to be found in nature all the time – think of those brightly colored poisonous beetles, for instance. In fact, the link between color and range (and thus emotion) is so strong that many species mimic the coloring of more dangerous species to warn away predators, but at the same time rely solely on that as protection because they pack no venom or toxicity. (Toxicity is energy-consuming to produce, and in food-scarce environments, you want to waste as little of your nutritional intake as possible producing something that’s only going to help you if you’re eaten – and thus probably going to die anyway.)
The images in this article are unconventional compositions: products of long periods of experimentation, sometimes the result of a single fast grab, or several iterations of adjustment and refinement. I think they suit the theme well.
Today’s essay is a slightly odd one. Consider for a moment: is it better to be a prolific photographer, or a slow, methodical, considered one? No matter how you slice it, there are advantages and disadvantages to both. And I honestly haven’t been able to figure outs which works best, so I’m hoping the comments are going to spark an interesting discussion depending on the approach of my readers.
This article continues from a discourse of why a tripod is the most underrated piece of photographic equipment.
There is a lot of obsession online over whether camera and lens A is better than camera and lens B – forgetting entirely that the creative vision and shot discipline of the photographer using the equipment is not just a great equaliser, but can very well turn the tables entirely. Tripods and heads are one of the very few areas in which this is not actually true – i.e. better equipment is better equipment and there are no equalisers – and are almost completely ignored. No amount of creativity or technique can make up for a poor tripod, but poor technique can certainly spoil a good tripod.
Chances are, a tripod is actually one of the first bits of gear you got at the start of your photographic journey: they’re usually given away free with DSLR ‘kits’ as ‘value added’ freebies (you’re actually charged for them, of course). Like most people, you probably even carried it with you on every photographic excursion for a while, and then eventually got lazy or frustrated with it and gave up. At that point, you probably also wouldn’t have been able to tell the difference between a good tripod and head and a poor one. I’m fully guilty of this, of course. I even bought my tripod – a relatively cheap Velbon thing for all of about $60 that included a head, and was light and relatively small but tall enough to be reasonably ergonomic and not induce too much back pain – jackpot! Of course, I would later learn that the only thing that’s worse than no tripod at all is a bad tripod.
On the face of it, this seems like a very obvious statement of intention. For most people, this is not even something that gets called into question (see this article on why we photograph). Perhaps it’s an odd issue I’m personally facing, but the discussion of all things photographic and creative is the purpose of this site after all. Of late, I’m stuck between four places: photographing the commercial, as specified by the client; photographing what appeals to me personally, which is almost always not commercially viable at all; photographing what the audience of this site wants to see and photographing what the art world dictates I should be doing.
I’ve been receiving a lot of email lately. This in itself is not unusual, but it appears that something I quietly bought has stirred the pot somewhat. You see, I’m now a Fuji user (again; I owned the first original X100 in Malaysia, and an X20 and XF1 and XQ1 since). The Fuji fanboys have always said I was biased and paid by the other companies not to use Fuji; the other fanboys have now started emailing me saying I sold out. Sorry guys, the simple truth is nothing so exciting. I bought an X-T1 at retail from my usual dealer in KL with my own money. Two things changed: firstly, ACR in its very latest iteration appears to have changed something in the soup to make X-trans file workflow at least acceptable, if not perfect; secondly, the fast compact normal conundrum demanded a solution.