Finder
Veteran
literiter
Well-known
"It is not the tool" it is the image. If the image is the bottom line; who cares how you get it?
Thank you for the link.
Thank you for the link.
nathanp
Established
Interesting article.
He says:
He says:
I wonder if he's tried a M4/3 camera yet?
BillBingham2
Registered User
I disagree, it is the tool and the photographer who knows how to adapt to the tool.
Majoli would not have the same approach and perhaps success using other Digital P&S cameras. He found a fine camera and adjusted the way he shoots to utilize it with great success.
I'm very happy to see that more and more photographers are giving serous photographers are giving second look to models other than the MONSTROUSLY large DSLRs.
B2 (;->
Majoli would not have the same approach and perhaps success using other Digital P&S cameras. He found a fine camera and adjusted the way he shoots to utilize it with great success.
I'm very happy to see that more and more photographers are giving serous photographers are giving second look to models other than the MONSTROUSLY large DSLRs.
B2 (;->
newspaperguy
Well-known
Agree with B2.
...and I'll add, as you get older, the lighter load on the neck
becomes a real blessing. My E-1 sits idle in favor of my G5 and my old C-3030.
You just have to decide what works for you, and learn to ignore
the sniping from the peanut gallery.
I remember years ago, a friend of mine covering every White House press event with one of those twist and turn Nikon Cool-Pix. Everyone laughed until they saw his magazine spreads.
His secret - a sturdy tripod to offset the shutter lag.
...and I'll add, as you get older, the lighter load on the neck
becomes a real blessing. My E-1 sits idle in favor of my G5 and my old C-3030.
You just have to decide what works for you, and learn to ignore
the sniping from the peanut gallery.
I remember years ago, a friend of mine covering every White House press event with one of those twist and turn Nikon Cool-Pix. Everyone laughed until they saw his magazine spreads.
His secret - a sturdy tripod to offset the shutter lag.
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The tools definetely come into play or this article wouldn't keep coming up after all of these years. We all know that any camera is capable of good images based on the conditions... however, the photographer is the one that makes the choice in equipment that will get him/her a good image most of the time. What works for me may not work for you....
Naumoski
Well-known
I enjoyed the thread, very inspiring.
He might today use M9, or smt like Leica X1, or the latest best P&S but that's not important anymore
He might today use M9, or smt like Leica X1, or the latest best P&S but that's not important anymore
40oz
...
Would it be improper to point out that for Mr. Majoli's work, and the work of a vast number of professional photographers, a huge SLR is almost never called for? Given digital distribution and print sizes, not to mention the print quality of most newspapers, an image's technical qualities are of little importance.
I think most professional photograhers use an SLR for lens choice and to control the focus and exposure. They shoot digital because it makes their employer's job easier - the photographer can be told do all the work that used to be delegated to a staff, and nobody has to pay the photographer any more money. It certainly isn't because digital is somehow superior when it comes to fine art prints.
But it's just foolish to say "the tool doesn't matter." IMHO it's "tool for the job," and therefore the tool certainly does matter. Just because somebody has a job where a cheap P&S works as good as an expensive and bulky system doesn't change that.
A cheap P&S won't give me control over exposure, and a digital won't give me creative control of film choice or developing time, and takes away the creative options using an enlarger and replaces them with an inkjet printer.
If all you care about is the image, where does the craft come in? There are all kinds of images. I'm not really interested in the product of zero craft that is churned out on demand by a machine. For the same reason I don't harbor feelings of longing for cheap Ikea furniture.
I think most professional photograhers use an SLR for lens choice and to control the focus and exposure. They shoot digital because it makes their employer's job easier - the photographer can be told do all the work that used to be delegated to a staff, and nobody has to pay the photographer any more money. It certainly isn't because digital is somehow superior when it comes to fine art prints.
But it's just foolish to say "the tool doesn't matter." IMHO it's "tool for the job," and therefore the tool certainly does matter. Just because somebody has a job where a cheap P&S works as good as an expensive and bulky system doesn't change that.
A cheap P&S won't give me control over exposure, and a digital won't give me creative control of film choice or developing time, and takes away the creative options using an enlarger and replaces them with an inkjet printer.
If all you care about is the image, where does the craft come in? There are all kinds of images. I'm not really interested in the product of zero craft that is churned out on demand by a machine. For the same reason I don't harbor feelings of longing for cheap Ikea furniture.