Having more ambition in photography often translates into developing some specializations: becoming expert in some topic, developing a unique and personal style. On the other hand, if there are no professional ambitions or pressures in one’s photography hobby, one can just continue diversifying: having fun in creative experimentation and testing one’s hand and eye in multiple different topics and styles.
While the latter path can have a certain vague and drifting effect on one’s photography, there are also the positives: total creative freedom, constant possibility for new directions, and the sense of discovery.
My own experiments during the past month alone have included some insect and macro photography, testing the design and curation for a hardback photobook of my own, bird photography, black and white landscapes and nature photos. And it has been definitely fun, and this free-roaming style of hobby has also the benefit of being easy to adapt within changing conditions, such as the pandemic restrictions of this Spring.
My original plan was to move into full hydroponic gardening setup in our greenhouse early this year. However, during the Easter weekend, we got again a “takatalvi” (a cold spell with snowfall) in Tampere, and the greenhouse will stay closed for a long time, still. Thus, a Plan B.
I had both twelve chili saplings of different varieties, and twelve small “self-watering” plant pots – these are Orthex Eden 12 cm models, meaning that they have only 0.3 L water reservoir, and 0.8 L for the hydroponic substrate (or soil). I had also a 45 L bag of Gold Label HydroCoco 60/40 substrate in my stash, so I proceeded to make a “passive hydroponics” setup using what I got. I washed the pots (they had spent the winter outdoors), then buried the rockwool cubes (with saplings sticking out) into the substrate in each self-watering pot. The nutritient mix is again based on Canna Coco A+B.
I multi-purposed a Bosch workbench from our garage as the growing table, and positioned the Nelson Garden LED growing lights hanging close above the plants.
This system should make do for some time now. The only downside is that small water reservoir in all of those 12 pots. I have no idea how fast the small saplings will drink that amount, so it might be that soon I will be mixing nutritients and filling in 12 pots every day or so. Let’ see: the maximum amount of liquid these pots can take is under 12 L, so if I will prepare a large 10 L bucket of the nutritient solution per each “serving”, this should be pretty straightforward. Canna, the nutritient manufacturer, instructs to use 19 ml of A solution and 19 ml of B solution per 10 L of water in the starting & rooting phase, and then add the dosage into 23 ml + 23 ml, when the plants have entered the early vegetative, growth phase. When we’ll have a bit larger plants (2-4 weeks-old saplings), the recommended nutritient amounts are 27 ml + 27 ml, per 10 L water.
One of the vloggers that I regularly follow is Ted Forbes, the creator of “The Art of Photography” Youtube channel. He is a welcome alternative among all nerdy, pixel-peeping camera and lens technology focused voices there, as he actually is discussing photography as an art form.
One of Ted’a videos that I watched during this weekend was discussing Vivian Maier. This was originally published already six years ago, in March 2014, but remains interesting for reasons relating to Maier, Forbes, and to several questions of photography and as art more generally.
While listening to Ted talk about Vivian Maier’s work, it soon becomes clear that he is in a way struggling here – trying to be polite and repeatedly acknowledge the skill and significance of this self-educated, amateur photographer’s work, while also suggesting that there are reasons why he does not place Maier particularly high in his canon of great photography artists. These fundamental and underlying reasons are nowhere very explitly stated aloud in this video, though.
My interpretation is that there are two main reasons behind the hesitation of Ted Forbes – and probably many other art professionals who have somewhat similar backgrounds as Ted has. As listed in his short online cv, Ted Forbes has been educated in the Booker T Washington High School for the Performing and Visual Arts and the University of North Texas, and he has also spent several years as a professor at Brookhaven College, and as the Head of Digital Media at the Dallas Museum of Art, among other things. His perspective is thus not only coming from a photography aficionado, but one who has been educated in the history and practice of the arts, and who has long served both as an art educator and a gatekeeper for an art institution.
Vivian Maier is an interesting borderline case for anyone holding up the more “serious” and professional, institutional perspective into arts, since she never aimed to display her photos in art galleries, or anywhere else, publicly, and kept her practice as a secret to herself alone. It was only after her death, when certain collectors (most notably John Maloof from Chicago) bought her negatives from an auction, and started publishing them, first online, then in exhibitions and printed art books.
The first hesitancy about the photography of Vivian Maier as works of art (as expressed by Ted Forbes) relate to the fact that Maier herself had not edited and organised the photo negatives into prints, exhibitions and books herself. There is a subtle undertone of authorial intention in play here: if the person taking the photos did not conceive her work as (institutional) art, and did not complete the necessary steps involved in submitting and getting accepted as a published artist, then it is questionnable whether the photos in question are indeed art. There is sort of “other half” missing: the final process of selecting, editing and filtering the abundant raw materials (captured in estimated 150,000 surviving negatives) into actual artistic ‘oeuvre’ – cohesive vision and flow of expression as a practicing artist.
The other question mark implied by Ted Forbes’s video review is sort of extension of the first one. He repeatedly says that while he acknowledges Vivian Maier as a talented photographer (though probably into the category of “talented amateur”, rather than a “proper photography artist”), he is putting a lot of doubt over the expertise and intentions of collectors (John Maloof and Jeffrey Goldstein are explicitly mentioned), and while he tries to put it nicely, he evokes questions about non-professional, non-talented, non-artistic people having produced the “Vivian Maier as great photography artist” as a phenomenon by making sensationalist claims for maximizing publicity and their opportunities for commercial exploitation.
I have zero role these days in official, institutional art world (just to disclose, I used to study art history, among other subjects, and worked for an art museum in Tampere, during my student years). So, I do not take any stand in the debate about the status of Vivian Maier as a proper artist and the artistic value of her work. There are many art professionals and critics who have taken a more positive stance towards Vivian Maier’s work than Ted Forbes, though. It was also interesting to compare the Vivian Maier video to another one which was also dedicated to posthumous reconsideration or “rediscovery” of a photographer’s work – in this case that of Daan Hansen, an enthusiast photographer / photo hobbyist from Utrecht, who died in 2013, but whose work was published in a large-format, self-published book just before his death. In this case, Ted Forbes is in his video openly emotional and enthusiastic about the range, diversity and value of Daan’s work, even while it is obvious that (somewhat similarly to Vivian Maier), not all of Hansen’s photos are of similar artistic quality. Ted is of course also honest that Daan being both an online and offline friend of his, no doubt somehow affects his reactions to seeing Daan’s published work after his death.
One could perhaps conclude, that for people who operate within, or at some of the multiple frameworks of “art world”, the question of how something becomes valued and valuable as “art” is not a simple one. The person and personal circumstances of the artist affect deeply the perception of their work – even decades after “Biographic Fallacy”, or “Death of the Author” were first introduced into the art criticism. Also, the conditions and processes of publishing and displaying of something as art, do play an important part, as some of these kinds of processes are more prone to adding “authenticity” and value into works of art, whereas others can appear questionable and lead into overall negatively tilted evaluation – as seems to have happened for Vivian Maier, at least to a certain degree, in eyes of a critic like Ted Forbes.
Due to having a lot of other things in my mind and life this Spring, I am rather late in my chili pepper project – but as Juice Leskinen said “Kuule istuta vielä se omenapuu”. I will plant my plants.
As I wrote in January, because hydroponics make chilies grow so fast and tall, it is actually probably good to start a bit later, in any case. That way, the plants should hopefully still be of manageable sizes, when I am able to move them into the proper hydroponic setup in our greenhouse. Handling a full hydroponics system in my small basement “office” is really not that feasible, even under the best of conditions. I hope that this time it will be a warm and early summer (fingers crossed).
As said, I have two themes this year: taste and colour. Into the taste category, I finally decided two chili varieties: Hainan Yellow Lantern and Lemon Drop.
In the more exotic section, where interesting looks are the main criteria, I chose (finally in a pretty random manner) the following: Buena Mulata, Pimenta da Neyde, Chinese 5 Color, Kanon Pepper F2, Filius Blue, Numex Twilight, Bolivian Rainbow, and Purple Bhut Jolokia.
Since I do not have room to grow into large, fruit-bearing plants nowhere that number of chili peppers, I conceive this as a sort of speedrun style competition: those plants that germinate fastest, and produce promising saplings, will get into my AutoPot 4Pot system. I do not know what to do with the rest – maybe I will just put them into regular flowerpots with soil outdoors, and see if any of them will survive, too.
The germination follows pretty standard procedure again, except that IKEA had stopped selling accessories for their old hydroponic products (shame on them!) So, I picked some standard rock wool cubes from the local hydroponic gardening shop (luckily, I did this long before the coronavirus epidemic), and then just installed them into the covered water-tray system – which is on top of the electric heat mat, and under the LED lights. Let’s see how long it takes before the first plants will appear, this time.
All my chili seeds are coming from Fatalii this time. Here are some short characterizations of his, about these chili varieties:
Hainan Yellow Lantern: “This variety comes from Hainan island, China, where it’s actually quite commonly used for mainly a tasty hot sauce. Very prolific variety that has a strong chinense aroma, very similar to Harold st. Barts and few other yellow Capsicum chinense varieties.” (Link.)
Lemon Drop: “Lemon Drop represents hot, non-sweet, slightly lemon-flavored types of baccatum peppers (as opposed to sweet, low-heat or only moderately hot Ajis). The plant is relatively compact and produces lots of bright yellow fruit even in non-ideal home conditions.” (Link)
Buena Mulata: “Very old heirloom variety from 1940’s. This plant looks absolutely gorgeous with all great colored pods! The flowers and pods start from purple and ripen to very beautiful colors!” (Link)
Pimenta da Neyde: “One of the strangest chile peppers I’ve ever seen! Mature pods won’t change the color, but stay purple instead.” (Link)
Chinese 5 Color: “Fantastic, very colorful ornamental chili pepper which is also quite hot with a decent taste to be used for cooking.” (Link)
Kanon Pepper F2: “This beauty is still unstable meaning the results growing this one will vary, which is a good thing when you want to find your favorite among them.” (Link)
Filius Blue: “So very pretty ornamental chili pepper which ripens from beautiful blueish purple to red with some fancy color stages in the middle! Quite hot.” (Link)
Numex Twilight: “An ornamental chile pepper that is so insanely pretty you simply can’t miss it. If you like to grow useful chile peppers that are a true eye-candy!” (Link)
Bolivian Rainbow: ” The dark green leaves will turn shiny deep purple, almost black. The cone-shaped, erect pods go through colors of green, purple, pink, yellow and orange before ripening bright red!” (Link)
Purple Bhut Jolokia: “One of the most amazing looking super hot varieties there is! Ripens from green to purple to red. Very heavy producer and the pods taste very good when ripe.” (Link)
The global coronavirus epidemic has already caused deaths, suffering and cancellations (e.g. those of our DiGRA 2020 conference, and the Immersive Experiences seminar), but there are still luckily many things that go on in our daily academic lives, albeit often in somewhat reorganised manner. In schools and universities, the move into remote education is particularly one producing wide-ranging changes, and one that is currently been implemented hastily in innumerable courses that were not originally planned to be run in this manner at all.
I am not in a position to provide pedagogic advice, as the responsible teachers will know much better what are the actual learning goals of their courses, and therefore they are also best capable of thinking how to reach those goals with alternative means. But since I have been directing, implementing or participating in remote education over 20 years already (time flies!), here are at least some practical tips I can share.
Often the main part of remote education is independent, individual learning processes, which just need to be somehow supported. Finding information online, gathering data, reading, analysing, thinking and writing is something that does not fundamentally change, even if the in-class meetings would be replaced by reporting and commenting taking place online (though, the workload for teachers can easily skyrocket, which is something to be aware of). This is particularly true in asynchronous remote education, where everyone does their tasks in their own pace. It is when teamwork, group communications, more advanced collaborations, or when some special software or tools are required, when more challenges emerge. There are ways to get around most of those issues, too. But it is certainly true that not all education can be converted into remote education, not at least with identical learning goals.
According to my experience, there are three main types of problems in real-time group meetings or audio/videoconferences: 1) connection problems, 2) audio & video problems, and 3) conversation rules problems. Let’s deal with them, one by one.
1) The connection problems are due to bad or unreliable internet connection. My main advice is either to make sure that one can use wired rather than Wi-Fi/cellular connection while attempting to join a real-time online meeting or get very close to Wi-Fi router in order to get as strong signal as possible. If one has weak connection, the experience of everyone will suffer, as there will likely be garbled noises and video artefacts coming from you, rather than good-quality streams.
2) The audio and video problems relate to echo, weak sound levels, background noise, or dark, badly positioned or unclear video. If there are several people taking part in a joint meeting, it might be worth thinking carefully whether a video stream is actually needed. In most cases people are working intensely with their laptops or mobile devices during the online meeting, reviewing documents and making notes, and since there are challenges in getting a real eye-to-eye contact with other people (that is pretty impossible still, with current consumer technology), there are multiple distancing factors that will lower the feeling of social presence in any case. Good quality audio link might be enough to have a decent meeting. For that, I really recommend using a headset (headphones with a built-in microphone) rather than just the built-in microphone and speakers of the laptop, for example. There will be much less echo, and the microphone will be close to speakers’ mouths meaning that speech is picked up in much clear and loud manner, and the surround noises are easier to control. But it is highly advisable to move into a silent room for the period of teleconference.
Another tip: I suggest always first connecting the headset (or external microphone and speakers), BEFORE starting the software tool used for teleconferencing. This way, you can make sure that the correct audio devices (both output and input devices) are set as active or default ones, before you start the remote meeting tool. It is pretty easy to get this messed up and end up with low-quality audio coming from the wrong microphone or speakers rather than the intended ones. Note that there are indeed two layers here: in most cases, there are separate audio device settings both in the operating system (see Start/Settings/System/Sound in Windows 10), and another, e.g. “Preferences” item with other audio device settings hidden inside most remote meeting tools. Both of those need to be checked – prior to the meeting.
Thus, yet one tip: please always dedicate e.g. 10-15 minutes of technical preparation time before a remote education or remote meeting session for double-checking and solving connection, audio, video or other technical problems. It is sad (and irresponsible) use of everyone’s precious time, if every session starts with half of the speakers missing the ability to speak, or not being able to hear anyone else. Though, this kind of scenario is still unfortunately pretty typical. Remote meeting technology is notoriously unreliable, and when there are multiple people, multiple devices and multiple connections involved, the likelihood of problems multiplies exponentially.
Please be considerate and patient towards other people. No-one wants to be the person having tech problems.
3) The discussion rules related problems are the final category, and one that might be also culturally dependent. In a typical remote meeting among several Finnish people, for example, it might be that everyone just keeps quiet most of the time. That is normal, polite behaviour in the Finnish cultural context for face-to-face meetings – but something that is very difficult to decode when in an online audio teleconference where you are missing all the subtle gestures, confused looks, smiles and other nonverbal cues. In some other cultural setting, the difficulty might be people speaking on top of each other. Or the issues might be related to people asking questions without making it clear who is actually being addressed by the question or comment.
It is usually a good policy to have a chair or moderator appointed for an online meeting, particularly if it is larger than only a couple of people. The speakers can use the chat or other tools in the software to make signals when they’d want to speak. The chairperson makes it clear which item is being currently discussed and gives floor to each participant in their turn. Everyone tries to be concise, and also remembers to use names while presenting questions or comments to others. It is also good practice to start each meeting with a round of introductions, so that everyone can connect the sound of voice with a particular person. Repeating one’s name also later in the meeting when one is speaking up, does not hurt, either.
In most of our online meetings today we are using a collaboratively edited online document for notetaking during the meeting. This helps everyone to follow what has been said or decided upon. People can fix typos in notes in real time or add links and other materials without requiring the meeting chairperson (or secretary) to do so for them. There are many such online notetaking tools in standard office suites. Google Docs works fine, for example, and has probably the easiest way of generating an editing-allowed link, which can then be shared in the meeting chat window with all participants, without requiring them to have a separate service account and login to do so. Microsoft has their own, integrated tools that work best when everyone is from within the same organisation.
Finally, online collaboration has come a long way from the first experiments in 1960s (google “NLS” and Douglas Engelbart), but it still continues to have its challenges. But if we are all aware of the most typical issues, dedicate a few minutes before each session for setup and testing (and invest 15 euros/dollars into a reliable plug-and-play headset with USB connectivity) we can remove many annoying elements and make the experience much better for everyone. Then, it is much easier to start improving the actual content and pedagogic side of things. – Btw, if you have any additional tips, or comments to share on this, please drop a note below.
Ystävä kutsui pohtimaan, mikä tekee valokuvasta taidetta. En sen enempää seikkaile tässä taideteorian alueelle, mutta koetan vastata kuvaparilla. Molemmat ovat eilisen iltapäivän “kamerakävelyltä”: jänön kuvasin ensin, erään naapurin puutarhassa, marjapensaan alta mietiskelemässä. Toisessa kuvassa olen kuvannut teleobjektiivilla ojanpenkalla olevia ruohoja ja sammaleita – makuuasennosta, jotta sain tämän (oudon/uhkaavan) leudon helmikuun matalalta paistavan iltapäiväauringon valon muotoiluominaisuuden ja lyhyen syväterävyyden hyödynnettyä. Molempia oli ilo kuvata – ne siis tuottivat itse luomisprosessillaan iloa ja tyydytystä.
Painotukset olivat kuitenkin hieman erilaiset. Toisen kohdalla oli ennen kaikkea mukava kohdata arka villieläin ja onnistua teknisesti saamaan suht terävä kuva siitä; pensaiden välistä siilautuva valaistus ja sommittelu ovat tietysti iso osa kuvaa, mutta tässä otoksessa ei juuri ole mitään erityisen kokeilevaa – sen estetiikassa dokumentoiva funktio on keskiössä. Sen sijaan tuon ojanpenkan kuvan kohdalla syttyi hieman enemmän nimenomaan oivalluksen iloa. Valokuva taidemuotona on aina tietyn hetken ja olosuhteiden luoma jälki käytetyssä välineessä (filmissä, valokuvapaperissa, digitaalisella kuvasensorilla), ja sen luovat mahdollisuudet elävät kiinnostavassa jännitteessä toisaalta itse kohteen ja olosuhteiden tarjoaman tilanteen, näkymän – ja toisaalta valokuvaajan luovan panoksen kuten kuvakulman, sommittelun, rajauksen, syväterävyyden, valitun sävyjen ja värien maailman kaltaisten tekijöiden välillä. Likaiseen ojaan makaamaan ryhtyminen ei olisi jotain mitä tavallisessa arjessa tekisin – eikä ojanpenkan kuivat ruohot ja hiekansekaiset sammaleet ole jotain mitä oikeastaan päivittäin pysähtyisi kohteena ihailemaan tai ihmettelemään. Kun siis siirryn itse dokumentaarisuudesta hieman taidevalokuvauksen suuntaan, siirrän painopistettä kuvassa oman luovan panokseni ja kohteelle itse antamani merkityksen puolelle.
Olen joskus miettinyt, että “taiteella” on itselleni aina kahtalainen luonne: toisaalta se on jotain kulttuurista ja jaettua, jolloin voidaan keskustella esimerkiksi taiteellisista arvoista ja arvottamisesta yhteisöllisesti muodostuvien kriteerien kautta. Mutta itselleni vähintään yhtä tärkeää on taiteen tekemiseen ja kokemiseen liittyvä yksityisen kokemisen ulottuvuus. Näillä kahdella on varmaan jotain kosketuskohtia, mutta ainakin omalla kohdallani melko usein jokin (esim. institutionaalisen taidekäsityksen näkökulmasta hyvinkin arkinen, vähäpätöinen tai mielenkiinnoton) asia onnistuu synnyttämään henkilökohtaisen taide-elämyksen. Tässä on vähän ehkä samaa henkeä kuin vaikkapa ITE (“Itse Tehty Elämä”) -tyyppisessä, kouluttamattomien taiteentekijöiden naivistisessa tai “arkitaiteellisessa” luovuudessa.
Tai, toisessa suunnassa, vaikkapa situationistisen taidekäsityksen vallankumousajattelussa: taide pitää irrottaa kapitalistisen yhteiskunnan tuoteajattelusta ja galleriataiteen kahleista, ja nähdä se ainutkertaisina elämyksinä, tapahtumina, kokemisen tapoina ja performansseina – jotka kuuluvat kaikille, kaikkialla, arjen esteettisyyden ja merkityksellisyyden elämistä syventävinä ulottuvuuksina.
Niinpä tuossa “makaan ojassa ja kuvaan epätarkkoja sammaleita auringon laskussa” -jutussa on itselleni merkittävänä juurikin itse performanssin ulottuvuus: että pistän itseäni edes hieman, tämän verran likoon, ja katson jotain pientä ja vähäpätöistä ilmiötä hieman eri silmälaseilla kuin rutinoidun arkikiireen keskellä. Toisaalta näin itse näissä sammalissa jotain hieman sadunomaista – ehkä hehkuva ruoho ja sammal ovat oikein tarkoin silmin katsottuna sittenkin suunnattomia asioita? Ehkä ne ovat osa loputonta ja ääretöntä metsää, luontoa, olemassaolon käsittämättömyyttä, jolle vain jokapäiväisessä elämässä yleensä on sokea?
Ja ehkä valokuvataiteen alueelle siirtyminen itselläni voisi merkitä juurikin tällaisia oivalluksia, tilaisuutta nähdä ja kokea toisin, syvemmin, kuin yleensä.
Mutta kyllä minä silti aion kuvata noita jänis- ja oravakuvia ihan tyytyväisenä myös, edelleenkin. Kun jotain asiaa tekee harrastuksena eikä vakavana ammattiprojektina, on helpottavaa juurikin että voi siirtyä rekisteristä toiseen ja leikitellä – välillä tehdä jotain pienimuotoista, tai täysin tavanomaista, käsityönomaista – välillä irrotella, tai tuottaa vaikka vitsejä jotka eivät avaudu välttämättä kenellekään muulle. Ja olla siihen tyytyväinen. 🙂
I have long been in Canon camp in terms of my DSLR equipment, and it was interesting to notice that they announced last week a new, improved full frame mirrorless camera body: EOS R5 (link to official short annoucement). While Canon was left behind competitors such as Sony in entering the mirrorless era, this time the camera giant appears to be serious. This new flagship is promised to feature in-body image stabilization that “will work in combination with the lens stabilization system” – first in Canon cameras. Also, while the implementations of 4k video in Canon DSLRs have left professionals critical in past, this camera is promised to feature 8k video. The leaks (featured in sites like Canon Rumors) have been discussing further features such as a 45mp full frame sensor, 12/20fps continuous shooting, and Canon also verified a new, “Image.Canon” cloud platform, which will be used to stream photos for further editing live, while shooting.
But does one really need a system like that? Aren’t cameras already good enough, with comparable image quality available at fraction of the cost (EOS R5 might be in 3500-4000 euros range, body only).
In some sense such critique might be true. I have not named the equipment I have used for shooting the photos featured in this blog post, for example – some are taken with my mirrorless systems camera, some are coming from a smartphone camera. For online publishing and hobbyist use, many contemporary camera systems are “good enough”, and can be flexibly utilized for different kinds of purposes. And the lens is today way more important element than the camera body, or the sensor.
Said that, there are some elements where a professional, full frame camera is indeed stronger than a consumer model with an APS-C (crop) sensor, for example. It can capture more light into the larger sensor and thus deliver somewhat wider dynamic range and less noise under similar conditions. Thus, one might be able to use higher ISO values and get noise-free, professional looking and sharp images in lower light conditions.
On the other hand, the larger sensor optically means more narrow depth of field – this is something that a portrait photographer working in studio might love, but it might actually be a limitation for a landscape photographer. I do actually like using my smartphone for most everyday event photography and some landscape photos, too, as the small lens and sensor is good for such uses (if you understand the limitations, too). A modern, mirrorless APS-C camera is actually a really flexible tool for many purposes, but ideally one has a selection of good quality lenses to suit the mount and smaller format camera. For Canon, there is striking difference in R&D investments Canon have made in recent years into the full frame, mirrorless RF mount lenses, as compared to the “consumer line” M mount lenses. This is based on business thinking, of course: the casual photographers are changing into using smartphones more and more, and there is smaller market and much tighter competition left in the high-end, professional and serious enthusiast lenses and cameras, where Canon (and Nikon, and many others) are hoping to make their profits in the future.
Thus: more expensive professional full frame optimised lenses, and only few for APS-C systems? We’ll see, but it might indeed be that smaller budget hobbyists (like myself) will need to turn towards third-party developers for filling in the gaps left by Canon.
One downside of the more compact, cheaper APS-C cameras (like Canon M mount systems) is that while they are much nicer to carry around, they do not have as good ergonomics and weather proofing as more pro-grade, full frame alternatives. This is aggravated in winter conditions. It is sometimes close to impossible to get your cold, gloved fingers to strike the right buttons and dials when they are as small as in my EOS M50. The cheaper camera bodies and lenses are also missing the silicone seals and gaskets that are typically an element that secures all connectors, couplings and buttons in a pro system. Thus, I get a bit nervous when outside with my budget-friendly system in a weather like today. But, after some time spent in careful wiping and cleaning, everything seems to continue working just fine.
Absolute number one lesson I have learned in these years of photography, is that the main limitation of getting great photos is rarely in equipment. There are more and less optimal, or innovative, ways of using same setup, and with careful study and experimentation it is possible to learn ways of working around technical limitations. The top-of-the-line, full frame professional camera and lenses system might have wider “opportunity space” for someone who has learned how to use it. But with additional complexity, heavy and expensive elements, those systems also have their inevitable downsides. – Happy photography, everyone!