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10 months agoSony A9. Pretty much no dust ever, despite swapping lenses all the time as an event photographer. I point the mount downwards before swapping lenses, seems to do the trick.
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Joined 11 months ago
Cake day: October 22nd, 2023
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I just want money so I can buy all the gear I want, and only do gigs I like.
I’m curious - why is it so poorly paid? You’d think something so demanding - especially on the gear side i.e. expensive high-end gear only - would pay well. It’s not like there’s no money in sports.
My clients don’t print, so I only supply an Instagram-friendly format. Instagram famously compresses higher resolutions, making them look worse. You get the best results if you supply the exact IG resolution (1080 x 1080 for 1:1, 1080 long edge for other formats).
This article series on DPReview is decent.
With DxO DeepPrime, noise is getting close to being irrelevant.
Yes, in a way; I write poetry and often have the same themes in my poems and my photographs. The connection between my words and my photos is artistic, not analytical.
I saw you falling
From grace and from truth;
It’s some kind of calling,
Like God gave to Ruth:To pick up the pieces
Of fragmented love —
Not for myself
Nor no one above,But to build of them catchers
Of dreams I forgot:
Yours, for the angels;
Mine, for the caught.I hold your pieces.
The night’s black buoy
Holds us afloat
In this infinite void.
Yes, sometimes they do. Sooner or later, they all will fail; good cards just last longer.
This is why pro cameras have two card slots, so you can have a duplicate on a 2nd card if 1st fails. I always write to both cards on my camera when I do paid gigs.
The pandemic had just hit, I had just moved to a new and very picturesque city, I couldn’t meet any new people and there was nothing to do … so I bought a camera to have something to do while walking around alone.
When they began lifting restrictions and cultural events began popping up again, I started exploring them with my camera. I got lucky, and now I’m a working pro.
I don’t use the EVF much; I wear thick glasses and find it impractical. My eyes don’t like contact lenses. 8 times out of 10, I only use the rear LCD. I don’t think that means I’m not expressing the essence of human emotion and experience.
Horses for courses.
At one extreme, people regard street photography as creepy by definition.
At the other, they’ll do a Bruce Gilden and pop a flash in your face.
You will need to work out where you stand yourself whilst aware that you cannot possibly please everyone. No matter how you do it, street photography comes with a heavy split in opinions.
Personally, I follow the law and take my photos without anyone noticing. In the very rare case that someone does notice and objects, I delete their photo. I don’t approach people after taking their photo to ask for their permission, as where I live, people generally prefer to be left alone. That is cultural and varies across the globe.
I’m also a big fan of reflections and silhouettes where you can’t identify anyone. Like so:
Thanks for the feedback. I’ll admit I’m not the best with technical details, my brain spaces out pretty quickly when I try to understand the finer points of the technology involved. As a photographer, I rely on instincts.
There is obviously some need for technical understanding nonetheless, otherwise I’d be making lots of pointless mistakes. We are agreed on the practical implementation of the dual gain technology in modern sensors such as the one in my A9, which for me is mainly about preserving highlights; I am less likely to blow them if I limit my ISO to 800 vs. letting the camera bump it all the way to 6400 or 12800.
I haven’t used Canon or Nikon, but the Sony mirrorless cameras I am familiar with are prone to overexposing the scene when it is mostly dark, but has occasional bright flashes (such as is the case at fire shows).
I mitigate those tendencies by mainly relying on highlight metering, limiting my ISO range, and using S mode with significant (usually around -1 EV) exposure compensation when there are very bright flashes; that is usually enough for Sony mirrorless cameras to avoid blowing highlights (fire breathers are a notable exception, I have to key in everything manually in advance).
As for exposure vs. light, you are correct of course. For good and for ill, “increasing exposure in post” is how I have learned to express my Lightroom editing process, since the slider I use for that is called Exposure and I increase that value.
Thanks! I love fire photos.
I haven’t changed, but I have always preferred taking photos where you can’t identify people. Like this:
Most modern cameras are ISO invariant anyway. My Sony A9 gains nothing beyond ISO 800 compared to increasing exposure in post-processing, so I generally have my ISO set to Auto 100-800.
I am a low light event pro, and I regularly increase my exposure 3-4 EV in post, equalling up to ISO 12800 in-camera. With modern denoising software like DxO DeepPrime, the results are great.
Here’s an example. ISO 800, exposure increased by 4 EV (12800 equiv.) in post. Cleaned up with DxO DeepPrime XD.
I’m completely anonymous on my website and socials. Nothing personal anywhere ever.
I’m personal in real life when I meet people face to face, and that’s where I get all my gigs.