Don’t underestimate the final display medium

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This image doesn’t work small: there’s far too much detail going on to appreciate at just 800 pixels high.

Here’s a question for all photographers: how many of you have considered the intended viewing method for an image at any point before final output? No need to answer this to anybody other than yourself. That said, I’m willing to bet that the number is very small indeed. In my recent article on pushing clarity and transparency in a photograph and the intense discussion that ensued, the one thing that stuck in my mind was how we (collectively) undervalue the output medium.

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One slot opened for the Prague workshop…

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Prague – 2-5 October: one four-day seat left at a special price of $1,900 instead of $2,150! You can of course take any combination of days you wish, too.

A place has opened up due to a participant’s work commitments conflicting…if you were on the fence before, hopefully this will give you an incentive!

The syllabus will still follow the core fundamentals from the USA tour: throw everything you thought you knew about photography out the window, and start again. All you need is a camera and a couple of perspectives – one wide, one tele. It could be either end of a zoom on a compact, or it could be medium format and a couple of primes – it’s up to you. What I’ll be teaching is subject independent: make great images, any time, with any subject, any camera. Put it this way: it’s easy to spend thousands on equipment that you may use a handful of times a year, but what about the knowledge that lets you make the most of that equipment, in any situation?

The Singapore and USA workshop reports are here and here respectively.

For full details and to make a booking, click here. Thanks! MT

The demise of the DSLR

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Five years ago, while I was writing for a local photo magazine, I was mostly in charge of the ‘big’ cameras – DSLRs and the like. There was no mirrorless category, with the exception of Leica; compacts meant serious image quality or lens quality compromises, and every serious photographer was typically also on first name terms with their chiropractor. You could still get film with relative ease, and better still, develop it. Not long ago, my desk had three cameras for review/ testing on it (the Olympus E-P5, Leica X Vario and Sigma DP3M – none of them were DSLRs. I now routinely travel without one; in fact, most of the time I do a lot of personal photography with compacts. And pretty much the only time my D800E comes out is when I’ve got a commercial job to shoot.

How things change.

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PayPal, margin pressure and the small business perspective

A few days ago, I received an email from PayPal informing me that some of their terms and conditions of service had changed – ostensibly to ‘ensure high standards of service continue to be maintained’. I read that immediately as a greedy grab: turns out I was right. Buried in the fine print of the changes were a bunch of rate amendments, effective 10 Sep 2013, that now make the cost of receiving payments in my part of the world anywhere up to 6% plus a fixed fee (for commercial payments that fall into the “International micro payments for digital goods” category, which includes my videos). On top of this, there’s a ‘micropayment fixed fee’ of MYR2.00 (US$0.65). And then there’s a 4% currency conversion fee to Malaysian Ringgit on conversion. And a further 2.5% added to the exchange rate when you withdraw the funds to your bank account. Very cunningly, they don’t provide a like-for-like fee comparison, either. That’s a grand total of anywhere up to 12.5% PLUS RM2.00. Previously, I calculated the net cost of using PayPal at about 5% inclusive of FX; a merchant credit card terminal would be around 3%. Given the long payment times for credit card providers and relative discomfort of people using cards overseas, I elected to stay with PayPal for the time being – lousy service and lack of regulation notwithstanding. See why this has now become a problem?

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Ultimate tripod heads, part two: the Arca-Swiss P0 Monoball

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The P0 Monoball; Manfrotto 394 RC4 QR plate is for me to standardize my connectors across heads, and also because the QR version of this head costs nearly 50% more than the standard one – you can buy the adaptor AND a lot of spare plates for the difference. I’ve since replaced it with an Arca-style clamp I found on eBay for about $25 – surprisingly well made, and cost-efficient, too.

Today’s conclusion of the two-part review (part one covering the Arca-Swiss C1 Cube is here) covers the much simpler, cheaper, but no less well built P0 Monoball. They aren’t direct competitors or replacements for each other; to be honest, there’s ample room in a gear bag for both since they fulfil very different photographic needs.

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Ultimate tripod heads, part one: the Arca-Swiss C1 Cube

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Arca-Swiss C1 Cube with D800E mounted via universal L bracket.

Arca-Swiss are known for two things: producing excellent precision photographic gear, and having spotty availability – probably due to very small production runs. This two part review is going to cover what I think are two of the best tripod heads currently available – the P0 and C1 Cube. I picked up the P0 from B&H as a lightweight travel head during my trip to New York earlier in the year; I’ve been using it since – more often than I’d imagined I would. After being very impressed with the little one, I requested a C1 Cube as soon as it finally became available; both out of curiosity, and also to see if the hype was true.

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On Assignment: architecture by night

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Sometimes, one is given some pretty sweet assignments. Quite near the top of that list is a commission to photograph beautiful buildings by one of the country’s – arguably the world’s, too – leading architects with the rare thing of a completely open creative brief. This is the position I found myself in a couple of months ago, camera bag in one hand, Mother Of All (somewhat portable) Tripods in the other, and sheaf of permission letters and permits from Hijjas Kasturi Associates tucked away safe inside the camera bag just in case.

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Photoessay: New York City urbanscapes

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I honestly have no idea what category or genre this kind of photography falls into; it’s not quite abstract because you know what the subject is, though there’s heavy reliance on geometry, form, color and light; it’s not street even though it’s generally shot on the street or from the street; I suppose it could be travel, though they don’t really especially make you want to go visit a place. Flaneur, perhaps; the exploring observer. Or still life, except there are frequently moving elements. It’s not really cityscape or architecture either, because often there are no buildings, or they’re not complete, or the view isn’t wide enough to be considered an entire cityscape.

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On Assignment: Retouching, and the difference between amateurs and pros…

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Maitres du Temps Chapter Three in white gold. (Larger version) There are panels at 6 and 12 that drop down into the dial and retract to uncover day/night and second time zone indicators; there’s a moonphase indicator at 4.30, date at 2 and small seconds at 8. Like all watches designed and made by famous independent ACHI members – this one is the offspring of Kari Voutilainen and Andreas Strehler – if you have to ask the price…

An image like this requires a surprising amount of work: I’ve already talked about the mechanics of lighting horological images in this three-part series (beginning here). To be honest, I originally intended to photograph the set up and other b-roll for another on-assignment post, but the simple reality is that I’m usually so busy on the shoot that I just don’t have the time. Instead, I’m going to talk about the amount of work that goes in behind the scenes.

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One place left for the Prague workshop…special! (updated)

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Prague – 2-5 October: one four-day seat left at a special price of $1,900 instead of $2,150 Now taken, thanks! Inevitably, last minute schedule changes and commitments occur with participants, so I am still accepting standbys though…

The syllabus will still follow the core fundamentals from the USA tour: throw everything you thought you knew about photography out the window, and start again. All you need is a camera and a couple of perspectives – one wide, one tele. It could be either end of a zoom on a compact, or it could be medium format and a couple of primes – it’s up to you. What I’ll be teaching is subject independent: make great images, any time, with any subject, any camera. Put it this way: it’s easy to spend thousands on equipment that you may use a handful of times a year, but what about the knowledge that lets you make the most of that equipment, in any situation?

The Singapore and USA workshop reports are here and here respectively.

For full details and to make a booking, click here. Thanks! MT