Autofocus, Does It Matter?

I’ve rambled on a bit regarding auto-this, manual-that, camera tech, a bunch of my feelings towards it for the last month or so. All of it amounts to one thing — to get across a point that what matters to the industry and everybody else really has very little to do with what matters to you, your photographs, and honestly the vast majority of photographs I see.

Every one is different. No two people are not on fire. Ahhhhh. Strong Bad


Understanding Focal Lenth and Perspective

My rant from the other day had a few people confused. Not about my point, more about something that comes up a lot and has been explained countless times since the dawn of time. Unfortunately I make a lot of assumptions here about ”stuff everyone knows”. I assume people know a lot — bad idea considering how much ridiculous-ness is chucked out on the internet per second. I would love to kill about 350 birds with one stone but I’m depressed and lazy and really don’t feel like making pictures today so I’ll settle with a mere one bird for this with a slathering of other birds that could be killed but will escape for another day. How about we talk about perspective, field of view, distortion, focal length, and stuff of that ilk? Okay?


OMFG! And Other Thoughts

WARNING: Caps and bold. This is an extremely snipe-y rant. Continue at your own risk. Also, I usually don’t point out individuals and I’ll try not to now but… if you know who I’m talking about please do not take this as any sort of personal attack. It’s not. Rather more a poster child for the mass hysteria that I ran across while bored this morning. I’m sure this will get me some hate mail and quite possibly some arm-chair argument, Whatever.


Five Things That Drive My Gear Churn

Who was it that said something along the lines of doing the same thing over and expecting different results was the definition of insanity…

We all do that — it’s okay as long as it’s only on occasion. As I was taking a bit of time here and there yesterday messing around with matching up color negative film looks in Capture One for some presets I might get done sooner or later I stumbled upon one of the rare occasions I shot a DSLR and actually had a square final image in mind. This combined with a blog post titled 8 reasons you should buy an X100T instead of an X100S I stumbled across sparked a thought. Most of the things I care about regarding gear, method, output, etc… most of the technical as well as the not so technical about my particular bent in photography I figured out a long time ago.


Fuji X100S, Constraints Fuel Creativity

I’m all for that one camera, one lens thing. Not as a publicity stunt or anything but as an exercise on just how infinite the variables are of any giving photographic circumstance before introducing all of the possible stuff you could bring to the table. Constraints absolutely fuel creativity. I posted a bunch of pictures yesterday that people seemed to like. I’ll use a slathering of them here as illustrations.

This ties in a lot with a suggestion I made to someone the other day to pick one “look” and stick to it. With that one look in mind see what you make and how you start to interpret the world — he’s also doing a one camera, one lens project for himself during 2015.


Film Presets For Capture One, Review

I’m always a little apprehensive regarding the release of any eBook or presets or anything like that. I always expect to get some sort of “What the hell?” feedback from anyone that grabs them. More often than not I get comments and feedback that verge on the embarrassingly gushing positive. Here’s one I asked if I could publish here along with a few photos an early user sent to me.

I’m seriously loving these presets. Honestly man, I think these are the best out there - and I’ve definitely used them all.


On Film Grain Alien Skin Exposure, Capture One, DXO, Etc?

The Kodak Black And White Classics Presets for Capture One I put out there a week or so ago has generated more than one conversation, a bunch of questions, and as usual far different from anything expected. Interaction has ranged from the “hey these are great”, to the philosophical, to the technical. I’ll not repeat all of them here but I do want to point you to a project and a post from Andy Farrell more on the philosophical kind of internal debate. I think what he’s made is really great — how about you…


The Fuji X100 Series, Long Term Thoughts

This post is really a stealthy backdoor into part III of my right and wrong series of posts. Meaning any notion of right and wrong have everything to do with what you are trying to portray rather than merely a technical exercise. I’ll attempt to blend that together with a few radically nutty thoughts on why camera reviews no matter what they say are meaningless as well as truisms that are also complete lies about all cameras being the same.


Capture One Film Presets Walk-Thru

Yet another walk-thru of Kodak Classic B+W Presets For Capture One. Just one thing before we start — a news flash — one very considerate user alerted me to a big screw-up. The workspace included with the download is the wrong one. We’ll that’s fixed. Just use the same link from before and re-download. It’s there now. How’s that for customer service. Problem and fix in five minutes.

On with the show. At the top we have your garden variety OOC RAW in Capture One. This time from a Fuji X100S. I try to test the presets across a wide variety of conditions to make sure they are useful but any input from users is welcomed. Today, lets mess with a tricker emulation — Kodak BW400CN. Not really tricky but more twitchy in a lot of cases. Don’t let the twitchy-ness put you off. Here’s a few ways that will apply to a lot of scenarios to make use of it…


Phtography Right And Wrong II

Another installment of the rights and the wrongs. Last time I blathered on about things technical but at the end of it all I hope the subtext was that all of that techno-stuff like what decisions to make is directly related to what you want to make and how you make it. The bottom line is that in many ways some of the techno-crap “should do” conflicts in blatant and subtle ways with what you want to make. That’s the psychological part. I used an obstinate photographer that refused to follow any of the “should do” things which would have greatly contributed to the only possible mission he was on to demonstrate a slightly different psychology — somewhat unexplainable but very related to being open minded.