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Dec 19, 2018 11:45:32 #

Excellent comment, you have hit the nail dead on the head. There is nothing left to be said. This should be required reading in every photography class, school, etc.
Keep Smiling!! :) :)

E.L.. Shapiro wrote:

This is an old question but it is still a valid question, that is, unless it's a rhetorical question.

I suppose most of us have heard all the old adages about the inept carpenter who blames his tools. We all probably know that many iconic images were created, in the past, with comparatively crude equipment- no automation- no bells and whistles! Right here on this site we see a plethora of posts with photographers suffering from G.A.S. attacks yearning for new gear that they likely don't need to improve their photography. I think, way down deep we all realize that skill, knowledge, experience, practice, study, education, sticktoitiveness, hard work ethic and talent trumps technology! If, however, this is not your particular philosophy, let's examine the technology and work backward form there.

So...you have a top-of-the line digital camera. It can auto-focus with lighting speed but it can't TELL what part of a scene to focus on- what to render in sharp focus, what to leave out of focus and exactly how to maximize or minimize depth of field. Hyper-focal techniques, "bokeh" and depth of field issues are strictly in the photographer's domain.

Your extremely accurate and bright view screen and your fine prime or zoom lenses will allow you to frame any scene, subject or thing at exactly the rate of magnification or wide field that you like. There is no technology, however, that can determine composition, placement of the objects or subjects in the frame or TELL you what distance and perspective to employ. You viewing screen may have some grid lines but unless you know how to utilize them...? They have no automated function. The camera can not select a view point or a camera position in relation to the subject or the direction of the light- again, that's up to the photographer.

Your built in metering system can measure quantities of light and MAY even provide accurate exposure. Yes, it can measure volumes of light in many different incarnations- center weighted, matrix, and God know how many other ways BUT it can't SEE light- there is no technology that can determine lighting aesthetics- direction, quality, mood, key ratio and rendition of textures. Your camera can't tell you or automatically determine WHERE to sample the light. Oftentimes, what the camera "thinks" is the correct exposure will result in bland lackluster imagery- only the talented and astute photographer knows how to manipulate or manually override the automation to secure more impactful images.

In portraiture- can the camera or sophisticated lighting gear RELATE to the subjects and encourage, stimulate or capture characteristic expressions? I don't think so! At a rapid action sports events- OK- the camera can shoot many frames per second at incredibly fast shutter speeds but can it anticipate the action and shoot at its peak. I have seen photographers "machine-gun" away and miss the best shot!

If you have 300+ bucks that you don't need, you can buy a speedlight that automatically bounces off walls and ceilings- measures the distanced and calculates exposure but what does it "know" about, angle of incidence, unseen secondary light, and what happens out-of-doors? Well, it's NOVEL!

For a while the makers of many camera and related gear added the symbol (i) in their model designations- supposedly standing for artificial intelligence. I always thought that is a oxymoron but I'll recognize the advantages of innovative automation. This may sound mushy but your camera may have a "brain" but it does not have a heart! Many great photographs are rooted in compassion, a need for self expression, a desire to tell stories and record history- all kinds of history, not only great events and earth shattering occurrences but family history and fond memories. Camera's can't communicate- photograhers CAN!

None of what I write here is anti-technology. No doubt, science, optics, electronics, computer savvy, high technology and automation are all very important components of modern photography. We all appreciate equipment that facilitates our art. I am not telling anyone that they need to make a vow of of austerity, poverty, abstinence from G.A.S. and use obsolete, antiquated or crude equipment and become some kind of a ersatz "starving artist" in order to make good photographs. I'ts good, however, to realize that all cameras have only 3 basic functions; f/stops, shutter speeds and focus and once you master the function and interplay of theses basics, essentially, you got it made- TECHNICALLY- the ART of lac thereof is up to you ! Oftentimes, too many bells and whistle can actually become more of a hindrance that a help and come between you and you subjects and can put an unnecessary dent in your bank account.

This program has been brought to you by the makers of the Speed Graphic, a now defunct company that made cumbersome, bulky large format cameras with viewfinders made of wire and oftentimes were used in conjunction with flashbulbs. Nonetheless, great photograph made great images with theses cameras. And.. cosponsored by the makers of the famous Stradivarius violins. Although Antonio Stradivari has been dead since the 18th Century, his instruments are still in demand and although theses instrument have only 4 stings on a simple wooden body, today they are valued at millions of dollars each and are favored by many virtuoso violinists. And the bow is not included- thousands more for that! The tone and sound remains unmatched and has never been replicated in modern instruments. Well- even if you have the money, if you ain't a top notch fiddler, the instrument will not play itself! Good analogy- or what?

This is an old question but it is still a valid q... (show quote)