I’ve gotten a number of emails recently asking for me to define the meaning of ‘shooting envelope’ – it’s a term which I use quite a lot in my articles and reviews, and it appears I’ve been rather remiss in explaining exactly what I mean by it. We’ll remedy that today, and explain why it matters.
The Nikon D4 might be old news now that the D4s has been around for a couple of months, but given the diminishingly incremental improvements between each cycle, there’s less of a penalty for opting for an older camera than you might think. And even less again once we consider that for most applications, the point of sufficiency was passed a long time ago. A nearly-new D4 made its way into my hands a couple of months ago during the Melbourne workshop. At a shade over US$3,800, it was just too good a deal to pass up. Read on for my summarised thoughts after spending a couple of months taming the beast.
I have a bit of a problem. In fact, it’s becoming an increasingly large one. Put simply, I’m running out of words to describe the things I’m seeing and the visual concepts I’m trying to explain; and I don’t know if the vernacular even exists. I suspect it doesn’t, but then again, I’m sure there are English speakers with greater vocabulary than me for whom it does. A large portion of you probably think this is stating the obvious; it is. But we reach a point beyond which it becomes impossible to progress further without some sort of common baseline accurately and consistently describe what it is we’re intending to convey; or more specifically, to ensure that what I’m saying and imagining are the same things as what you’re hearing and seeing in your own mind.
Time to present a little minimalism of my own today, in the form of some architecture.
Today’s photoessay is the second part and conclusion of the previous photoessay-review. It’s a little broader in scope and less human-scale than the previous one; this is deliberate as there’s definitely an element of the brutalist in Cuban architecture; my theory is that it’s the influence of socialism. You may find the majority of these images to feel toned; that’s mostly a consequence of atmospheric conditions: the best hours of the day to shoot proved to be early morning and late afternoon/ evening, both of which were extremely warm. In any case, I believe it fits the feel and mood of the city well: it’s just a lazy afternoon kind of place, even when it’s ten in the morning. I’m going to stop looking for excuses why I was lighting up a cigar at 9.30 now.
This series shot with a Nikon D800E and 70-200/4 VR. Enjoy!
This will be the first in my new review format for ‘light’ reviews – pieces of equipment that perhaps don’t necessarily need a full blown magnum opus, but benefit from some context in deployment and typical usage. A short piece on the D4 will follow next.
One of the few lenses in the Canon system I’ve long been jealous of is their 70-200/4 IS (in addition to the 17TSE). Until not so long ago, Nikon users have been missing a light/ compact high quality telephoto option. Sure, there’s been the 70-300/4.5-5.6 VR, but that was only a decent performer up to 200mm; anything else was emergency territory. And it simply wasn’t that good on the D800E, nor a pro build. Finally, we have the AF-S 70-200mm f4 G VR ED IF (what a mouthful). I’m going to address two questions in this review: firstly, is it any good, and secondly, f2.8* or f4? I suspect the latter question is going to be of interest to many still sitting on the fence.
*It’s important to note there are two versions of the 70-200/2.8 G VR. I’ll go into the differences in more detail later.
In the previous part of this essay, we discussed how diversification of media and bringing control to the masses changed the face of photography; today we’re going to continue with some thoughts on the current standard-bearer for that camp, and some concluding thoughts on what it means for everybody else.
Having been on Instagram for a few months now, and having to consciously separate out mobile photography as something that’s done independently from my ‘more serious’ work – I’ve had some time to rationalise my thoughts around them whole sub-medium. What I’ve found is that having a dedicated output channel for the results not just makes you look more actively for opportunities to use it, but also adds a layer of confusion: how do you decide when do you use what?
I’m going to break from tradition a bit – rather than me show you a whole bunch of photographs of my students photographing, I think it would be better to let the results speak for themselves: instead, most of my students have graciously agreed to share a few of their images and thoughts from the recent Havana Masterclass. It should give you a fairly good idea of exactly what we do during a Masterclass…
Today’s photoessay contains images I initially shot for a client much earlier in the year; the German tunnel-boring specialists Herrenknecht and MMC-Gamuda for the greater Kuala Lumpur mass transit project. The project itself will bring a unified rail system to Klang Valley over the next five years; in the meantime, it’s utter chaos while everything is being dug up or diverted so overhead pylons can be put up. I was hired to document some of the underground work.