Monday, April 7, 2008

So long, Project 365

I'm finally done with Project 365. You can see all the shots here.

Project 365 is more or less like marathon training for a photographer. Taking a picture every day for 365 days in a row is pretty hard, as it turns out. And much like anything that you practice at constantly, you get better at it. Take for example the first and last images:

April 1st, 2007:
The Dawning of A New Day (1)


March 31st 2008:
Coming To A Dream Near You (365)

To put it mildly, I've gotten a lot better.


Here are a few shots from over the course of the year that stand out in my mind:


On the Outside, Looking In (3)Once Was Lost...Sunset Colors (101) Yipe!Kim - Rainbow (160) Dominic: Cyborg (190)Rob (210) So Long, Summer Sun (216)Rail Contrast (241) Island Guardian of Ma (275)Meeting Ma (272) I Love Grocery Stores (284)Evil and Grainy and Black and White (313) AT&T Building (350)

Thursday, March 27, 2008

Ragging On Commercial Photographers

Being critical of people in your own field is usually a no-no, but never making waves can be boring and being critical is only bad if you're an ass about it.

That said, I think there is some room to rag on commercial photographers ;)

Someone once wrote a satirical post about the various levels of photographers, from highest to lowest. Amusingly enough, they placed the artistic photographer at the top, and as I happen to be that sort of photographer, it was certainly ego warming. And 'professional' was third from the bottom. Also ego warming ;)
(on a serious note, I would never wish to imply that one type of photographer has any more inherent worth than another outside of humorous writing)

Professional photography is problematic in one respect, even professional photographers themselves have noted it. It kills creativity.

Maybe not totally. But it certainly does dampen it. Even one of the wildest, if not *the* wildest commercial photographer, David LaChapelle, could be said to be 'not going anywhere artistically' if he happened to exhibit his work as it now stands two times in the same decade.

Every commercial photo tends to make portraits look like this:


Instead of this:

Everything in commercial photography tends to be bright, clear and sharp. Unsurprisingly, these are the things people tend to appreciate the most when trying to gain information from a photo. And photos made for money tend to have a point that best serves the making of money. Ie, if it doesn't get you buying paper towels, it doesn't have a place.

Photojournalists aren't much better. The photos are always in the service of something, rather than the other way around. And as such, they suffer in terms of creativity.

Every now and then, I stumble on a photographer who seems remarkably competent in terms of technical ability. Things are well lit, clean, clear and... Fairly ho-hum. Usually if people have that level of technical ability, their artistic ability is better. I've never seen a (good) artist who's technical ability outstripped their artistic ability. When I see it on the internet, a bit of digging always turns up the following information: The photographer was, or still is a commercial photographer, or a photographer for reasons beyond photography itself.

It's just kind of frustrating to see what are technically very good photos from people, but to never see anything remarkable from them.

Not that I have a ton of room to talk or anything, mind you. 99.9% of what I put out is still crap. But I do know enough to be able to talk about the subject. And this is what I see.

Sunday, February 10, 2008

Heaven Help Me, I'm Considering Buying A Film Camera!



"This was your father's camera. This is the tool of a photographer. ... An elegant tool for a more civilized age."

I haven't updated this in quite a while, but I thought it was notable that I'm actually considering getting a camera that *gasp!* uses film.

The camera in question is the Holga 120N. Why?
1. It's dirt cheap at $25.
2. It's a medium format camera (6x6).

I've been wanting to play with a medium format camera for a while, just to experience the massive amount of resolution it affords. Holga isn't exactly known for its fine optics (quite the opposite, actually...), but hey, it's a good inexpensive test of whether or not I want to fool around with this type of photography or not.

If I find another inexpensive 6x6 rollfilm medium format camera that actually has a *glass* lens for about the same price, I might go with that instead. A built in light meter would also be nice, but eh. Half the fun, right?

Tuesday, October 30, 2007

Dr. Evil


Camera: Nikon D200, 1/2 second exposure at -2 EV, ISO at 100.
Lens: Nikkor 50mm at f/1.8
Light: Christmas lights!

Recently I noticed the nice DOF effect that strings of small lights give (taking pictures at a halloween party last week) and decided to work it into a photo. I hung up a string of christmas lights in the background and then focused on a Dr. Evil action figure I had sitting around the house, put the camera on timer mode (less vibration for those shots with a slower shutter speed) (and if the D200 only had timer mode + mirror up, I'd be *so* happy) and pushed the button.

The picture was shot at -2 EV (the camera calculates the proper exposure value for the light at the aperture you've set, then shoots two EV [EV being calculated as EV = log2 * aperture squared over the shutter speed] under what it should be) due to the brightness of the lights in the background and the lack of lighting on the action figure. The RAW file was opened in Photoshop and I upped the exposure until Dr. Evil was clearly visible and then I pasted him onto a layer over the image as it was originally exposed, giving a nicely lit figure over a properly exposed background.

The proper way would be to do a better job lighting it to begin with, but as I was short on time at that particular moment, you do what you can and fix it in Photoshop later :)

The depth of field that a lens with a f1.8 aperture affords is very, very nice. Anything below f2 tends to be a prime lens and the closer the number is to 1, the more expensive the lens.

Nikon 50mm f/1.8 - $100.00
Nikon 50mm f/1.4 - $280.00
Nikon 50mm f/1.2 - $600.00
Leica 50mm f/1.0 Noctilux -
$5,500.00

Notice how the price doubles every .2 stops until it gets to f1.0, where it goes insane?

And a few f0.75 50mm lenses exist, namely the Canon XI 50mm f0.75 (currently the fastest camera lens in the world, AFAIK) and the Carl Zeiss, De Oude Delft, Rayxar lenses 50mm lenses (though they're made for X-Ray machines, it seems you can adapt it to a Nikon F mount). I have no idea what they cost and I'm not sure I want to know...

This fellow has a nice page on a few of them: http://www.muellerworld.com/exhibits/fast_lens/
(With photos taken with them!)

Being bereft of vast amounts of cash, I only have a Nikon 50mm f1.8 at the moment. But I can dream. Oh, can I dream...

The Insane Food Photographer

Water - Making of the Shot



A homage to Unlocal's version of this.

Camera: Nikon D200, 2 second exposure, ISO at 100.
Lens: Sigma 17-70mm at f/32
Light: A blue gel on a lomographic colorsplash flash to get the blue [which was in turn, triggered off camera by hand {which is why it has a 2 second exposure time heh}].

The flash was placed below the Fresnel lens it was sitting on [that's why the background {white butcher paper} has the curvy light effects]).