Poker Player’s Interesting Reaction After Winning $15M

Daniel Colman reacts to winning M in the 2014 Big One for One Drop event at the World Series of Poker.
Video Rating: 4 / 5  http://dlvr.it/6n6lk8

Paranom & Purpose - Microphone Phenomenal

Paranom & Purpose “Microphone Phenomenal” Produced by Purpose Cuts by DJ Grazzhoppa Track taken off the Paranom & Purpose “Life Outside The Frame” album, ava…
Video Rating: 4 / 5

Power Platform TV ➨ We are not affiliated with Jay Cutler or Jay Cutler Nutrition. No copy right infringement intended. ➨ If You Enjoyed the Video Please L…
Video Rating: 4 / 5  http://dlvr.it/6n5CJR

The Top Ten Things Dead People Want to Tell YOU

The Top Ten Things Dead People Want to Tell YOU

“I know this may come as a shock, and you know I’m not fond of using stale one-liners, but—‘reports of my death have been greatly exaggerated.’ I’m as alive now as I was on the day we met, except, maybe, more so.”
     If the dead could speak, don’t you wonder what they would say to those of us they’ve left behind? What would they tell us to soothe our sorrow for their loss, calm our fears of what happens when we die, and fire us up to live the best possible lives we ca

List Price: $ 24.95

Price: $ 15.78  http://dlvr.it/6n4DVc

New Post has been published on http://blog.jannews.net/2014/09/what-make-childrens-art-beautiful-and-meaningful/What make Children’s Art beautiful and meaningful?Leo Carlo Rotor’s art lessons, part 2

Simple and colorful 
Meaning and message
Contemporary style
Experiential 
Freedom of expression 
Personal style
Linkages in topics
Thorough and complete
Defined and specific
Sense of Achievement  
These ten attributes make children’s art a wholesome experience, and worth all the honors a young artist aspires for. They set the beginning of a career and good character – and preparation for the children’s bright future.  
 I


The word MODERN itself can be depicted by the way it is expressed. 


An experience on graduation day – in the past or in the future.

Prize – it comes in many ways: gem, ribbon, trophy, necklace, ring, and the like. 

Involvement – prelude to maturity, building the foundation of good citizenship.

Entertainment – where and when reality and fantasy are one, reason and imagination converge.

Work also means obligation and responsibility, mother than output and reward. 

Surrealism, a postmodern art, may not mean anything, nonetheless challenging to the viewer to interpret,

Food – but why are the tools bigger than the food itself? Interpretative art challenges the viewsr and relates the hidden message to contemporary issues.

Wonder of the world, the Rice Terraces of Ifugao, now in a state of disrepair, it has been demoted in the UNESCO Heritage list.

Frivolous celebration is not good, and it does not enhance joy and success of an occasion how special it may be. 


Religion and tradition, Christianity and paganism, are too early to teach children. But it is their innocence that moderates conflicting beliefs and philosophies. 

New Post has been published on http://blog.jannews.net/2014/09/what-make-childrens-art-beautiful-and-meaningful/

What make Children’s Art beautiful and meaningful?

Leo Carlo Rotor’s art lessons, part 2
  • Simple and colorful 
  • Meaning and message
  • Contemporary style
  • Experiential 
  • Freedom of expression 
  • Personal style
  • Linkages in topics
  • Thorough and complete
  • Defined and specific
  • Sense of Achievement  

These ten attributes make children’s art a wholesome experience, and worth all the honors a young artist aspires for. They set the beginning of a career and good character – and preparation for the children’s bright future.  

 I
The word MODERN itself can be depicted by the way it is expressed. 
An experience on graduation day – in the past or in the future.

Prize – it comes in many ways: gem, ribbon, trophy, necklace, ring, and the like. 

Involvement – prelude to maturity, building the foundation of good citizenship.
Entertainment – where and when reality and fantasy are one, reason and imagination converge.

Work also means obligation and responsibility, mother than output and reward. 

Surrealism, a postmodern art, may not mean anything, nonetheless challenging to the viewer to interpret,
Food – but why are the tools bigger than the food itself? Interpretative art challenges the viewsr and relates the hidden message to contemporary issues.
Wonder of the world, the Rice Terraces of Ifugao, now in a state of disrepair, it has been demoted in the UNESCO Heritage list.

Frivolous celebration is not good, and it does not enhance joy and success of an occasion how special it may be

Religion and tradition, Christianity and paganism, are too early to teach children. But it is their innocence that moderates conflicting beliefs and philosophies. 

DecalGirl iPod Touch 4G Vinyl Skin, Fascinating Surprise

Related Fascinating Products http://dlvr.it/6n2PGZ

New Post has been published on http://blog.jannews.net/2014/09/child-departs-for-college-forlorn-parentphotographer-takes-to-the-streets-with-a-camera-and-other-stuff/Child Departs for College. Forlorn Parent/Photographer takes to the streets with a camera. And other stuff.

Boy says goodbye to the critical member of the family, The Studio Dog.

So it’s all played out now. We drove the boy to the Austin airport and sniffled as we watched him go through security and then we drove back home and looked around the empty house. The Studio Dog knew something was afoot and she eyed use with harsh judgement for somehow banishing her best friend. 


I kept my camera over my shoulder to get a few last snaps like this. 
Not a great image but one that Belinda, Studio Dog and I will 
like having around until the winter holidays. 

Then of course I shook off all the sentimental fussiness, grabbed my favorite walking around optical machine and headed out to do the routine route; the quick tour of downtown Austin. I had my shooting camera perfectly set up. I was using the Olympus OMD EM-5 (in black) with the full on battery grip, the miraculous 25mm f1.4 Pana/Leica lens with hood, all held together with a black cloth strap that’s soft and pliable and compfy to wear over one’s shoulder. Auto ISO, aperture set at f4.0-f5.0 and color turned up to exciting. There is something very comfortable about the way the EM-5 is laid out, especially when one adds the battery grip to the whole package. It’s just a fun camera to shoot and the Pana/Leica normal focal length lens is just right. 


The neat thing about walking through familiar territory is noticing all the things that have changed. The progress of giant, new building projects. A flock of new industrial cranes. The progress of the new $  300,000,000 library building, built on some of the most valuable property in Austin, during an age when everyone downtown has instant internet access to almost anything written and nearly for free on their laptops and their phones. I’m always puzzled by the reason for the new library and also its location and who it is intended to serve…

But the Olympus camera does a nice job documenting the construction and the library’s share of cranes…

I took a bit of heat around the web for my prediction that Canon and Nikon would eventually run into trouble if they didn’t start introducing some innovations that other companies have already mainstreamed, like EVFs. I couched it all in terms of reducing the feedback loop of picture taking. Many traditionalist rushed to defend the optical viewfinder and disparage the whole idea of needed progress. The main reasons they trotted out in defense of OVFs were sports photography that requires AF tracking and a quaint subsection of photography called, “BIF.” 

BIF (damned abbreviations and jargon!) is supposed to stand for “birds in flight.” In another age they would have been referred to more poetically as, “birds on the wing.” Apparently, and almost unbeknownst to me, there are legions of people who take their cameras out and try to shoot very tightly cropped images of birds as the birds fly around. This apparently requires the use of optical viewfinders. Given that sparrows and even hawks are pretty damned tiny, not to mention the dimensions of a finch, I would think that people who practice this unusual pursuit would probably need 800 or 1200mm lenses to have even the remotest chances of filling the frame with the flying trophies. Which means that their cameras pretty much must be on tripods as the last time I looked those lenses were devilishly heavy and unwieldy. Not the sort of optical construction that one hand holds. 

I presume all that stands between success and failure is the magic of phase detection auto focus. Hence the imagined need for the optical viewfinders. I imagine that all of this must have been true until the Panasonic GH4 with its DfD focusing magic. I’ve tried it with a borrowed Panasonic 100 to 300mm and it’s pretty good. That 300mm has the reach of a 600mm on a full frame camera but I still don’t think that’s enough magnification to fill a frame with a flighty and nervous bird in flight. On the wing. All BIF-oriented. I’m going to venture a guess that the limiting factor for BIF-ing with m4:3 is not the AF or the AF-tracking but the availability of very fast, long lenses. 

I’d be interested to know where all these BIF images end up. I don’t ever see them as I scout around the web looking at images and sites by photographers. I’ve never seen or heard of an ad agency requesting a BIF-fer and outside of a few low pay nature magazines I’ve never seen a printed BIF magazine cover either. Are there readers of VSL who regularly BIF?  I’d be interested to hear in the comments your rationale for spending valuable time looking for and tracking the photographing birds on the wing. What drives you to take these kinds of images and what real world impediments are various cameras and lenses putting in front of you? And what do you do with the successful images once you’ve captured them?

The other rebuttal from the must have/love the OVF crowd is the old standby, SPORTS PHOTOGRAPHY. And again, I’m guessing that we’re really concentrating on soccer, track and field and American football. Baseball is so unbelievably visually boring (as well as constrained to small, bound spaces) and slow moving that I can’t imagine any modern camera not fast enough to catch the endless spitting that seems to constitute the majority of the time spent on field by the players.  Need to catch the action? The batting swing takes place at a stationary position at home plate. They stand still. You have all the time in the world to lock focus. Next, they slide into first base. Again, all you need to do is focus on first base. It doesn’t move around! Pop fly? Again, the slow trajectory of a pop fly gives you endless time to lock onto whoever is positioning themselves to catch the ball….

And I know all the cameras are capable of covering swimming. The sport is highly predictable and very linear. You can prefocus on the start. You can prefocus on the finish. You can track a straight line swim. (But you’d be better off going manual and tracking along with the race since water splashes routinely trick the AF and cause shifted focus…

What other sports require fast AF? Do you deal with that sport? Really? Just about every camera made in the last year will do a decent job with most sports. But I’ll readily admit, having photographed a lot of top tier gymnastics, that using a top of the line (Nikon D4) with a newish 300mm f2.8 is going to get you a specific look and do it without missing very many frames, even on the rush to the pommel horse. It’s specialized. Really specialized. I’d probably use a couple of D4′s and some big fast lenses if I made a good living photographing that sport…Something with a huge buffer and great high ISO performance. You’ll need it since flash is banned from competitions.

So do you shoot lots and lots of sports? The kinds of sports that move fast (not bowling or golf…) and erratically? Well, maybe you will have to wait a few years until the EVFs become absolutely instantaneous and maybe you will have to wait until the big fast primes come to m4:3 and other mirror less cameras. I can accept that. But I also think that people who never shoot anything moving faster than their lunch like to trot out these arguments because they don’t like to think about the future and they don’t like to acknowledge change. I look at a lot of portfolios and web sites. Again, not seeing the huge volume of demanding sports imagery.

Finally, two people mentioned the fact that EVFs eat batteries and they mention having day long assignments that mean having to change batteries with an EVF cameras. I laughed my ass off when I read that. Apparently no one remembers the days of pro digital cameras working on metal nickel hydride batteries. My big Kodaks got about 80 shots out of what seemed to be a one pound battery. My buddies who shot with the Nikon D1x carried around five or six batteries to get them through the day and that was a time when there were few third party batteries and the Nikon battery product was something like $  125 a whack. 

I just bought a couple of extra batteries to use with my Olympus EM5s for a trip this Fall. I bought Wasabi Power replacement batteries for cheap. I can buy two of them with a charger for about $  25. If I’m shooting with the EM-5 and the battery grip it’s rare not to get through a shooting day without changing a either battery. I bought them for the extraordinary times when I might shoot a crap ton of images and stay late to shoot some more. It takes me a few seconds to change out a battery. This is an argument upon which the entire decision to skip or embrace a system is based upon? Ridiculous. 



But underneath all of the rhetoric it was never my intention to “sell” a system to anyone or to claim that one system was the perfect fit for all humans who photograph. My argument was that EVFs bring some powerful shooting tools to people that make shooting in most situations easier, more satisfying and fun, more controlled and more predictable. EVFs and their “always on” feedback loop of pre-chimping imagery are easier cameras for rank amateurs to use well, and in the hands of skilled users they offer certain advantages that aren’t duplicated nearly as elegantly by various, traditional live view schemes on mirrored cameras. I don’t own stock in any of the mirror-less camera making companies and I’m not out shorting Canon and Nikon stocks on the Nikkei. I’m making observations based on my experience and the feedback I hear (constantly) from well schooled enthusiasts and pros. The leitmotif is that once you’ve pre-chimped with a good EVF you’ll never want to go back. The other verse is, once you’ve shed two thirds the weight of a big kit and still realize that you can take just as great a photograph you’ll never want to go back to being a pack mule. It’s pretty much logical. 



But Kirk! You just told us last week that you bought a Nikon D7100. What the hell is up with that? 

I’m in a government program for photographers that’s modeled on the agriculture programs here in the U.S. The government pays me big bucks and gives me tax credits to buy equipment I don’t need and then put it in a boxes and promise never to use it…. (JUST KIDDING). 

But seriously, I do photography for a living and have done so for many, many years. Not all jobs fit one set of cameras and lenses. If I shoot exterior architecture that requires in-camera perspective control I’ll rent (not hire, that’s what you do with people….) I’ll rent a Canon 5D 3 and a couple of perspective control lenses. We don’t have those in m4:3rds. If a client comes to me and asks for files that can, A. be blown up to huge sizes, and, B. Examined at very close viewing distances, I’ll probably rent a medium format cameras and the right lenses. Or, at the least, I’ll rent a Nikon 810 and the right stuff to go with it. But those are just every once in a while situations and those are not cameras I want to use on a day to day basis to shoot stuff that’s largely destined for the web. 

The D7100 fits a special niche. I do shoot a lot of event style stuff.  I need at least one camera and flash in my bag that is great with flash photography. Not pretty good, but great. Fast moving flash. Not set up with slaves or CLS and chimp flash but ready, aim fire, got it, good flash. I wasn’t getting that with my Sonys (which I sold) and I wasn’t getting it with my Olympus or Panasonic cameras and their flashes. I needed it and wanted it so I researched and experimented and liked the D7100 and it’s circle of usable, iTTL flashes. The proof is in the eating of the pudding and my first two jobs that required quick, automated flash went even better and more deliciously than I expected them to. I also used the D7100 for some detailed images of museum artifacts against white backgrounds. Not with the auto flash but with a big studio rig. I chose to use the D7100  because I still have a collection of Nikon macro (micro in Nikon parlance) lenses and, locked down on a tripod in a studio, the live view is good enough. I was shooting for maximum resolution. Sorry m4:3 guys but a good, big 24 megapixel sensor can still do some stuff very well. Especially this new sensor from Toshiba.

At any rate it’s all good stuff and it all mostly fun to shoot. There are constant trade-offs between ultimate image quality and haptics. Weight and fun. Speed and obtrusiveness. Etc. etc. The bottom line is that everyone gets to shoot with whatever they want. But as far as reading comprehension goes it’s not okay to read into an article whatever the hell you want and then go spew your inaccurate interpretation into the marketplace. We will all eventually be shooting with EVFs and when they are fully exploited there will be very few people who will be able to discern the difference between the EVF and an OVF.  The secondary reason for the  technical/manufacturing shift will be cost savings and profits for the makers. Little hi-def screens are much, much cheaper than silvered precision glass pentaprisms.

Cameras will get smaller and smaller until they reach an equilibrium between size and handling. The phone camera acceptance shows us that. Sensors will get better and better and at some point we’ll stop talking about them altogether. Then we’ll focus on “magic lenses” and have the same kinds of battles over optics. I’ll keep shooting what I like for fun and writing what I think photography is all about now and in the near future. The distant future is largely unknowable. 



We’re past the point where every little specification is “mission critical.” We’ve hit critical technical mass and we’ll be staying here for a while. That’s why it will be so hard, economically, on all the camera makers. 







My walk downtown was therapeutic and fun. The files from the EM5 are great. Just as good as the GH4. At the sizes I use them they are as good as the files from any camera on the market. Maybe better if pleasing color is a primary metric. 

You can hold onto whatever you like but eventually everything will change and we’ll be looking at new ways to make the same old images. And then it might even dawn on us to try and make new kinds of images. And I’m all for that.

Please help support 
The Visual Science Lab
by 
buying and reading our latest book.
It’s an exciting novel about…..
….what else? A photographer.




Final Note: Ben has arrived at college, moved into his dorm room, had two delicious meals, unpacked and met his room mates and suite mates. All the worrying about logistics on my part is over. I hope he has maximum fun. He deserves it.

©2013 and beyond.  Kirk Tuck.  Please do not re-post without full attribution.  Please use the Amazon Links on the site to help me finance this site.  See my work at www.kirktuck.com

New Post has been published on http://blog.jannews.net/2014/09/child-departs-for-college-forlorn-parentphotographer-takes-to-the-streets-with-a-camera-and-other-stuff/

Child Departs for College. Forlorn Parent/Photographer takes to the streets with a camera. And other stuff.

Boy says goodbye to the critical member of the family, The Studio Dog.

So it’s all played out now. We drove the boy to the Austin airport and sniffled as we watched him go through security and then we drove back home and looked around the empty house. The Studio Dog knew something was afoot and she eyed use with harsh judgement for somehow banishing her best friend. 

I kept my camera over my shoulder to get a few last snaps like this. 
Not a great image but one that Belinda, Studio Dog and I will 
like having around until the winter holidays. 

Then of course I shook off all the sentimental fussiness, grabbed my favorite walking around optical machine and headed out to do the routine route; the quick tour of downtown Austin. I had my shooting camera perfectly set up. I was using the Olympus OMD EM-5 (in black) with the full on battery grip, the miraculous 25mm f1.4 Pana/Leica lens with hood, all held together with a black cloth strap that’s soft and pliable and compfy to wear over one’s shoulder. Auto ISO, aperture set at f4.0-f5.0 and color turned up to exciting. There is something very comfortable about the way the EM-5 is laid out, especially when one adds the battery grip to the whole package. It’s just a fun camera to shoot and the Pana/Leica normal focal length lens is just right. 
The neat thing about walking through familiar territory is noticing all the things that have changed. The progress of giant, new building projects. A flock of new industrial cranes. The progress of the new $ 300,000,000 library building, built on some of the most valuable property in Austin, during an age when everyone downtown has instant internet access to almost anything written and nearly for free on their laptops and their phones. I’m always puzzled by the reason for the new library and also its location and who it is intended to serve…
But the Olympus camera does a nice job documenting the construction and the library’s share of cranes…
I took a bit of heat around the web for my prediction that Canon and Nikon would eventually run into trouble if they didn’t start introducing some innovations that other companies have already mainstreamed, like EVFs. I couched it all in terms of reducing the feedback loop of picture taking. Many traditionalist rushed to defend the optical viewfinder and disparage the whole idea of needed progress. The main reasons they trotted out in defense of OVFs were sports photography that requires AF tracking and a quaint subsection of photography called, “BIF.” 
BIF (damned abbreviations and jargon!) is supposed to stand for “birds in flight.” In another age they would have been referred to more poetically as, “birds on the wing.” Apparently, and almost unbeknownst to me, there are legions of people who take their cameras out and try to shoot very tightly cropped images of birds as the birds fly around. This apparently requires the use of optical viewfinders. Given that sparrows and even hawks are pretty damned tiny, not to mention the dimensions of a finch, I would think that people who practice this unusual pursuit would probably need 800 or 1200mm lenses to have even the remotest chances of filling the frame with the flying trophies. Which means that their cameras pretty much must be on tripods as the last time I looked those lenses were devilishly heavy and unwieldy. Not the sort of optical construction that one hand holds. 
I presume all that stands between success and failure is the magic of phase detection auto focus. Hence the imagined need for the optical viewfinders. I imagine that all of this must have been true until the Panasonic GH4 with its DfD focusing magic. I’ve tried it with a borrowed Panasonic 100 to 300mm and it’s pretty good. That 300mm has the reach of a 600mm on a full frame camera but I still don’t think that’s enough magnification to fill a frame with a flighty and nervous bird in flight. On the wing. All BIF-oriented. I’m going to venture a guess that the limiting factor for BIF-ing with m4:3 is not the AF or the AF-tracking but the availability of very fast, long lenses. 
I’d be interested to know where all these BIF images end up. I don’t ever see them as I scout around the web looking at images and sites by photographers. I’ve never seen or heard of an ad agency requesting a BIF-fer and outside of a few low pay nature magazines I’ve never seen a printed BIF magazine cover either. Are there readers of VSL who regularly BIF?  I’d be interested to hear in the comments your rationale for spending valuable time looking for and tracking the photographing birds on the wing. What drives you to take these kinds of images and what real world impediments are various cameras and lenses putting in front of you? And what do you do with the successful images once you’ve captured them?
The other rebuttal from the must have/love the OVF crowd is the old standby, SPORTS PHOTOGRAPHY. And again, I’m guessing that we’re really concentrating on soccer, track and field and American football. Baseball is so unbelievably visually boring (as well as constrained to small, bound spaces) and slow moving that I can’t imagine any modern camera not fast enough to catch the endless spitting that seems to constitute the majority of the time spent on field by the players.  Need to catch the action? The batting swing takes place at a stationary position at home plate. They stand still. You have all the time in the world to lock focus. Next, they slide into first base. Again, all you need to do is focus on first base. It doesn’t move around! Pop fly? Again, the slow trajectory of a pop fly gives you endless time to lock onto whoever is positioning themselves to catch the ball….
And I know all the cameras are capable of covering swimming. The sport is highly predictable and very linear. You can prefocus on the start. You can prefocus on the finish. You can track a straight line swim. (But you’d be better off going manual and tracking along with the race since water splashes routinely trick the AF and cause shifted focus…
What other sports require fast AF? Do you deal with that sport? Really? Just about every camera made in the last year will do a decent job with most sports. But I’ll readily admit, having photographed a lot of top tier gymnastics, that using a top of the line (Nikon D4) with a newish 300mm f2.8 is going to get you a specific look and do it without missing very many frames, even on the rush to the pommel horse. It’s specialized. Really specialized. I’d probably use a couple of D4′s and some big fast lenses if I made a good living photographing that sport…Something with a huge buffer and great high ISO performance. You’ll need it since flash is banned from competitions.
So do you shoot lots and lots of sports? The kinds of sports that move fast (not bowling or golf…) and erratically? Well, maybe you will have to wait a few years until the EVFs become absolutely instantaneous and maybe you will have to wait until the big fast primes come to m4:3 and other mirror less cameras. I can accept that. But I also think that people who never shoot anything moving faster than their lunch like to trot out these arguments because they don’t like to think about the future and they don’t like to acknowledge change. I look at a lot of portfolios and web sites. Again, not seeing the huge volume of demanding sports imagery.
Finally, two people mentioned the fact that EVFs eat batteries and they mention having day long assignments that mean having to change batteries with an EVF cameras. I laughed my ass off when I read that. Apparently no one remembers the days of pro digital cameras working on metal nickel hydride batteries. My big Kodaks got about 80 shots out of what seemed to be a one pound battery. My buddies who shot with the Nikon D1x carried around five or six batteries to get them through the day and that was a time when there were few third party batteries and the Nikon battery product was something like $ 125 a whack. 
I just bought a couple of extra batteries to use with my Olympus EM5s for a trip this Fall. I bought Wasabi Power replacement batteries for cheap. I can buy two of them with a charger for about $ 25. If I’m shooting with the EM-5 and the battery grip it’s rare not to get through a shooting day without changing a either battery. I bought them for the extraordinary times when I might shoot a crap ton of images and stay late to shoot some more. It takes me a few seconds to change out a battery. This is an argument upon which the entire decision to skip or embrace a system is based upon? Ridiculous. 

But underneath all of the rhetoric it was never my intention to “sell” a system to anyone or to claim that one system was the perfect fit for all humans who photograph. My argument was that EVFs bring some powerful shooting tools to people that make shooting in most situations easier, more satisfying and fun, more controlled and more predictable. EVFs and their “always on” feedback loop of pre-chimping imagery are easier cameras for rank amateurs to use well, and in the hands of skilled users they offer certain advantages that aren’t duplicated nearly as elegantly by various, traditional live view schemes on mirrored cameras. I don’t own stock in any of the mirror-less camera making companies and I’m not out shorting Canon and Nikon stocks on the Nikkei. I’m making observations based on my experience and the feedback I hear (constantly) from well schooled enthusiasts and pros. The leitmotif is that once you’ve pre-chimped with a good EVF you’ll never want to go back. The other verse is, once you’ve shed two thirds the weight of a big kit and still realize that you can take just as great a photograph you’ll never want to go back to being a pack mule. It’s pretty much logical. 
But Kirk! You just told us last week that you bought a Nikon D7100. What the hell is up with that? 

I’m in a government program for photographers that’s modeled on the agriculture programs here in the U.S. The government pays me big bucks and gives me tax credits to buy equipment I don’t need and then put it in a boxes and promise never to use it…. (JUST KIDDING). 
But seriously, I do photography for a living and have done so for many, many years. Not all jobs fit one set of cameras and lenses. If I shoot exterior architecture that requires in-camera perspective control I’ll rent (not hire, that’s what you do with people….) I’ll rent a Canon 5D 3 and a couple of perspective control lenses. We don’t have those in m4:3rds. If a client comes to me and asks for files that can, A. be blown up to huge sizes, and, B. Examined at very close viewing distances, I’ll probably rent a medium format cameras and the right lenses. Or, at the least, I’ll rent a Nikon 810 and the right stuff to go with it. But those are just every once in a while situations and those are not cameras I want to use on a day to day basis to shoot stuff that’s largely destined for the web. 
The D7100 fits a special niche. I do shoot a lot of event style stuff.  I need at least one camera and flash in my bag that is great with flash photography. Not pretty good, but great. Fast moving flash. Not set up with slaves or CLS and chimp flash but ready, aim fire, got it, good flash. I wasn’t getting that with my Sonys (which I sold) and I wasn’t getting it with my Olympus or Panasonic cameras and their flashes. I needed it and wanted it so I researched and experimented and liked the D7100 and it’s circle of usable, iTTL flashes. The proof is in the eating of the pudding and my first two jobs that required quick, automated flash went even better and more deliciously than I expected them to. I also used the D7100 for some detailed images of museum artifacts against white backgrounds. Not with the auto flash but with a big studio rig. I chose to use the D7100  because I still have a collection of Nikon macro (micro in Nikon parlance) lenses and, locked down on a tripod in a studio, the live view is good enough. I was shooting for maximum resolution. Sorry m4:3 guys but a good, big 24 megapixel sensor can still do some stuff very well. Especially this new sensor from Toshiba.
At any rate it’s all good stuff and it all mostly fun to shoot. There are constant trade-offs between ultimate image quality and haptics. Weight and fun. Speed and obtrusiveness. Etc. etc. The bottom line is that everyone gets to shoot with whatever they want. But as far as reading comprehension goes it’s not okay to read into an article whatever the hell you want and then go spew your inaccurate interpretation into the marketplace. We will all eventually be shooting with EVFs and when they are fully exploited there will be very few people who will be able to discern the difference between the EVF and an OVF.  The secondary reason for the  technical/manufacturing shift will be cost savings and profits for the makers. Little hi-def screens are much, much cheaper than silvered precision glass pentaprisms.
Cameras will get smaller and smaller until they reach an equilibrium between size and handling. The phone camera acceptance shows us that. Sensors will get better and better and at some point we’ll stop talking about them altogether. Then we’ll focus on “magic lenses” and have the same kinds of battles over optics. I’ll keep shooting what I like for fun and writing what I think photography is all about now and in the near future. The distant future is largely unknowable. 

We’re past the point where every little specification is “mission critical.” We’ve hit critical technical mass and we’ll be staying here for a while. That’s why it will be so hard, economically, on all the camera makers. 

My walk downtown was therapeutic and fun. The files from the EM5 are great. Just as good as the GH4. At the sizes I use them they are as good as the files from any camera on the market. Maybe better if pleasing color is a primary metric. 
You can hold onto whatever you like but eventually everything will change and we’ll be looking at new ways to make the same old images. And then it might even dawn on us to try and make new kinds of images. And I’m all for that.
Please help support 
The Visual Science Lab
by 
buying and reading our latest book.
It’s an exciting novel about…..
….what else? A photographer.
Final Note: Ben has arrived at college, moved into his dorm room, had two delicious meals, unpacked and met his room mates and suite mates. All the worrying about logistics on my part is over. I hope he has maximum fun. He deserves it.

New Post has been published on http://blog.jannews.net/2014/09/jaak-poder-deaming/Jaak Põder - Deaming		
		It’s that day again when the road for knowledge starts for some of us. Full 9 or 10 months of books, exercises, tests and whatever else. 
In animal kingdom the learning has much more dramatic value – it’s literally the matter of life and death. Don’t know how to catch something? You probably will starve. Don’t know when to hide? You probably will be eaten by someone. In that sense we humans are pretty lucky with going to school – there are consequences but they are far in the future and usually not so specific in nature.

New Post has been published on http://blog.jannews.net/2014/09/jaak-poder-deaming/

Jaak Põder - Deaming



It’s that day again when the road for knowledge starts for some of us. Full 9 or 10 months of books, exercises, tests and whatever else.

In animal kingdom the learning has much more dramatic value – it’s literally the matter of life and death. Don’t know how to catch something? You probably will starve. Don’t know when to hide? You probably will be eaten by someone. In that sense we humans are pretty lucky with going to school – there are consequences but they are far in the future and usually not so specific in nature.

New Post has been published on http://blog.jannews.net/2014/09/interview-oded-wagenstein-author-of-snapn-travel-guide-and-dps-writer/Interview: Oded Wagenstein – Author of Snapn Travel Guide and dPS Writer
Oded Wagenstein is a travel photographer and writer. He’s built a reputation taking intimate portraits from around the world and is a regular contributor to National Geographic Traveler magazine (Hebrew edition).
Regular readers will be familiar with Oded’s wonderful photography and articles. We’re interviewing him here at dPS because we have just published his new ebook about travel photography.
It’s called Snapn Travel – A lifetime of travel memories in a snap, and it’s available from our sister site Snapn Guides. It’s a fantastic ebook that will help any photographer who is planning a trip to another country to take better photos while they are there.
In Snapn Travel Oded writes about the importance of creating images that tell stories. He explores the process that he undertakes on any travel assignment, from initial research to working in the field, to come away with powerful and evocative images. We’ll delve a little deeper into some of those topics in this interview.
The Interview
In your ebook you start by saying that travel photography is all about portraying the stories and emotions we find during our journeys. Can you elaborate on those ideas? How does one go from taking snapshots of places you see on your travels to taking photos that make full use of emotion and story?
Oded: Travel photography is almost as old as photography itself. Magazines and commercial photo publishers used to send travel photographers like Francis Bedford and James Ricalton to “exotic” places in the east to bring back some of that “oriental flavor” that everyone in the west was so badly after in the nineteenth century. Even until recently, if you visited a remote tribe in Africa and got an image of someone with a bone through his nose, you got yourself a “worthy” image.
But those days are over! We live in an era of digital photography, where cameras are so common, that even this tribe might have its own smartphone camera. Today, it is really hard to create fresh images that the world hasn’t yet seen. So, from my point of view, today, an image alone is not enough, as you must be able to tell a visual story. Don’t show me India, I know how India looks, tell me how traveling in India felt for you. If you want to sum up my philosophy: shoot what you feel and make your viewer feel the same.

A lot of your photos are portraits. How do you find willing subjects for your portraits when travelling?
Oded: Portrait photography is a “give and take” relationship, not “take and take”. I try to make it as fun as possible for the person I photograph. If he wants to tell me a story, I listen, and always do my best to send the photo to him. I make the process a conversation, and not a photo shoot. This lets my subject forget about the camera.
One of the most important skills I learned is to ask a person a question, shoot while he’s answering, and while I’m thinking about the next question. This makes everything natural and “flow”. Portrait photography is so much more than controlling aperture and shutter speed.

How do you overcome obstacles such as language differences or suspicion of foreigners?
Oded: I always travel with a fixer, who is a local that can serve as a guide and translator.
How do you become involved with the people that you meet? How do you come across as a traveller who is genuinely interested in people rather than a tourist who perhaps sees the local people as little more than subject for photos?
Oded: First, as obvious as it may sound, I am really interested in them. The image for me is just a byproduct: a nice byproduct, but not the goal. I am an image maker because the camera helps me “see” the world in a better way. It lets me start a conversation with a stranger, and maybe have a cup of tea with them. The camera is my bridge to the world and besides being interested in the person’s story, I always try to get inside the story and not watch it from outside. For example, once I was invited to a local Tajik wedding. I took a few pictures but then put the camera down and got on the dance floor. The next time I took out my camera, the pictures were much better.

Can you talk us through the differences between working on an official magazine shoot and going to a location purely under your own initiative?
Oded: I treat both scenarios exactly the same way. In both, the responsibility to come back with the best results is all on the photographer’s shoulders and no one can tell you exactly what to shoot and where to go. The magazine can help you with ideas or hiring a fixer (local guide), but you are your own boss, for better and for worst.
I do my visual research and learn about the culture (history, food, music, religion, etc.). On the ground, I hire a fixer and do my best to come back with the best images, even if it takes me long days, hard walks, and enduring extreme weather.
In my travel photography workshops, I always refer my students to the “client”. From my point of view, we all, professional and amateurs alike, have clients. Our clients are our viewers and friends, and I treat my Facebook viewers and my magazine editor with the same amount of effort and professionalism.

I like this piece of advice: “Discover things not commonly photographed and your stories will always be two steps ahead of the crowd.” Can you explain this in a little more depth? How do you find the things that are not commonly photographed?
Oded: You don’t have to travel far, or trek for miles, to find those places. You just need to think outside the box. For example, I did a story not long ago on Bollywood. India is so complex and rich, but I think that we always see the same things about the country: poor people in really colorful clothes. So I wanted to show a different side of India: rich and glamorous.
My students struggle to find interesting things to photograph in their own towns. And I tell them that one’s ordinary breakfast or road to work is another’s “exotic” country.

Last year I spent a week in the north of New Zealand’s South Island. I took some landscape photos but I wasn’t really happy with the results. It made me realixe just how hard landscape photography can be – you’re relying on the weather and light to do its part, and in many ways as a photographer, your hands are tied. You have to work with the landscape as it is, and (digital manipulation aside) there is nothing you can do to change it. Bearing in mind there isn’t much happening in a cultural sense in this part of the world, what advice would you give me if I was to go back to the same place and try again? How can I move from taking uninspiring landscape photos to finding and telling an interesting story?
Oded: This is a good question. Here you have two approaches:
The passive approach, or coming at the right time. Just come in the right season, the right day, at the right time. Say a cloudy winter day with golden rays of sunrise.
The active approach, or creating the right time. Good lighting is always needed, but bring a tripod, a good looking hat, a backpack, and capture yourself enjoying the view. You will see how the image becomes better because you added a “main hero” to the image and because people love watching other people. Don’t avoid people in your landscape photography, that’s my advice.

Traveling to a distant and exotic location is one thing, but given that most people can only spend a short time of the year doing this, what about the idea of travel photography in your own back yard?
Oded: Buy the Lonely Planet guide (or any other guide book) on your own country and travel by it. Take a silly tourist’s hat and view some postcards. See your own back yard as a tourist. Think of places you have special access to – maybe there is an interesting story or a person in your family (I have a few), maybe your job is not ordinary, and maybe your mother just cooked a local dish that I, as a foreigner, would love to see.
Do you have any questions for Oded about travel photography? Please let us know in the comments. And don’t forget to check out Snapn Travel – A lifetime of travel memories in a snap.
The post Interview: Oded Wagenstein – Author of Snapn Travel Guide and dPS Writer by Andrew S. Gibson appeared first on Digital Photography School.

New Post has been published on http://blog.jannews.net/2014/09/interview-oded-wagenstein-author-of-snapn-travel-guide-and-dps-writer/

Interview: Oded Wagenstein – Author of Snapn Travel Guide and dPS Writer

Oded Wagenstein interview

Oded Wagenstein is a travel photographer and writer. He’s built a reputation taking intimate portraits from around the world and is a regular contributor to National Geographic Traveler magazine (Hebrew edition).

Regular readers will be familiar with Oded’s wonderful photography and articles. We’re interviewing him here at dPS because we have just published his new ebook about travel photography.

Oded Wagenstein interviewIt’s called Snapn Travel – A lifetime of travel memories in a snap, and it’s available from our sister site Snapn Guides. It’s a fantastic ebook that will help any photographer who is planning a trip to another country to take better photos while they are there.

In Snapn Travel Oded writes about the importance of creating images that tell stories. He explores the process that he undertakes on any travel assignment, from initial research to working in the field, to come away with powerful and evocative images. We’ll delve a little deeper into some of those topics in this interview.

The Interview

In your ebook you start by saying that travel photography is all about portraying the stories and emotions we find during our journeys. Can you elaborate on those ideas? How does one go from taking snapshots of places you see on your travels to taking photos that make full use of emotion and story?

Oded: Travel photography is almost as old as photography itself. Magazines and commercial photo publishers used to send travel photographers like Francis Bedford and James Ricalton to “exotic” places in the east to bring back some of that “oriental flavor” that everyone in the west was so badly after in the nineteenth century. Even until recently, if you visited a remote tribe in Africa and got an image of someone with a bone through his nose, you got yourself a “worthy” image.

But those days are over! We live in an era of digital photography, where cameras are so common, that even this tribe might have its own smartphone camera. Today, it is really hard to create fresh images that the world hasn’t yet seen. So, from my point of view, today, an image alone is not enough, as you must be able to tell a visual story. Don’t show me India, I know how India looks, tell me how traveling in India felt for you. If you want to sum up my philosophy: shoot what you feel and make your viewer feel the same.

Oded Wagenstein interview

A lot of your photos are portraits. How do you find willing subjects for your portraits when travelling?

Oded: Portrait photography is a “give and take” relationship, not “take and take”. I try to make it as fun as possible for the person I photograph. If he wants to tell me a story, I listen, and always do my best to send the photo to him. I make the process a conversation, and not a photo shoot. This lets my subject forget about the camera.

One of the most important skills I learned is to ask a person a question, shoot while he’s answering, and while I’m thinking about the next question. This makes everything natural and “flow”. Portrait photography is so much more than controlling aperture and shutter speed.

Oded Wagenstein interview

How do you overcome obstacles such as language differences or suspicion of foreigners?

Oded: I always travel with a fixer, who is a local that can serve as a guide and translator.

How do you become involved with the people that you meet? How do you come across as a traveller who is genuinely interested in people rather than a tourist who perhaps sees the local people as little more than subject for photos?

Oded: First, as obvious as it may sound, I am really interested in them. The image for me is just a byproduct: a nice byproduct, but not the goal. I am an image maker because the camera helps me “see” the world in a better way. It lets me start a conversation with a stranger, and maybe have a cup of tea with them. The camera is my bridge to the world and besides being interested in the person’s story, I always try to get inside the story and not watch it from outside. For example, once I was invited to a local Tajik wedding. I took a few pictures but then put the camera down and got on the dance floor. The next time I took out my camera, the pictures were much better.

Oded Wagenstein interview

Can you talk us through the differences between working on an official magazine shoot and going to a location purely under your own initiative?

Oded: I treat both scenarios exactly the same way. In both, the responsibility to come back with the best results is all on the photographer’s shoulders and no one can tell you exactly what to shoot and where to go. The magazine can help you with ideas or hiring a fixer (local guide), but you are your own boss, for better and for worst.

I do my visual research and learn about the culture (history, food, music, religion, etc.). On the ground, I hire a fixer and do my best to come back with the best images, even if it takes me long days, hard walks, and enduring extreme weather.

In my travel photography workshops, I always refer my students to the “client”. From my point of view, we all, professional and amateurs alike, have clients. Our clients are our viewers and friends, and I treat my Facebook viewers and my magazine editor with the same amount of effort and professionalism.

Oded Wagenstein interview

I like this piece of advice: “Discover things not commonly photographed and your stories will always be two steps ahead of the crowd.” Can you explain this in a little more depth? How do you find the things that are not commonly photographed?

Oded: You don’t have to travel far, or trek for miles, to find those places. You just need to think outside the box. For example, I did a story not long ago on Bollywood. India is so complex and rich, but I think that we always see the same things about the country: poor people in really colorful clothes. So I wanted to show a different side of India: rich and glamorous.

My students struggle to find interesting things to photograph in their own towns. And I tell them that one’s ordinary breakfast or road to work is another’s “exotic” country.

Oded Wagenstein interview

Last year I spent a week in the north of New Zealand’s South Island. I took some landscape photos but I wasn’t really happy with the results. It made me realixe just how hard landscape photography can be – you’re relying on the weather and light to do its part, and in many ways as a photographer, your hands are tied. You have to work with the landscape as it is, and (digital manipulation aside) there is nothing you can do to change it. Bearing in mind there isn’t much happening in a cultural sense in this part of the world, what advice would you give me if I was to go back to the same place and try again? How can I move from taking uninspiring landscape photos to finding and telling an interesting story?

Oded: This is a good question. Here you have two approaches:

The passive approach, or coming at the right time. Just come in the right season, the right day, at the right time. Say a cloudy winter day with golden rays of sunrise.

The active approach, or creating the right time. Good lighting is always needed, but bring a tripod, a good looking hat, a backpack, and capture yourself enjoying the view. You will see how the image becomes better because you added a “main hero” to the image and because people love watching other people. Don’t avoid people in your landscape photography, that’s my advice.

Oded Wagenstein interview

Traveling to a distant and exotic location is one thing, but given that most people can only spend a short time of the year doing this, what about the idea of travel photography in your own back yard?

Oded: Buy the Lonely Planet guide (or any other guide book) on your own country and travel by it. Take a silly tourist’s hat and view some postcards. See your own back yard as a tourist. Think of places you have special access to – maybe there is an interesting story or a person in your family (I have a few), maybe your job is not ordinary, and maybe your mother just cooked a local dish that I, as a foreigner, would love to see.

Do you have any questions for Oded about travel photography? Please let us know in the comments. And don’t forget to check out Snapn Travel – A lifetime of travel memories in a snap.

The post Interview: Oded Wagenstein – Author of Snapn Travel Guide and dPS Writer by Andrew S. Gibson appeared first on Digital Photography School.

http://dlvr.it/6n0Chw

http://dlvr.it/6mzSPs