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AUGUST 2009
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AUGUST 2009
Editor’s Comment 4
Readers Comments 4We want to hear from [email protected]
Scoop 6All about what is happeningin the photographic world locally and internationally
Professional Portfolio 8Paul Shiakallis
Technique 12How to use fill flash effectively
Feature 14 PhotoWalking
Reader Portfolio 16 Phillip Botha
Review 20 Sony Cybershot DSC-TX1
Final Comment 23
AUGUST 2009
Whilst all care and attention is employed to ensure the legitimacy, accuracy and correctness of the information, data, texts, images, ideas, photographs and opinions expressed herein, PHOTOCOMMENT cannot be held responsible or liable in any way whatsoever for the content as it appears herein. Similarly, PHOTOCOMMENT makes no express or implied warranty or representation as to the proprietorship or intellectual property inherent in the images and photographs published herein and which it has commissioned for use from external sources on good faith dealing. Accordingly, PHOTOCOMMENT is hereby indemnified, defended and held harmless against all claims, liability, damages, costs and expenses in regard thereto.
photocomment © 2009
International and local Intellectual Property and Copyright laws protect all material (text, images, photographs, graphics, software and icons) used herein. You are only permitted to download, copy or print this on-line publication or any features there from for personal, instructional and non-commercial use.
Founder: Tristan Hall
Editor: Wilhelmus Moller
Design & Layout: Greg Wrench
Contact: [email protected]
Cover Image: Sleepwalkers
Paul Shiakallis
Editor’s Comment 4
Readers Comments 4We want to hear from [email protected]
Scoop 6All about what is happeningin the photographic world locally and internationally
Professional Portfolio 8Paul Shiakallis
Technique 12How to use fill flash effectively
Feature 14 PhotoWalking
Reader Portfolio 16 Phillip Botha
Review 20 Sony Cybershot DSC-TX1
Final Comment 23
AUGUST 2009
Whilst all care and attention is employed to ensure the legitimacy, accuracy and correctness of the information, data, texts, images, ideas, photographs and opinions expressed herein, PHOTOCOMMENT cannot be held responsible or liable in any way whatsoever for the content as it appears herein. Similarly, PHOTOCOMMENT makes no express or implied warranty or representation as to the proprietorship or intellectual property inherent in the images and photographs published herein and which it has commissioned for use from external sources on good faith dealing. Accordingly, PHOTOCOMMENT is hereby indemnified, defended and held harmless against all claims, liability, damages, costs and expenses in regard thereto.
photocomment © 2009
International and local Intellectual Property and Copyright laws protect all material (text, images, photographs, graphics, software and icons) used herein. You are only permitted to download, copy or print this on-line publication or any features there from for personal, instructional and non-commercial use.
Founder: Tristan Hall
Editor: Wilhelmus Moller
Design & Layout: Greg Wrench
Contact: [email protected]
Cover Image: Sleepwalkers
Paul Shiakallis
et us kick off this August edition of L PhotoComment with an apology. As a loyal
reader of PhotoComment you will have noticed
that I have been conspicuously absent in the June
and July issue. A combination of bad luck bad
planning and road accidents have seen me move
towns, been hospitalised and otherwise occupied
as not to be available to write in June and July.
All that is in the past though and I look forward
to taking a greater part in PhotoComment
henceforth.
Our scoop section belongs to Nikon and they
have, among many other new releases, a compact
camera that doubles as a projector. Read more
Editor’s Comment
Readers CommentsWe welcome feedback about what you think of
PhotoComment Magazine. Your stories, experiences,
questions, inspirations, are all welcome and can be sent
to [email protected] enter “Letters” as the
subject. Each month we will publish some of your
feedback.
Win Stand a chance to win by contributing to our
Readers Letters section.Camera Stabilising Bag
sponsored by Tandem Focus
Distributors
TANDEM
about balanced fill flash in our technique feature
and read more about the inner workings of the
mind of Paul Shiakallis the featured professional
portfolio for this month. Expect to see more from
this dude in future. Our reader’s portfolio by
Phillip Botha leaves us thinking about the true
nature of creativity in an increasingly automated
and fast passed world as we review the
automated Sony Cyber-shot DSC-TX1
Enjoy your August edition of Photocomment and
as always we welcome your feedback at
The Editor
Quotes
he enemy of photography is the T convention, the fixed rules of 'how
to do'. The salvation of photography
comes from the experiment.
– Anonymous
t's not the camera, but I who's behind the camera.
– Anonymous
esus opened my eyes, as the J camera opened my heart to see all
of the beauty this world has to behold.
– Anonymous
hen people ask what W equipment I use - I tell them
my eyes.
– Anonymous
All quotes in this issue were extracted from www.photoquotes.com
Available Now From
?The famous Gary Fong Lightsphere UNIVERSAL - fits almost ANY on-camera flash! ?The grip is so strong that it can support the entire weight of a camera, drive and flash securely. ?Attaches with patent pending grip system - WILL NOT FALL OFF! ?Includes translucent white dome, and accepts full line of Lightsphere Accessory Domes - AmberDome & ChromeDome. ?Available single diffuser with dome or in MONEY SAVING kits that contain everything you need to produce studio-quality lighting with your on-camera flash - without a bracket!
OdrinaryFlash
With Gary Fong Lightsphere-II
et us kick off this August edition of L PhotoComment with an apology. As a loyal
reader of PhotoComment you will have noticed
that I have been conspicuously absent in the June
and July issue. A combination of bad luck bad
planning and road accidents have seen me move
towns, been hospitalised and otherwise occupied
as not to be available to write in June and July.
All that is in the past though and I look forward
to taking a greater part in PhotoComment
henceforth.
Our scoop section belongs to Nikon and they
have, among many other new releases, a compact
camera that doubles as a projector. Read more
Editor’s Comment
Readers CommentsWe welcome feedback about what you think of
PhotoComment Magazine. Your stories, experiences,
questions, inspirations, are all welcome and can be sent
to [email protected] enter “Letters” as the
subject. Each month we will publish some of your
feedback.
Win Stand a chance to win by contributing to our
Readers Letters section.Camera Stabilising Bag
sponsored by Tandem Focus
Distributors
TANDEM
about balanced fill flash in our technique feature
and read more about the inner workings of the
mind of Paul Shiakallis the featured professional
portfolio for this month. Expect to see more from
this dude in future. Our reader’s portfolio by
Phillip Botha leaves us thinking about the true
nature of creativity in an increasingly automated
and fast passed world as we review the
automated Sony Cyber-shot DSC-TX1
Enjoy your August edition of Photocomment and
as always we welcome your feedback at
The Editor
Quotes
he enemy of photography is the T convention, the fixed rules of 'how
to do'. The salvation of photography
comes from the experiment.
– Anonymous
t's not the camera, but I who's behind the camera.
– Anonymous
esus opened my eyes, as the J camera opened my heart to see all
of the beauty this world has to behold.
– Anonymous
hen people ask what W equipment I use - I tell them
my eyes.
– Anonymous
All quotes in this issue were extracted from www.photoquotes.com
Available Now From
?The famous Gary Fong Lightsphere UNIVERSAL - fits almost ANY on-camera flash! ?The grip is so strong that it can support the entire weight of a camera, drive and flash securely. ?Attaches with patent pending grip system - WILL NOT FALL OFF! ?Includes translucent white dome, and accepts full line of Lightsphere Accessory Domes - AmberDome & ChromeDome. ?Available single diffuser with dome or in MONEY SAVING kits that contain everything you need to produce studio-quality lighting with your on-camera flash - without a bracket!
OdrinaryFlash
With Gary Fong Lightsphere-II
Nikon announces an upgrade to the D300, a
replacement for the O so popular D60, an
upgrade to the popular 18-200 and a fresh
take on the brilliant 70-200 and a camera from
Nikon that doubles as a projector? Sweet!
Nikon D300s
or those of you who own a Nikon D300 you know how Feffective and reliable they are and an upgrade to a Nikon
D300s might be your next logical step in the price bracket. So
let us consider what is new in the s-ed version. The most
notable feature is that The Nikon D300s can record video in
full High Definition Multimedia Interface with auto focus in
the movie mode. It even has an external microphone input for
clear stereo recording. Ok with the optional MB-D10 vertical
grip you still get 8 fps and with only the supplied ENEL3e
battery you get an additional 1 frame at 7 fps continuous
shooting. The sensor is the same at 12.3 mega pixels but you
are given an extra SD memory card slot besides the CF card
slot to either back up or store more images. Nikon have
brought back the Continuous Silent mode found on the F4 and
F5 of the film era, which makes for a quieter shutter and
mirror reflex. Especially handy when shooting in those tense
moments where stealth is paramount like in the wild. It also
has an impressive lifespan of up to 150 000 releases. If this s
does what the D70s did for the D70 then it will definitely have
a place in the photographic market.
Nikon Coolpix S1000pj
n the 4th of August Nikon announced the world’s first Ocompact digital camera with a built in projector in the
form of the Nikon Coolpix S1000pj.
Now those who know me personally will be quick to tell you
that I’m not a huge van of digital, I don’t care much for
compact cameras (unless it carries a LOMO badge) and I am
most certainly not impressed by gadgets and doodads. But this
little marvel from Nikon has me itching to be proven wrong
The S1000pj sports a 12.1 mega pixel sensor, 5X optical zoom
and 2,7” LCD screen. The built in projector projects an
astounding10 lumens up to 40” (1.03m) wide 2 meters far.
The supplied wireless remote control not only controls the
projector and slide show settings but also the shutter release.
Entertaining slideshow effects will keep the family and kids
happy. The S1000pj will be available in Black and warm
silver. It utilizes optical lens shift VR and other stabilising
features, like 6400 ISO to produce great images under low
light conditions (although 3200 and 6400 ISO images will be
smaller than 3meg – bummer!). Nikon has given the digital
camera consumer something to look forward to and if the
price is right this sceptic will gladly get one. So everyone
gather round for the infamous vacation slide show, because
there’re back.
GetPix Masquerade fundraising Ball
and Vision Awardsf you fancy a black tie masked ball in aid of charity then Idiarise the 12th of September 2009 for the Getpix
masquerade. Getpix is a professional photographic training
centre that offers a wide variety of courses to the total
beginner right up to the practising photographer wanting to
learn more about web design and Photoshop. The aim of this
years benefit is to trump the R35 900.00 raised at last year’s
event. The money raised at the 2009 event goes to the South
African Guide dogs Association and Retina South Africa –
Fighting Blindness. The masquerade also coincides with The
Vision awards, an awards ceremony for the students of Getpix
and will take place at Emperors Palace from 6pm until
midnight at the NCC Conference centre. Tickets cost R300.00
p/p and you can obtain tickets by emailing Clarissa Fletcher at
[email protected] or call them at +27 (0) 11 425 1768
cheapest digital SLR. The D3000
doesn’t have any movie or live view
capabilities and is essentially a “souped
up” D60 with the same 10,2 mega pixel
DX format CCD sensor and all the nice
in camera editing goodies that the
inexperienced rookie has become
accustomed to. Including a guide
setting that helps the novice
photographer make decisions on
camera settings and professional
tweaks. It sports an impressive 3” wide
LCD screen, an 11point auto focus
sensor compared to the 3 point auto
focus system of the D60. Unfortunately
the battery has changed to an EN-EL9a
and the rule of thumb is usually that the
new battery will be backwards
compatible but the old EN-EL9 will
not be forward compatible. It promises
to be a stunner for the first time buyer
but if you have grown and learnt more
bear in mind it will still only
accommodate DX format lenses and
won’t have cool things like commander
mode from the built in flash.
The Nikon AF-S DX Nikkor 18-200 mm f3,5-5,6G ED VRII
and the Nikon AF-S Nikkor 70-200mm f2,8G ED VRII
here are very few changes to the 18-200 and the most notable is the new VRII motor, Toffering an equivalent increase in shutter speed of 4 stops and a zoom lock switch that
numerous users of the old lens craved. The zoom barrel took a lot of wear and tear on the old
design so that has also been reengineered to have less play.
The new 70 – 200 on the other hand has been improved to give edge to edge aberration
free images on the new FX format cameras, a problem that showed itself in the first 70-
200, only when Nikon started to introduce their full frame cameras. The new optical
design utilizes seven count it seven ED glass elements and Nano Crystal Coating unique
to Nikon to reduce ghosting and flare. Also new is the A/M focusing mode that gives
auto focus priority even if the focus ring is being handled for manual focus. (Mmm that
sounds a lot like the M/A mode already available. I hope they don’t charge extra for it)
Nikon D3000
oming in as Nikon’s Creplacement model for both the
Nikon D40 and D60 the Nikon D3000
promises to be a value for money
entry-level machine and Nikon’s
Flatlandsor those of you living in Cape Town or lucky enough to Fbe travelling to Cape Town often the AVA (Association
for Visual Arts in 35 Church street) will be opening a solo
exhibition by Marc Shoul. The exhibition entitled Flatlands
opens on the 17th of August and will run until the 4th of
September 2009. It is a contemporary look into the diverse
population of Johannesburg comprising every nationality in
Africa. The title of Shoul’s exhibition draws on the countless
apartments or ‘flats’ of the inner city that house the subjects of
his work. People, that are all: “searching for ‘gold’ in one form
or another” as Shoul puts it. Please Contact the AVA to arrange
viewing outside the opening dates at +27 21 424 7436 or on
Boarding Househose of you who follow the work of Roger Ballen need Tnot be informed that his latest exhibition entitled
Boarding House opened at the University of Johannesburg Art
Gallery on the 29th of July and will run until the 22nd of
August. Ballen’s work is a strange mix and one can never
quite grasp if it is documentary or surrealistic art when looking
at it. Like a dream the images from Boarding House takes one
into the mindscapes of Roger Ballen. As he rightly says: “It is
difficult to explain this place except that I think it exists in
some way or another in most peoples mind.” The UJ Art
gallery hours are: Monday to Friday 09:00 – 18:00, Saturday
09:00 – 13:00 and it is closed on Sundays and Public
Holidays.
Nikon announces an upgrade to the D300, a
replacement for the O so popular D60, an
upgrade to the popular 18-200 and a fresh
take on the brilliant 70-200 and a camera from
Nikon that doubles as a projector? Sweet!
Nikon D300s
or those of you who own a Nikon D300 you know how Feffective and reliable they are and an upgrade to a Nikon
D300s might be your next logical step in the price bracket. So
let us consider what is new in the s-ed version. The most
notable feature is that The Nikon D300s can record video in
full High Definition Multimedia Interface with auto focus in
the movie mode. It even has an external microphone input for
clear stereo recording. Ok with the optional MB-D10 vertical
grip you still get 8 fps and with only the supplied ENEL3e
battery you get an additional 1 frame at 7 fps continuous
shooting. The sensor is the same at 12.3 mega pixels but you
are given an extra SD memory card slot besides the CF card
slot to either back up or store more images. Nikon have
brought back the Continuous Silent mode found on the F4 and
F5 of the film era, which makes for a quieter shutter and
mirror reflex. Especially handy when shooting in those tense
moments where stealth is paramount like in the wild. It also
has an impressive lifespan of up to 150 000 releases. If this s
does what the D70s did for the D70 then it will definitely have
a place in the photographic market.
Nikon Coolpix S1000pj
n the 4th of August Nikon announced the world’s first Ocompact digital camera with a built in projector in the
form of the Nikon Coolpix S1000pj.
Now those who know me personally will be quick to tell you
that I’m not a huge van of digital, I don’t care much for
compact cameras (unless it carries a LOMO badge) and I am
most certainly not impressed by gadgets and doodads. But this
little marvel from Nikon has me itching to be proven wrong
The S1000pj sports a 12.1 mega pixel sensor, 5X optical zoom
and 2,7” LCD screen. The built in projector projects an
astounding10 lumens up to 40” (1.03m) wide 2 meters far.
The supplied wireless remote control not only controls the
projector and slide show settings but also the shutter release.
Entertaining slideshow effects will keep the family and kids
happy. The S1000pj will be available in Black and warm
silver. It utilizes optical lens shift VR and other stabilising
features, like 6400 ISO to produce great images under low
light conditions (although 3200 and 6400 ISO images will be
smaller than 3meg – bummer!). Nikon has given the digital
camera consumer something to look forward to and if the
price is right this sceptic will gladly get one. So everyone
gather round for the infamous vacation slide show, because
there’re back.
GetPix Masquerade fundraising Ball
and Vision Awardsf you fancy a black tie masked ball in aid of charity then Idiarise the 12th of September 2009 for the Getpix
masquerade. Getpix is a professional photographic training
centre that offers a wide variety of courses to the total
beginner right up to the practising photographer wanting to
learn more about web design and Photoshop. The aim of this
years benefit is to trump the R35 900.00 raised at last year’s
event. The money raised at the 2009 event goes to the South
African Guide dogs Association and Retina South Africa –
Fighting Blindness. The masquerade also coincides with The
Vision awards, an awards ceremony for the students of Getpix
and will take place at Emperors Palace from 6pm until
midnight at the NCC Conference centre. Tickets cost R300.00
p/p and you can obtain tickets by emailing Clarissa Fletcher at
[email protected] or call them at +27 (0) 11 425 1768
cheapest digital SLR. The D3000
doesn’t have any movie or live view
capabilities and is essentially a “souped
up” D60 with the same 10,2 mega pixel
DX format CCD sensor and all the nice
in camera editing goodies that the
inexperienced rookie has become
accustomed to. Including a guide
setting that helps the novice
photographer make decisions on
camera settings and professional
tweaks. It sports an impressive 3” wide
LCD screen, an 11point auto focus
sensor compared to the 3 point auto
focus system of the D60. Unfortunately
the battery has changed to an EN-EL9a
and the rule of thumb is usually that the
new battery will be backwards
compatible but the old EN-EL9 will
not be forward compatible. It promises
to be a stunner for the first time buyer
but if you have grown and learnt more
bear in mind it will still only
accommodate DX format lenses and
won’t have cool things like commander
mode from the built in flash.
The Nikon AF-S DX Nikkor 18-200 mm f3,5-5,6G ED VRII
and the Nikon AF-S Nikkor 70-200mm f2,8G ED VRII
here are very few changes to the 18-200 and the most notable is the new VRII motor, Toffering an equivalent increase in shutter speed of 4 stops and a zoom lock switch that
numerous users of the old lens craved. The zoom barrel took a lot of wear and tear on the old
design so that has also been reengineered to have less play.
The new 70 – 200 on the other hand has been improved to give edge to edge aberration
free images on the new FX format cameras, a problem that showed itself in the first 70-
200, only when Nikon started to introduce their full frame cameras. The new optical
design utilizes seven count it seven ED glass elements and Nano Crystal Coating unique
to Nikon to reduce ghosting and flare. Also new is the A/M focusing mode that gives
auto focus priority even if the focus ring is being handled for manual focus. (Mmm that
sounds a lot like the M/A mode already available. I hope they don’t charge extra for it)
Nikon D3000
oming in as Nikon’s Creplacement model for both the
Nikon D40 and D60 the Nikon D3000
promises to be a value for money
entry-level machine and Nikon’s
Flatlandsor those of you living in Cape Town or lucky enough to Fbe travelling to Cape Town often the AVA (Association
for Visual Arts in 35 Church street) will be opening a solo
exhibition by Marc Shoul. The exhibition entitled Flatlands
opens on the 17th of August and will run until the 4th of
September 2009. It is a contemporary look into the diverse
population of Johannesburg comprising every nationality in
Africa. The title of Shoul’s exhibition draws on the countless
apartments or ‘flats’ of the inner city that house the subjects of
his work. People, that are all: “searching for ‘gold’ in one form
or another” as Shoul puts it. Please Contact the AVA to arrange
viewing outside the opening dates at +27 21 424 7436 or on
Boarding Househose of you who follow the work of Roger Ballen need Tnot be informed that his latest exhibition entitled
Boarding House opened at the University of Johannesburg Art
Gallery on the 29th of July and will run until the 22nd of
August. Ballen’s work is a strange mix and one can never
quite grasp if it is documentary or surrealistic art when looking
at it. Like a dream the images from Boarding House takes one
into the mindscapes of Roger Ballen. As he rightly says: “It is
difficult to explain this place except that I think it exists in
some way or another in most peoples mind.” The UJ Art
gallery hours are: Monday to Friday 09:00 – 18:00, Saturday
09:00 – 13:00 and it is closed on Sundays and Public
Holidays.
orn in Johannesburg, South Africa in 1982 to parents of BCypriot descent. His mother taught him the cash register
ate age 10 and at age 15 his father taught him the intricacies of his
Canon FT QL, manual SLR. His first photographs were of
flowers in the garden. Paul was Greenside high school’s official
sport and function photographer for the school magazine. After a
year at Rand Afrikaans University studying journalism he
discovered and fell in love with Pretoria Tech (TUT) arts
campus. Within 3 years he says: “I found my friends and I found
myself.” He was the permanent assistant to Mark Lanning
Photography in JHB from 2004-2006 opening his path to
conceptual advertising and editorial photography. Mark also
mentored him in the business of “professionalism” for 18
months. Currently Paul is shooting professionally.
Through art he became infatuated by detail and this shows in
imagery that is captivating and haunting at times. Every
photograph seems to have been woven together from threads of
memory and experience to form a tapestry of light, colours and
mixed emotions.
You can view more of Paul’s work on the following websites
www.18thirty9.co.za or www.paulshiakallis.blogspot.com
PAUL SHIAKALLIS
“In everything I shoot I try to extract the
beautiful out of the ugly and the surreal out of
the real. I focus my attention on detail. All
subject matter falling within the frame needs
to be treated as if it was the main subject of the
shot. I capture what everyone sees and evolve
it to what we dream. My life needs to be
recorded and photography is a form of
balance in my life.”
PAUL SHIAKALLIS
“I am no longer passionate about
photography only obsessed with it.”
PC: Where is Paul Shiakallis going, in the abstract sense, in
the next 12 months?
PS: “In the year to come, expect a similar subject matter, a
similar style, but a different approach.”
All my photo series start of with me looking into myself. What
do I like? Who do I know? I like trees at night; I like being
alone; elders, their mannerisms and their homes fascinate me.
A new project evolves from the previous one. The most
beautiful thing is watching someone in his or her environment;
yet the most difficult thing for me is to enter that environment
without disturbing that beauty. I’m planning to look deeper; to
find a Paul Shiakallis that previously would have hidden from
confrontation.”
orn in Johannesburg, South Africa in 1982 to parents of BCypriot descent. His mother taught him the cash register
ate age 10 and at age 15 his father taught him the intricacies of his
Canon FT QL, manual SLR. His first photographs were of
flowers in the garden. Paul was Greenside high school’s official
sport and function photographer for the school magazine. After a
year at Rand Afrikaans University studying journalism he
discovered and fell in love with Pretoria Tech (TUT) arts
campus. Within 3 years he says: “I found my friends and I found
myself.” He was the permanent assistant to Mark Lanning
Photography in JHB from 2004-2006 opening his path to
conceptual advertising and editorial photography. Mark also
mentored him in the business of “professionalism” for 18
months. Currently Paul is shooting professionally.
Through art he became infatuated by detail and this shows in
imagery that is captivating and haunting at times. Every
photograph seems to have been woven together from threads of
memory and experience to form a tapestry of light, colours and
mixed emotions.
You can view more of Paul’s work on the following websites
www.18thirty9.co.za or www.paulshiakallis.blogspot.com
PAUL SHIAKALLIS
“In everything I shoot I try to extract the
beautiful out of the ugly and the surreal out of
the real. I focus my attention on detail. All
subject matter falling within the frame needs
to be treated as if it was the main subject of the
shot. I capture what everyone sees and evolve
it to what we dream. My life needs to be
recorded and photography is a form of
balance in my life.”
PAUL SHIAKALLIS
“I am no longer passionate about
photography only obsessed with it.”
PC: Where is Paul Shiakallis going, in the abstract sense, in
the next 12 months?
PS: “In the year to come, expect a similar subject matter, a
similar style, but a different approach.”
All my photo series start of with me looking into myself. What
do I like? Who do I know? I like trees at night; I like being
alone; elders, their mannerisms and their homes fascinate me.
A new project evolves from the previous one. The most
beautiful thing is watching someone in his or her environment;
yet the most difficult thing for me is to enter that environment
without disturbing that beauty. I’m planning to look deeper; to
find a Paul Shiakallis that previously would have hidden from
confrontation.”
PC: Do you feel threatened by the masses of inexperienced
photographers entering the professional market of late?
PS: “I have always believed in the statement: “its not what you
know but who you know”. Having said that, in a sense I do
feel threatened in some cases. If I ever feel intimidated, I
know that I have to up my game and just work harder for it.
The current recession may be advantageous in that it’s
resetting the market; its slowly throwing out the scraps.”
PC: The series ‘Portraits of a Still Life’ has an immense
personal tone. Do you know the subjects intimately?
PS: “Yes, they are family friends. It was important that I knew
my subjects, because it is uncommon for a stranger to allow
you to come into their home, rearrange their furniture, and let
you photograph them for a day for no pay. ‘The Gramophone’,
‘The Bird Shrine’ and ‘The Grandfather clock’ are Greeks in their
homes. I shot them in their own homes, with their own furniture.
Their environment was arranged as a form of still life, where
every piece of furniture becomes as important as the next. I
remember visiting them on family outings and being fascinated
by the authenticity of their environment, this is what created my
need to record it.”
PC: You say you are obsessed with photography. Do you wake up
in cold sweats in the mornings screaming “F8 you lunatic F8”?
PS: “Its true, I do dream about it. I have these epic dreams where
I’m driving along, and I come across the most perfect shaft of
light striking the most perfect group of elderly folk. I cruise home
PAUL SHIAKALLIS PAUL SHIAKALLIS
to get my camera; and I can’t find my film or my
lens or I start doing illogical things like packing
more cameras than I need, or packing clothes. By
the time I get to the location, everything is gone.
When I wake up, I feel so disappointed with
myself. Those repetitive dreams are probably
preparing me for the real thing.”
PC: How do you maintain the professionalism that
you acquired, in a price driven industry or is
professionalism still valued more?
PS: “I was lucky enough to assist the right people;
I don’t know how to not be professional. To me, I
think being professional, is about being reliable
and trustworthy consistently on every job. You
could have a lousy portfolio, but as long as your
client is happy and they keep coming back to you,
you can be as lousy as you want. Advertising
companies tend to value professionalism and
experience over some guy with a pretty portfolio
& low rates. Great pictures may attract clients, but
they don’t keep them.”
PC: Ok in all honesty without worrying about
stepping on anyone’s toes film or digital?
PS: “I still shoot some of my personal projects on
film. I like the fact that I have a limited amount of
frames to perfect the shot. Film gives me the
freedom to just shoot and enjoy the real moment. I
used a TLR for my ‘family of strangers’ series. I
could never have gotten that effect and personal
approach with a 35mm digital camera. I use
digital mainly for crafting a shot. It’s mostly about
what the camera can do in a specific situation, and
not really about what medium is used. In terms of
clarity, colour and exposure depth, definitely
film.”
PC: Nikon or Canon?
PS: In the famous words of Basil Koufos
“Hasselblad Baby!”
[o]
PC: Do you feel threatened by the masses of inexperienced
photographers entering the professional market of late?
PS: “I have always believed in the statement: “its not what you
know but who you know”. Having said that, in a sense I do
feel threatened in some cases. If I ever feel intimidated, I
know that I have to up my game and just work harder for it.
The current recession may be advantageous in that it’s
resetting the market; its slowly throwing out the scraps.”
PC: The series ‘Portraits of a Still Life’ has an immense
personal tone. Do you know the subjects intimately?
PS: “Yes, they are family friends. It was important that I knew
my subjects, because it is uncommon for a stranger to allow
you to come into their home, rearrange their furniture, and let
you photograph them for a day for no pay. ‘The Gramophone’,
‘The Bird Shrine’ and ‘The Grandfather clock’ are Greeks in their
homes. I shot them in their own homes, with their own furniture.
Their environment was arranged as a form of still life, where
every piece of furniture becomes as important as the next. I
remember visiting them on family outings and being fascinated
by the authenticity of their environment, this is what created my
need to record it.”
PC: You say you are obsessed with photography. Do you wake up
in cold sweats in the mornings screaming “F8 you lunatic F8”?
PS: “Its true, I do dream about it. I have these epic dreams where
I’m driving along, and I come across the most perfect shaft of
light striking the most perfect group of elderly folk. I cruise home
PAUL SHIAKALLIS PAUL SHIAKALLIS
to get my camera; and I can’t find my film or my
lens or I start doing illogical things like packing
more cameras than I need, or packing clothes. By
the time I get to the location, everything is gone.
When I wake up, I feel so disappointed with
myself. Those repetitive dreams are probably
preparing me for the real thing.”
PC: How do you maintain the professionalism that
you acquired, in a price driven industry or is
professionalism still valued more?
PS: “I was lucky enough to assist the right people;
I don’t know how to not be professional. To me, I
think being professional, is about being reliable
and trustworthy consistently on every job. You
could have a lousy portfolio, but as long as your
client is happy and they keep coming back to you,
you can be as lousy as you want. Advertising
companies tend to value professionalism and
experience over some guy with a pretty portfolio
& low rates. Great pictures may attract clients, but
they don’t keep them.”
PC: Ok in all honesty without worrying about
stepping on anyone’s toes film or digital?
PS: “I still shoot some of my personal projects on
film. I like the fact that I have a limited amount of
frames to perfect the shot. Film gives me the
freedom to just shoot and enjoy the real moment. I
used a TLR for my ‘family of strangers’ series. I
could never have gotten that effect and personal
approach with a 35mm digital camera. I use
digital mainly for crafting a shot. It’s mostly about
what the camera can do in a specific situation, and
not really about what medium is used. In terms of
clarity, colour and exposure depth, definitely
film.”
PC: Nikon or Canon?
PS: In the famous words of Basil Koufos
“Hasselblad Baby!”
[o]
lash photography need not be limited to night or low light Fscenes, so it might come as a surprise to more experienced
photographers, that there are a lot of people who do not know
how to use fill flash effectively. Fill flash is a term commonly
used in portrait photography to imply a slight emission of light
from a flash (usually half or quarter of the full power) on ones
subject to illuminate them when a backlight or harsh midday
light is adversely affecting the exposure or contrast.
Although many modern dedicated TTL (Though the lens
metering) flashes are available with a multitude of balanced
fill light and power output options, it is still invaluable to
know why, when and how to use your flash for balanced fill
light.
Shooting portraits in open mid-day light causes harsh contrast
as the light from above creates pronounced separation between
highlight and shadow detail. Contrasting light also tends to de-
saturate skin tones in highlight and mid tone areas. One can
counter act this effect by filling the shadow areas with a
balanced fill light.
Backlight causes it’s own set of exposure problems. You may
correctly expose your subject by metering in spot metering
mode but at the expense of the background, which will
overexpose and one usually ends up with a slow shutter speed
and subsequent blurry images. Again Fill flash can come to the
rescue. Centre weighted metering renders the opposite effect,
suggesting a fast shutter speed thus underexposing the subject.
In one of the accompanying photographs I used balanced fill
light in a twilight scene only to increase my shutter speed but
maintain the effect of evening in the windowed background.
Bear in mind that the amount of light needed to expose a scene
shot at f/11 needs to be 4 times as intense to give the same
exposure when shot at f/5.6, inversely light intensity measured
at f/5.6 needs to be a quarter of the intensity to expose the
same as it would when shot at f/11
If a midday scene measured with centre weighted metering on
a camera reads 1/125 sec at f/11, ISO 100 the simple rule of
thumb for a backlight situation is to set the flash to only
TECHNIQUE
How to use fill flash effectively
Useful tips for the beginner
üFamiliarise yourself with the zone system
a photographic religious teaching by Ansel
Adams.
üSoften your light with some form of
diffusion over the flash but remember
that one looses at least one stop of light
through a diffuser.
üKnow your equipment by heart. Reading
the manual is not a mortal sin. You may
be surprised at what you learn.
produce a quarter of the power that the
flash is able to produce. This translates
to an output of f/5.6 indicated on the
flash at the same ISO. Remember that
if the flash is ‘fooled’ into believing
that the lens aperture on the camera is
set wider then it will produce 2 stops
less light (1/4) thus achieving a 1:4
exposure rating.
Some flashes might have to be fooled
into believing that they are exposing a
different ISO than the one actually set
on the camera. So setting the camera’s
ISO to 100 and the flash ISO to 400
will make the flash under expose 2
stops (1/4) as it is fooled into exposing
for a more light sensitive emulsion or
ISO setting that needs less intense
light. Every flash will have its own
idiosyncrasies so study your flash
manual to ascertain how to reduce the
power on your flash.
One could use a reflector to reflect the
backlight into the subjects face from
the bottom, but this usually requires an
assistant to hold and angle the
reflector correctly. Balancing flash to
look natural and still expose the
background correctly is not difficult
and only requires the most basic of
adjustments to ones flash.
In conclusion there are many different
ways to achieve a balanced fill light
on a backlit or contrasted subject and
the aforementioned techniques are
guidelines to start with and develop
your own skill and photography.
Happy hunting and please don’t forget
to send us your shots.
[o]
TECHNIQUE
lash photography need not be limited to night or low light Fscenes, so it might come as a surprise to more experienced
photographers, that there are a lot of people who do not know
how to use fill flash effectively. Fill flash is a term commonly
used in portrait photography to imply a slight emission of light
from a flash (usually half or quarter of the full power) on ones
subject to illuminate them when a backlight or harsh midday
light is adversely affecting the exposure or contrast.
Although many modern dedicated TTL (Though the lens
metering) flashes are available with a multitude of balanced
fill light and power output options, it is still invaluable to
know why, when and how to use your flash for balanced fill
light.
Shooting portraits in open mid-day light causes harsh contrast
as the light from above creates pronounced separation between
highlight and shadow detail. Contrasting light also tends to de-
saturate skin tones in highlight and mid tone areas. One can
counter act this effect by filling the shadow areas with a
balanced fill light.
Backlight causes it’s own set of exposure problems. You may
correctly expose your subject by metering in spot metering
mode but at the expense of the background, which will
overexpose and one usually ends up with a slow shutter speed
and subsequent blurry images. Again Fill flash can come to the
rescue. Centre weighted metering renders the opposite effect,
suggesting a fast shutter speed thus underexposing the subject.
In one of the accompanying photographs I used balanced fill
light in a twilight scene only to increase my shutter speed but
maintain the effect of evening in the windowed background.
Bear in mind that the amount of light needed to expose a scene
shot at f/11 needs to be 4 times as intense to give the same
exposure when shot at f/5.6, inversely light intensity measured
at f/5.6 needs to be a quarter of the intensity to expose the
same as it would when shot at f/11
If a midday scene measured with centre weighted metering on
a camera reads 1/125 sec at f/11, ISO 100 the simple rule of
thumb for a backlight situation is to set the flash to only
TECHNIQUE
How to use fill flash effectively
Useful tips for the beginner
üFamiliarise yourself with the zone system
a photographic religious teaching by Ansel
Adams.
üSoften your light with some form of
diffusion over the flash but remember
that one looses at least one stop of light
through a diffuser.
üKnow your equipment by heart. Reading
the manual is not a mortal sin. You may
be surprised at what you learn.
produce a quarter of the power that the
flash is able to produce. This translates
to an output of f/5.6 indicated on the
flash at the same ISO. Remember that
if the flash is ‘fooled’ into believing
that the lens aperture on the camera is
set wider then it will produce 2 stops
less light (1/4) thus achieving a 1:4
exposure rating.
Some flashes might have to be fooled
into believing that they are exposing a
different ISO than the one actually set
on the camera. So setting the camera’s
ISO to 100 and the flash ISO to 400
will make the flash under expose 2
stops (1/4) as it is fooled into exposing
for a more light sensitive emulsion or
ISO setting that needs less intense
light. Every flash will have its own
idiosyncrasies so study your flash
manual to ascertain how to reduce the
power on your flash.
One could use a reflector to reflect the
backlight into the subjects face from
the bottom, but this usually requires an
assistant to hold and angle the
reflector correctly. Balancing flash to
look natural and still expose the
background correctly is not difficult
and only requires the most basic of
adjustments to ones flash.
In conclusion there are many different
ways to achieve a balanced fill light
on a backlit or contrasted subject and
the aforementioned techniques are
guidelines to start with and develop
your own skill and photography.
Happy hunting and please don’t forget
to send us your shots.
[o]
TECHNIQUE
Text by Kevin Edward Brown
ikipedia describes photo Wwalking as “The act of
walking with a camera for the main
purpose of taking pictures of things
that the photographer may find
interesting. It is usually a communal
activity organised by camera clubs,
online forums or commercial
organisations It is often done as a
method to practice and improve one's
own photography skills rather than
with a specific focus on documentary
photography".
http://en.wikipedia.org/wiki/Photowal
king#cite_note-0#cite_note-0
This year marked the second year of
the Scott Kelby Photowalk, with
32000+ registered walkers. It was also
the first year that the Port Elizabeth
contingent of photographers
participated in the event and although
Port Elizabeth is a tiny blip on the
photographic horizon one could not
complain of inaction. instead, as the
local photographers made things
happen.
We met at a local mall and had a quick
get-to-know-you session before setting
off. A quick comparison of camera
equipment revealed the usual
menagerie of utensils, from amateur
(400D) to Pro-sumer (20D, D70) and
professional D SLR (5D & 1Dmk2).
As usual the photographers were from
all walks of life, including policemen,
engineers, sales reps, accountants and
other friendly colourful characters
with one mutual bonding factor -our
love of photography - and it wasn't
long before we were all getting along
like a house on fire so we set off on
our walk.
The walk took us along quite a
random path, with our first "stop"
being a car dealership. Luck was on
our side and a bright red Ducati super
bike was soon the focus of the
photowalkers' attention. I was pleased
to see one photographer whip out a
Nikon Speedlight and put some off
camera lighting on the bike.
As we continued and the walkers
really got into the spirit of the event,
ordinary everyday objects became the
subject of intense interest within the
group. In due coarse our walk led to a
park with an excellent view of the
completed Nelson Mandela Bay
Stadium, which is the venue for the
2010 FIFA World Cup in Port
Elizabeth. This proved to be the
highlight of the walk.
PHOTOWALKINGFEATURE PHOTOWALKINGFEATURE
Photowalk 2009 proved to be a great success, having provided
a great opportunity for networking and mingling with fellow
photographers.
It has also spawned, amongst others, a Facebook group called
PE/EC Photographers (http://tr.im/photogs) and also access to
a local photography forum called Cameraforum
(www.cameraforum.co.za).
Despite the fact that the Port Elizabeth group is relatively new
to the Scott Kelby Photowalk, the results indicate that the next
Photowalk will be an even better event.
[o]
Text by Kevin Edward Brown
ikipedia describes photo Wwalking as “The act of
walking with a camera for the main
purpose of taking pictures of things
that the photographer may find
interesting. It is usually a communal
activity organised by camera clubs,
online forums or commercial
organisations It is often done as a
method to practice and improve one's
own photography skills rather than
with a specific focus on documentary
photography".
http://en.wikipedia.org/wiki/Photowal
king#cite_note-0#cite_note-0
This year marked the second year of
the Scott Kelby Photowalk, with
32000+ registered walkers. It was also
the first year that the Port Elizabeth
contingent of photographers
participated in the event and although
Port Elizabeth is a tiny blip on the
photographic horizon one could not
complain of inaction. instead, as the
local photographers made things
happen.
We met at a local mall and had a quick
get-to-know-you session before setting
off. A quick comparison of camera
equipment revealed the usual
menagerie of utensils, from amateur
(400D) to Pro-sumer (20D, D70) and
professional D SLR (5D & 1Dmk2).
As usual the photographers were from
all walks of life, including policemen,
engineers, sales reps, accountants and
other friendly colourful characters
with one mutual bonding factor -our
love of photography - and it wasn't
long before we were all getting along
like a house on fire so we set off on
our walk.
The walk took us along quite a
random path, with our first "stop"
being a car dealership. Luck was on
our side and a bright red Ducati super
bike was soon the focus of the
photowalkers' attention. I was pleased
to see one photographer whip out a
Nikon Speedlight and put some off
camera lighting on the bike.
As we continued and the walkers
really got into the spirit of the event,
ordinary everyday objects became the
subject of intense interest within the
group. In due coarse our walk led to a
park with an excellent view of the
completed Nelson Mandela Bay
Stadium, which is the venue for the
2010 FIFA World Cup in Port
Elizabeth. This proved to be the
highlight of the walk.
PHOTOWALKINGFEATURE PHOTOWALKINGFEATURE
Photowalk 2009 proved to be a great success, having provided
a great opportunity for networking and mingling with fellow
photographers.
It has also spawned, amongst others, a Facebook group called
PE/EC Photographers (http://tr.im/photogs) and also access to
a local photography forum called Cameraforum
(www.cameraforum.co.za).
Despite the fact that the Port Elizabeth group is relatively new
to the Scott Kelby Photowalk, the results indicate that the next
Photowalk will be an even better event.
[o]
PHILLIP BOTHAREADERS PORTFOLIO
PC: I know you personally and your
photography is most definitely
spiritually motivated. How do you
involve God in the creative process?
PB: “I base it on how the word of
God (The Bible) inspires me and the
spiritual food (teachings, relationships,
leadership, support) I receive from my
spiritual house. Its important to be
accurately connected to a house and a
spiritual father and mother.”
PC: Do I glean correctly from your
portraits that you are particularly fond
of people not just as photographic
subjects but also as kindred spirits?
PB: “I love people and to see how
they change for good. I don't get my
energy from people like personalities.
But we are a wonderful creation and
are made for Great things.”
PC: Bacon and eggs or instant cereal
with added vitamins?
PB: “Bacon and eggs (full bodied raw
breakfast). Some fruit juice and Cereal
is not good enough if they have to add
vitamins to it.”
PHILLIP BOTHA
hillip Botha was born in South PAfrica in Bloemfontein, and
spent most of his adolescence in the
suburbs of Johannesburg. He is a very
dynamic and creative person and loves
to take pictures of the ordinary and
transform them in the realm of the
extraordinary. “I want to inspire and
make people feel inspired by the gift
God has placed in me, as it is my
conviction that one must use these
gifts of creativity to serve others and
oneself”: says Phillip. Phillip’s future
plans are to own a photographic
enterprise.
READERS PORTFOLIO
PHILLIP BOTHAREADERS PORTFOLIO
PC: I know you personally and your
photography is most definitely
spiritually motivated. How do you
involve God in the creative process?
PB: “I base it on how the word of
God (The Bible) inspires me and the
spiritual food (teachings, relationships,
leadership, support) I receive from my
spiritual house. Its important to be
accurately connected to a house and a
spiritual father and mother.”
PC: Do I glean correctly from your
portraits that you are particularly fond
of people not just as photographic
subjects but also as kindred spirits?
PB: “I love people and to see how
they change for good. I don't get my
energy from people like personalities.
But we are a wonderful creation and
are made for Great things.”
PC: Bacon and eggs or instant cereal
with added vitamins?
PB: “Bacon and eggs (full bodied raw
breakfast). Some fruit juice and Cereal
is not good enough if they have to add
vitamins to it.”
PHILLIP BOTHA
hillip Botha was born in South PAfrica in Bloemfontein, and
spent most of his adolescence in the
suburbs of Johannesburg. He is a very
dynamic and creative person and loves
to take pictures of the ordinary and
transform them in the realm of the
extraordinary. “I want to inspire and
make people feel inspired by the gift
God has placed in me, as it is my
conviction that one must use these
gifts of creativity to serve others and
oneself”: says Phillip. Phillip’s future
plans are to own a photographic
enterprise.
READERS PORTFOLIO
PHILLIP BOTHAREADERS PORTFOLIO PHILLIP BOTHAREADERS PORTFOLIO
PHILLIP BOTHAREADERS PORTFOLIO PHILLIP BOTHAREADERS PORTFOLIO
magine a compact camera that Icould take pictures all by its self?
Imagine if the manufacturers of such a
high-end compact camera stopped
pushing pixels, dropped the resolution
and also decided to launch their latest
CMOS technology inside this brand
new compact instead of in a top end
D-SLR? Imagine no more and feast
your eyes on the future here and now
brought to you by Sony?
Could we please have a drum roll as
the Sony Cyber-shot DSC-TX1 takes
the stage? Announced on the 6th
August 2009 the TX1 marks a shift in
direction that hopefully other
manufacturers will follow. Camera
resolution has decreased to 10.2mp
compared to its predecessors at 12mp,
a resolution that I have long
considered absolutely pointless on a
compact camera. It features Sony's
latest Exmor R CMOS sensor, which
is set to revolutionize sensor design.
By moving circuitry, that typically
would have blocked portions of the
front of the sensor, to the back of the
sensor, sensitivity is doubled
compared to prevailing CCD and
CMOS sensors. This unique design
also dramatically reduces noise. The
Exmor R sensor coupled with the
super fast BIONZ processor and a
mechanical shutter also allows for
increased frame rates capturing an
astonishing 10fps burst.
A feature that is carried over from the
Sony Cyber-shot HX1, recently
reviewed by PhotoComment, is the
Sweep Panorama function. You may
remember that this feature allows you
to hold the shutter down and pan
instead of taking multiple shots then
giving you a smooth in camera stitch
without worrying about getting closely
aligned overlaps.
A potent combination of features
delivers a Handheld Twilight mode for
low light photography with
dramatically reduced noise. This is
achieved by a burst of six frames that
are subsequently superimposed, kind
of like an in camera HDR (high
dynamic range). Anti Motion Blur
mode will capture moving subjects in
low light also with reduced noise.
I can still hear the question begging to
be answered: But how does it take
pictures by itself?” Most of you may
be aware of Sony's Smile Shutter
function. Here is how it works. The
camera automatically fires when
someone smiles, and it even
distinguishes levels of smiles from a
mere grin to a full on, teeth showing,
laugh out loud smile. So for the
Cyber-shot TX1 and WX1 Sony have
developed a Docking Station called
the Party-Shot. This outlandish device
revolves the camera around doing a
360-degree turn while also tilting it up
and down thus scanning the room for
SONY CYBERSHOT DSC-TX1REVIEW SONY CYBERSHOT DSC-TX1REVIEW
faces to lock onto. So beware for
when you smile, BAM you're on
camera. If you don't believe me make
sure to check out the video at
www.photocomment.net
Any questions? Does it work and
would I buy one? This review is based
on a sample unit and there may still be
some tweaks to the production unit
before it hits the shelves. Considering
the certain improvement in noise
levels on the new Exmor R CMOS
sensor, the Party-Shot unit that had the
other customers at the coffee shop
entertained and the rest of the
gimmick value I would definitely put
it on my Christmas wish list.
[o]
magine a compact camera that Icould take pictures all by its self?
Imagine if the manufacturers of such a
high-end compact camera stopped
pushing pixels, dropped the resolution
and also decided to launch their latest
CMOS technology inside this brand
new compact instead of in a top end
D-SLR? Imagine no more and feast
your eyes on the future here and now
brought to you by Sony?
Could we please have a drum roll as
the Sony Cyber-shot DSC-TX1 takes
the stage? Announced on the 6th
August 2009 the TX1 marks a shift in
direction that hopefully other
manufacturers will follow. Camera
resolution has decreased to 10.2mp
compared to its predecessors at 12mp,
a resolution that I have long
considered absolutely pointless on a
compact camera. It features Sony's
latest Exmor R CMOS sensor, which
is set to revolutionize sensor design.
By moving circuitry, that typically
would have blocked portions of the
front of the sensor, to the back of the
sensor, sensitivity is doubled
compared to prevailing CCD and
CMOS sensors. This unique design
also dramatically reduces noise. The
Exmor R sensor coupled with the
super fast BIONZ processor and a
mechanical shutter also allows for
increased frame rates capturing an
astonishing 10fps burst.
A feature that is carried over from the
Sony Cyber-shot HX1, recently
reviewed by PhotoComment, is the
Sweep Panorama function. You may
remember that this feature allows you
to hold the shutter down and pan
instead of taking multiple shots then
giving you a smooth in camera stitch
without worrying about getting closely
aligned overlaps.
A potent combination of features
delivers a Handheld Twilight mode for
low light photography with
dramatically reduced noise. This is
achieved by a burst of six frames that
are subsequently superimposed, kind
of like an in camera HDR (high
dynamic range). Anti Motion Blur
mode will capture moving subjects in
low light also with reduced noise.
I can still hear the question begging to
be answered: But how does it take
pictures by itself?” Most of you may
be aware of Sony's Smile Shutter
function. Here is how it works. The
camera automatically fires when
someone smiles, and it even
distinguishes levels of smiles from a
mere grin to a full on, teeth showing,
laugh out loud smile. So for the
Cyber-shot TX1 and WX1 Sony have
developed a Docking Station called
the Party-Shot. This outlandish device
revolves the camera around doing a
360-degree turn while also tilting it up
and down thus scanning the room for
SONY CYBERSHOT DSC-TX1REVIEW SONY CYBERSHOT DSC-TX1REVIEW
faces to lock onto. So beware for
when you smile, BAM you're on
camera. If you don't believe me make
sure to check out the video at
www.photocomment.net
Any questions? Does it work and
would I buy one? This review is based
on a sample unit and there may still be
some tweaks to the production unit
before it hits the shelves. Considering
the certain improvement in noise
levels on the new Exmor R CMOS
sensor, the Party-Shot unit that had the
other customers at the coffee shop
entertained and the rest of the
gimmick value I would definitely put
it on my Christmas wish list.
[o]
To Automate, or not to Automate
Photography
That is really the question. The recent launch of Sony's new
Cyber-shot TX1 and WX1 had me reflecting on the future of
photographers. These two revolutionary cameras can utilize an
optional Party-shot docking station and while this is still a very
novel idea and might not pose any real risk to photographers or
even promote their extinction, it leaves one wondering about
the relevance of a photographer in certain situations.
The Party-shot mode in its current implementation for
example, can probably only be used in one or two different
scenarios. Placed on a table at the reception of wedding for
example snapping candid photos automatically as people go
about enjoying themselves. Would this be considered
distracting or is the idea novel enough to survive? Party-shot
could sound a welcome reprieve for numerous photographers,
who consider the table shots mundane, capturing all the
wonderful laughing expressions of the guest during the
evening. Near the cake table at a children’s birthday party,
capturing priceless chocolate covered smiles is another likely
application. What is clear about such a gadget is the substantial
increase in images we take or didn’t take since it is an
automated process, so perhaps collect could be a better word.
Decidedly I don't take nearly as many pictures as I aught to and
perhaps the next generation camera would do more than just be
on standby for a smile. Conjure up an image at your home, you
switch on your TV, fiddle with a Playstation like remote and
flick a switch on the hovering camera next to you. You
remotely guide it out the window watching it's every move on
the TV screen and press “X” key for each defining moment or
scene I would like to capture. Perhaps a movement similar to
Lomography will arise from this style of photography. You
simply set flight to autopilot and shutter to random capture.
Yes, the future is indeed now I believe. Journalists need never
put their lives at risk nor would a landscape or wildlife
photographer catch a cold schlepping around in the dew again
ever. The photographer of the future could be detached from
any discomfort and still make great images, or could he?
Aren’t the conditions and situations the determining factors
that influence our artistry? The mood and the moment's effect
upon our physical presence impacts our interpretation of the
scene and thus the captured image. Perhaps it is and should
remain a dream, a nightmare. I am reminded of a scene in the
animated film WallE. Humankind has failed to exist without
automation and can't even walk.
This may all be an exaggeration, but it would not be mine
alone. Countless photographers have mused about rigging a
remote camera while talking over coffee or a pint. Presently
however we have nothing to fear but this little UFO like disk
with it's sleek silver compact on top turning round, flashing,
turning a bit and flashing again, revolving one more time then
yet another flash in the face, a few degrees left and STOP
ALREADY, I have got to turn this thing off.
[o]
- More porfolios to inspire
- You could be featured next month submit comments, images or portfolio to [email protected]
Readers Portfolio
Prize
This is your chance to get your images published.
For each issue we (the editors assisted by a panel of
industry leading photographers) will choose a
reader's portfolio that inspires and celebrates the art
and craft of photography best for that month.
You stand a chance to win a prize from SONY, one
of our advertisers, should your portfolio be
published. Include a self-portrait accompanied with a
brief introduction of yourself, your style and your
philosophy.
Send us no more than 10 of your best images with
your contact details to [email protected]
enter “Readers Portfolio” as the subject. Make sure
the images are in JPEG format and no larger than
640x480 (or closest too), we will contact you for
larger files if needed. Needless to say that the
standard will be high and uncompromising so please
put your best foot forward.
1 x Laptop Sleeve
1 x SONY ALPHA Lens Book
1 x Memory Card Pouch
1 x Rain umbrella
All branded SONY ALPHA
Keith G
roenew
ald
To Automate, or not to Automate
Photography
That is really the question. The recent launch of Sony's new
Cyber-shot TX1 and WX1 had me reflecting on the future of
photographers. These two revolutionary cameras can utilize an
optional Party-shot docking station and while this is still a very
novel idea and might not pose any real risk to photographers or
even promote their extinction, it leaves one wondering about
the relevance of a photographer in certain situations.
The Party-shot mode in its current implementation for
example, can probably only be used in one or two different
scenarios. Placed on a table at the reception of wedding for
example snapping candid photos automatically as people go
about enjoying themselves. Would this be considered
distracting or is the idea novel enough to survive? Party-shot
could sound a welcome reprieve for numerous photographers,
who consider the table shots mundane, capturing all the
wonderful laughing expressions of the guest during the
evening. Near the cake table at a children’s birthday party,
capturing priceless chocolate covered smiles is another likely
application. What is clear about such a gadget is the substantial
increase in images we take or didn’t take since it is an
automated process, so perhaps collect could be a better word.
Decidedly I don't take nearly as many pictures as I aught to and
perhaps the next generation camera would do more than just be
on standby for a smile. Conjure up an image at your home, you
switch on your TV, fiddle with a Playstation like remote and
flick a switch on the hovering camera next to you. You
remotely guide it out the window watching it's every move on
the TV screen and press “X” key for each defining moment or
scene I would like to capture. Perhaps a movement similar to
Lomography will arise from this style of photography. You
simply set flight to autopilot and shutter to random capture.
Yes, the future is indeed now I believe. Journalists need never
put their lives at risk nor would a landscape or wildlife
photographer catch a cold schlepping around in the dew again
ever. The photographer of the future could be detached from
any discomfort and still make great images, or could he?
Aren’t the conditions and situations the determining factors
that influence our artistry? The mood and the moment's effect
upon our physical presence impacts our interpretation of the
scene and thus the captured image. Perhaps it is and should
remain a dream, a nightmare. I am reminded of a scene in the
animated film WallE. Humankind has failed to exist without
automation and can't even walk.
This may all be an exaggeration, but it would not be mine
alone. Countless photographers have mused about rigging a
remote camera while talking over coffee or a pint. Presently
however we have nothing to fear but this little UFO like disk
with it's sleek silver compact on top turning round, flashing,
turning a bit and flashing again, revolving one more time then
yet another flash in the face, a few degrees left and STOP
ALREADY, I have got to turn this thing off.
[o]
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Readers Portfolio
Prize
This is your chance to get your images published.
For each issue we (the editors assisted by a panel of
industry leading photographers) will choose a
reader's portfolio that inspires and celebrates the art
and craft of photography best for that month.
You stand a chance to win a prize from SONY, one
of our advertisers, should your portfolio be
published. Include a self-portrait accompanied with a
brief introduction of yourself, your style and your
philosophy.
Send us no more than 10 of your best images with
your contact details to [email protected]
enter “Readers Portfolio” as the subject. Make sure
the images are in JPEG format and no larger than
640x480 (or closest too), we will contact you for
larger files if needed. Needless to say that the
standard will be high and uncompromising so please
put your best foot forward.
1 x Laptop Sleeve
1 x SONY ALPHA Lens Book
1 x Memory Card Pouch
1 x Rain umbrella
All branded SONY ALPHA
Keith G
roenew
ald
