TWiP #165 – Photographic Liberty and Tyranny

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On this episode of TWiP, those Ansel Adams negatives are a false positive, Canon sensors are big and sensitive, and special guest Tom Pickett joins the fray.

Hosts: Frederick Van Johnson, Ron Brinkmann, and special guest Tom Pickett

NEWS & DISCUSSION

Special Guest Tom Pickett Joins the TWiP Crew
A long time TWiP listener shares his experiences shooting for National Geographic and what it’s like to be a photographer on the island of Oahu.

Expert in Ansel Adams Negative Saga Recants
The former museum curator whom supported the authenticity and valuation of glass negatives attributed to being the lost work of Ansel Adams has changed his mind according to an interview with the New York Times. When making the transition from film photography into digital photography this saga highlights many questions on the verification of digital photos for image authenticity versus manipulation.

Canon Develops World’s Largest CMOS Sensor
In addition to the 120 megapixel APS-H sized CMOS sensor discussed previously in TWiP #164, Canon has announced the development of the world’s largest CMOS sensor measuring 202mm x 205mm.

Photoshop CS5 and Lightroom 3 to support Tamron Lens Correction
With the release of Adobe Camera Raw 6.2 and Lightroom 3.2 lens correction is now supported for Tamron Di and Di II lenses.

LISTENER QUESTIONS

Question #1: From DavidPH: I own a bunch of gear.  So far, even with this gear, the quest of making an image where a water drop fills the frame seems to elude me. I’d love to be able to make an image of the world immediately surrounding the drop by shooting into a water drop that reflects/shows/holds the contents (in reverse) of the outside world filling the drop. I’m hoping that if I just laid out the gear I own that would be pertinent to this endeavor, someone could tell me if I already own what would be needed to make this kind of shot.  And if so, what setup to use.  And if not, what would be needed to get there.  I think what I am really after requires going beyond 1:1.

Ron: Visualizing the shot you want to get and deconstructing the composition is the bulk of the battle. Use a macro lens or extension tube to reduce the minimum focusing distance (point and shoot cameras with smaller sensors allow for closer focusing, can be really good macro cameras). Get the technical details out of the way first for the tripod, focusing, and exposure to concentrate on precise timing of the water drop.

Frederick: Search on Flickr for ‘water drop photography’, such as these shots from Mukumbura.

Tom: Really admire the artistic vision on this type of shot, hopefully DavidPH will share his results with the TWiP Community.

Question #2: From Shane: So I often read, and hear people talking about the Fast 50 as a great all around lens, and the 70-200 f2.8 being a great portrait lens.  I own a 50mm f1.4 that I use on my 7d, and love.  My question is specific to the crop sensor cameras.  Is the recommendations for a fast 50mm equivalent (in the crop world probably a 35mm).  And I know the 70-200 is a great portrait lens for a full frame, but at a 140-320 equivalent focal length, it really only overlaps the 70-200 at the upper end. and I doubt a 320mm portrait lens is very useful unless your photographing noses, or have a studio 20 yards long.

Ron: The rules of thumb that a particular lens is best matched to a subject can produce images that all look the same. Using a 50mm lens on the 7D gives similar framing to 85mm on a full-frame camera. The longer the focal length the more compressed perspective will become which can be flattering for portraiture.

Tom: Don’t believe everything you read regarding lenses. The compressed perspective of longer focal lengths is desirable for portraiture, don’t worry about using a telephoto lens on a crop sensor camera.

Question #3: From Brad Lentz: As of lately I have been getting more and more calls to do photoshoots, but generally only get a day or two notice.  (Ex.  Yesterday I was called to see if I could do a shoot tomorrow for a band, they are doing a recoding session and want some shots in the studio while recording and then some shots after that they can use for there CD cover.) How do you go about researching and preparing for these shoots, is there any specific information you try to get before hand? I got the name of the studio they will be at and tryed researching them online to see if I could get a layout or few pictures of there studio are to know where I will be working but cant find anything that would help.  (potential for more work doing a shoot for studio?) Any way what are your steps, thoughts and feedback?

Tom: Check the venue before a shoot to gather as much information as possible on the lighting and how it might change depending on time of day.

PICKS OF THE WEEK

WRAP UP

Follow us on http://twitter.com/ThisWeekInPhoto

Join the Flickr critique group. You can also join our Facebook group.

Frederick Van Johnson – www.frederickvan.com and www.twitter.com/FrederickVan

Ron Brinkmann – www.ronbrinkmann.com and www.twitter.com/ronbrinkmann

Tom Pickett – www.hawaiianphotographs.net / www.tpickettphotography.com and www.twitter.com/tpfoto

CREDITS

TWiP is sponsored by Audible.com, the leading provider in spoken word entertainment. Audible has over 75,000 titles to choose from to be downloaded and played back anywhere. Visit Audiblepodcast.com/twip for a free audiobook of your choice. This week’s picks from Frederick: Daemon by Daniel Suarez, Ron: Freedom (TM) by Daniel Suarez, and Tom: Atlas Shrugged by Ayn Rand.

TWiP is also brought to you by SquareSpace – the fast and easy way to publish a high-quality web site or blog. For a free trial and 10% off your new account, go to –Squarespace.com/twip, offer code TWiP.

Producer: Suzanne Llewellyn

Bandwidth provided by Cachefly. Intro Music by Scott Cannizzaro

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