quixdraw wrote:
Certainly to all your points. Again the question is, does whatever brand, newest top-of-the-line digital, with all of its features and functions, learned and appropriately applied, facilitate a leap to catch up with or bypass years of hard-earned learning and experience?
Good question!
No form of automation can ever replace long-term study, the ongoing effort for improvement and experience that is gained by constant and consistent working EXPERIINCE. A large percentage of photography skills, aside from talent and artistry, is instinct and perpetuity for good problem-solving.
There are people with inborn talent, let's call that a "good eye" for aesthetics and composition. The prerequisite technical savvy comes from study, experimentation and experience where certain procedures become second nature.
The latest advancement in equipment does not necessarily address all if any of the aforementioned components of successful photography but it makes accessing and accomplishing them more conveniently and perhaps a bit easier. Less time and effort has to be applied to certain procedures or calculations so the photographer can concentrate on aesthetics, light and lighting issues, composition and capture if peek action or expression in certain subjects.
Automated features as per focus, exposure control are helpful and valid, as long as the photograher understand how the function and how to apply, workaround each function and not allow the automation to take over all the control. Problems occur what the photograher engages in a cycle of continuous correcting things like exposure compensation and that becomes an additional job that has to be done. It's like a dog chasing its n tail and never catching it. Fpr years, competent photographers dealt with filter factors, compmnasting for backlighting, purposely under or overexposing for contrast expansion or compression with coordinated processing procedures, bellows extension factors and the zone system.
To some degree, many modern camera features can enable certain effects that would be otherwise very difficult or nearly impossible on older models. Certain kinds of action freezing, rapid sequences, flas-fill usage at extremely fast shutter (synch)speeds, rapid bracketing, and more. If you are going to make mural-sized prints from a section of a frame, those super-high pixel counts are gonna come in handy.
The best concept I can advise is to "choose your weapons" appropraoity as your work demands. You don't need an "elephant gun" to kill a flea. Some photographer will retort, "but what if I am set upon by a rampaging angry elephant and all I have is a can of flea spray"! So, you need to be honest with yourself and think "how many extremely large prints am I gonna be making"? "How many times will I need to freeze a Formula 1 race car running parallel to my camera or Humminbird wings on a dark night" "Do I need no noise images of a black cat in a coal mine at midnight all by available light"? "Do I wanna see the dust on my still life images"? And then, you buy accordingly. Problem is, if you do shoot a flea with an elephant gun, there is gonna be collateral damage, mostly to your bank account!
If you are doing everything right- exposure, focus, compositions and all the aesthetics are there but you determine that your gear is not performing to your standards, it may be time for an upgrade.