Transition to Mac, Pt. 2

I got the first part of my ‘Transition to Mac’ project (almost) ready by the end of my summer vacation. This was focused around a Mac Mini (M1/16GB/512GB model), which I set up as the new main “workstation” for my home office and photography editing work. This is in nutshell what extras and customisations I have done to it, so far:

– set up as the keyboard Logitech MX Keys Mini for Mac
– and as the mouse, Logitech G Pro X Superlight Wireless Gaming Mouse, White
– for fast additional ssd storage, Samsung X5 External SSD 2TB (with nominal read/write speeds of 2,800/2,300 MB/s)
– and then, made certain add-ons/modifications to the MacOS:
– AltTab (makes alt-tab key-combo cycle through all open app windows, not only between applications, like cmd-tab)
– Alfred (for extending the already excellent Spotlight search to third-party apps, direct access to various system commands and other advanced functionalities)
– installed BetterSnapTool (for adding snap to sides / corners functionality into the MacOS windows management)
– set Sublime Text as the default text editor
– DockMate (for getting Win10-style app window previews into the Mac dock, without which I feel the standard dock is pretty useless)
– And then installing the standard software that I use daily (Adobe Creative Cloud/Lightroom/Photoshop; MS Office 365; DxO Pure RAW; Topaz DeNoise AI & Sharpen AI, most notably)
– The browser plugin installations and login procedures for the browsers I use is a major undertaking, and still ongoing.
– I use 1Password app and service for managing and synchronising logins/passwords and other sensitive information across devices and that speeds up the login procedures a bit these days.
– There was one major hiccup in the process so far, but in the end it was nothing to blame Mac Mini for; I got a colour-calibrated 27″ 4k Asus ProArt display to attach into the Mac, but there was immediately major issues with display being stuck to black when Mac woke from sleep. As this “black screen after sleep” issue is something that has been reported with some M1 Mac Minis, I was sure that I had got a faulty computer. But as I made some tests with several other display cables and by comparing with another 4k monitor, I was able to isolate the issue as a fault with the Asus instead. Also, there was a mechanical issue with the small plastic power switch in this display (it got repeatedly stuck, and had to be forcibly pried back in place). I was just happy being able to return this one, and ordered a different monitor, from Lenovo this time, as they had a special discount currently in place for a model that also has a built-in Thunderbolt dock – something that should be useful as the M1 Mac Mini has a rather small selection of ports.
– There has been some weird moments recently of not getting any image into my temporary, replacement monitor, too, so the jury is still out, whether there is indeed something wrong in the Mac Mini regarding this issue, also.
– I have not much of actual daily usage yet behind, with this system, but my first impressions are predominantly positive. The speed is one main thing: in my photo editing processes there are some functions that take almost the same time as in my older PC workstation, but mostly things happen much faster. The general impression is that I can now process my large RAW file collections maybe twice as fast as before. But there are some tools that obviously have already been optimised for Apple Silicon/M1, since they run lightning-fast. (E.g. Topaz Sharpen AI was now so fast that I didn’t even notice it running the operation before it was already done. This really changes my workflow.)
– The smooth integration of Apple ecosystem is another obvious thing to notice. I rarely bother to boot up my PC computers any more, as I can just use an iPad Pro or Mac (or iPhone), both wake up immediately, and I can find my working documents seamlessly synced and updated in whatever device I take hold of.
– There are some irritating elements in the Mac for a long-time Windows/PC user, of course, too. Mac is designed to push simplicity to a degree that it actually makes some things very hard for user. Some design decisions I simply do not understand. For example, the simple cut-and-paste keyboard combination does not work in a Mac Finder (file manager). You need to apply a modifier key (Option, in addition to the usual Cmd-V). You can drag files between folders with a mouse, but why not use the standard Command-V for pasting files. And then there are things like the (very important) keyboard shortcut for pasting text without formatting: “Option + Cmd + Shift + V”! I have not yet managed to imprint either of this kind of long combo keys into my muscle memory, and looking at the Internet discussions, many frustrated users seem to have similar issues with this kind of Mac “personality issues”. But, otherwise, a nice system!

Nature Photos Update

During the Spring Term of 2022, I have taken (according to my last count) photos of 129 different species of birds. Here is featured a selection, along with some random other samples of my nature photos. Excellent summer, everyone!

Adding Full-Frame to the Toolkit

Aglais io, the European peacock/neitoperhonen (an EOS R5 test).

With my focus on nature and bird photography, I have long preferred APS-C format cameras, due to the better “reach” (narrower field-of-view, with the same optics) that is important for photographing shy, far-away birds and animals particularly. Said that, several producers, Canon included, have put most of their research and development efforts into the full frame camera systems. I discussed the Canon EOS R System earlier in this blog (in February 2020), and while at that point I was committed with the EOS M line of APS-C cameras and lenses, I was also growing frustrated at the bad ergonomics and other limitations of EOS M cameras. However, there were also several downsides as well as possible long-term benefits in the more “professional” full frame EOS R System that left me hesitant at what to do in the long run. This summer, after rather lengthy consideration and research, I finally made the leap into the new, “full-frame era”. Or, more appropriately (as will explained below), I just decided to add one more tool into my toolkit.

EOS R5, with Sigma 150-600 mm C (shot late at night, with my EOS M50 and the old Canon EF 70-200mm f/4L USM).

When EOS R5 camera was introduced in summer 2020, much of the attention was focused on its amazing 8K video capabilities. However, as I am not a cinematographer, my interest was at the side of still image photography. The main “sales points” of R5 in this area include a 45 megapixel, full-frame sensor, up to 20 fps speed in continuous shooting (electronic shutter, and up to 12 fps mechanical), a built-in image stabiliser (up to 8 stops, with some selected modern lenses), and – perhaps most importantly for me – a really good autofocus system trained with machine-learning to pick up the shapes and even the eyes of animals and humans alike. There are additional benefits when moving from smaller, APS-C cameras, such as a really nice, deep grip to hold on (with M50 only two or three of my fingers, in addition to thumb, can touch the small body while carrying it), the full set of three rotary dials (enough for setting dedicated controls for both ISO, aperture and shutter speed, each with a dedicated physical control), longer-working batteries, better weatherproofing, dual card slots, less noise in low light, etc., etc. It is also worth noting that R5 uses the same processor (DIGIC X) as the more expensive, professional flagship DSLR camera EOS-1D X Mark II.

Muscicapa striata, the spotted flycatcher/harmaasieppo (testing R5 in a low light, fast situation inside a forest).

There are also significant downsides in a full-frame camera system, when compared to APS-C ones. The financial one is the most obvious: this is a much more expensive camera than any I have owned before. It is also worth noticing the camera body is just the first part of the investment, as the new, R system lenses are also generally expensive. They are robust, of high optical and physical quality, large and heavy. Going to a casual camera walk or run around a new city while on tourist mode, I will definitely rather prefer carrying the compact EOS M50 (387 g), coupled with e.g. the small and light EF-M 55-200 mm (260 g), rather than R5 (738 g) and RF 70-200 mm F2.8L IS (1070 g); there is also several thousands of euros/dollars price difference. Not to discuss the price and weight of any full-frame glass which reaches into the 400-600 mm area, which is where the true bird and wildlife photography generally tends to start. Thus, to sum up, I will not give up my EOS M camera and lenses anytime soon. There are uses and needs for both the large and the compact system. A serious R Series camera and lens setup is something that you would particularly take out when you are working for some particular, photographic goal or project. (This is why some people are actually paid to use these things. That is what “professional” means, after all.) The small system is good for those long walks.

Delichon urbicum, the house martin/räystäspääsky (a collage of shots testing the animal AF tracking of R5 with a very fast moving, flying bird).

In the actual bird photography, comparing ASP-C and R5/full-frame in the field, there are similarly plusses and minuses. The main strength (and one of the key reasons why I made this investment in the first place) of R5 is that the large, 45-megapixel sensor coupled with the image stabilisation and powerful AF system allows taking more, and more sharply focused images to start with. With very fast-moving objects like flying and bush-jumping birds, only a small fraction of photos is generally usable. A fast-shooting, fast-focusing camera-and-lens system makes a great difference in an actual wildlife photography situation. There is a “crop mode” in R5, which will narrow down the field of view into the same as the APS-C camera (applying Canon’s 1.6x crop factor, in-camera). But the full-frame image of R5, when cropped so that it would represent the same field of view as my old M50 APS-C camera is “only” 17.3 megapixels (my much cheaper M50 has 24.1 with that same field of view). However, the experience of shooting birds and wildlife with R5 is indeed better than M50: it is much easier to keep e.g. a flying falcon or swallow within the large image frame of R5, and the powerful AF system does a really good job in keeping the bird sharp in the image – as long as the photographer is capable of taking care of the targeting and composition at somewhat decent level.

Asio otus, the northern long-eared owl/sarvipöllö (it was almost completely dark, at midnight, at this point – testing the animal AF tracking of EOS R5 at the ultimate ISO 51200, f/6.3, 600 mm focal length, exposure 1/2000 s.).

In the 45-megapixel images there is room for cropping in many different ways. The optical quality does not magically change, of course, with the upgrade of camera body if one is still using same lenses as before; though, the reduction of noise and better low-light capabilities mean that it is possible to shoot birds with even pretty “slow” lenses (like my Sigma 150-600mm f/5-6.3 C DG OS HSM), while going rather high ISO sensitivity values, and still come up with frames that can be used, particularly if software tools like Topaz DeNoise AI and Sharpen AI are applied in the postproduction. The main benefits of this upgrade from a crop-camera to a full-frame one in the end come from multiple areas, mostly ones related to the art and craft of composing and creating images, while it needs to be emphasised that the baseline optical image quality remains at the domain of lenses used.

A far-away osprey (Pandion haliaetus, kalasääski) fishing – EOS R5 does excellent work in tracking in harsh light, yet my zoom lens is also showing its limitations here, at this distance and with a lot of cropping applied.

There is apparently an interesting learning curve that comes with the transition from Canon’s entry-level into a full-frame/professional cameras. After couple of weeks, my automated procedures and reactions are still largely coming from the APS-C world, and, for example, I even still occasionally try to find the power switch from the old location (at top right; in R5 the switch is at top left). There are no pre-programmed “easy” photography modes such as the sports, macro, or portrait modes in the EOS R5 (there is the fully automatic, “smart” A+ mode, however). The idea seems to be that a photographer who wants to use a “pro” camera must understand the underlying logic of photography technique enough, and be able to set up different aperture, exposure etc. priorities according to the subject matter, scene, and desired effects.

It is nice to have a fast-focusing camera when e.g. a flock of Eurasian oystercatchers (Haematopus ostralegus, meriharakka) suddenly appear overhead.

The full user’s manual for R5 is 921 pages, and I have the feeling I have only just scratched the surface of what this camera can do, and how it should be set up. But I have at least started personalising the main settings, such as customising three back buttons for quick access into my three key wildlife focusing modes: animal-eye autofocus, spot AF, and single-point AF. The logic here is that when I can see the animal/bird relatively clearly (or, e.g., when I try to photograph a flying bird), I use back-button AF technique first with the AF-ON button set for “Eye Detection AF”. Secondly my asterisk (AE lock) button is now set for spot AF mode, and the last (AF point selection) button for single-point AF. These two are normally used when the focused subject is half-hidden, hiding among branches as is often the case; after the initial AF lock, the system usually is able to follow by tracking, so the focus stays locked, when the target has initially been pointed and identified. For this initial selection, there is both a joystick and a large LCD touchscreen that can be used for moving the focus point around. Currently, I find myself using the touchscreen more.

Falco tinnunculus (the common kestrel, tuulihaukka) – again, it was great to experience how effortlessly EOS R5 was able to keep the focus on the far-away falcon, while it was hunting.

There is more learning to be done, and I expect the possibilities opened up by the new system to challenge me for several years to come, in search for both better – or just more interesting – pictures and more improved photographic techniques and new ways of photographic thinking. However, my old cameras and lenses still remain in my toolkit, and they also have their times, places, and uses.

This common sandpiper (Actitis hypoleucos, rantasipi) was captured late night while at lake with SUP / paddle boarding – this time again with my lighter EOS M50 camera.

Have a happy photographic summer!

Why take bird photos?

I have always enjoyed moving in the nature and taking photographs, but I have never been a particularly passionate ”birder” – someone who would eagerly participate in bird observation, or learn details about bird species and their lives. Nevertheless, for some time now I have taken bird photos in an increasingly active manner. Why – what is the fascination in bird photography?

A fieldfare (räkättirastas).

I can only talk for myself, but in my case this is like combining location-based game play of Pokémon Go with my love of photography. While living still mostly under self-quaratine style conditions of pandemic, it is important to keep moving, and taking my camera and going out is as good reason as any to get fresh air and some exercise. And birds bring the important aleatory element into this: you never know what you are going to see – or not see.

A swan (laulujoutsen).

Mostly my short walks are in the close neighbourhood, and the birds I will see are thus the most common ones: the great tit, the sparrow, the magpie, a flock of fieldfares. But then the challenge is to get a new kind of photo of them – one with a nice disposition, interesting lights, great details or posture. And sometimes there will be more rare birds moving in the area, which brings additional excitement with it: how to get close to the shy jaybird, get good details on the dark dress of blackbird, or a woodpecker.

Blue tit (sinitiainen).

There is also a very nice lake for birdwatching rather near, Iidesjärvi, which means that it is possible to go there, and try getting some beautiful pictures of swans, goldeneyes, goosanders or many other waterfowl with a rather short trip. Which is important, since I typically need to get back soon, and make kids breakfast, dinner or such. And this is also why I call myself a Sunday Photographer: I mostly take photos in weekends, when there is a bit of extra time that weekdays do not currently allow.

Blackbird’s eye (mustarastas).

This Sunday was a day of achievement, when I got my first decent photos of goldcrest – the smallest bird in Europe! It is not that rare actually, but it is so shy and so skilled in hiding itself within foliage, that I was mainly able to locate it with the faint, high-pitched sounds it makes. And even while I knew the bird was there in the trees, front of me, it took a long time, c. 200 frames of missed photos and some quiet crawling from spot to spot to finally get an unobstructed view and a sharp photo of this tiny, elusive bird.

Goldcrest (hippiäinen).

Thus, taking photos of birds combines so many different interesting, challenging and purely luck-based elements into one activity, that is just perfect diversion – something rewarding, surprising, joyful that can even have addictive holding power: a hobby that is capable of taking your thoughts completely away from everything else.

Goldcrest (hippiäinen).

My old camera

I wanted to revisit my old gear tonight, so I dug up my trusty EOS 550D, coupled with the BG-E8 battery grip and the classic, Canon 70-200mm f4L USM lens. The Friendly Cat provided again the modelling services.

I was immediately reminded by the obvious strengths of this older, bigger camera body: the ergonomics are just so much better when you can really hold the camera comfortably and steadily in your hand, and have large, mechanical control knobs that you can quickly and effortlessly experiment with.

On the other hand, the limitations were again also immediately obvious; in particular, the mirrorless digital camera (EOS M50) that I am mostly using these days allows one seamlessly move from using the viewfinder to the live view in the rear display, while making the composition. 550D also has rear display live view, but you need to specifically switch it on, and it is slow and imprecise, and the autofocus in particular is just terrible when shooting with it.

The optical viewfinder, on the other hand, is excellent, and the very limited nine (9) AF points do their job just well enough for this kind of slow “portrait” work. The low maximum ISO of 6400 also does not matter when taking pictures under the bright evening sun, and sharpness of that old Canon L lens fits nicely the 18-megapixel image sensor’s resolution capabilities.

Thus, if I would think about a “perfect camera” for my use, I would be happy with current M50 image sensor resolution (24,1 megapixels), but I would be really happy for a bit more capable autofocus system, and for more low-light performance in particular. The single most beneficial upgrade could however be a body with larger physical dimensions, with better/larger mechanical controls for selecting the program mode, aperture, and making the other key adjustments.

While the new EOS R series Canon cameras provide exactly that, the issue for me is that those are full frame cameras; and I am very happy in taking my photos with APS-C (the “crop sensor”). Full frame lenses, and new Canon RF lenses in particular, tend to be both large and expensive to a degree that does not make much sense for my kind of “Sunday photographer”.

There are alternatives like Fujifilm, with their excellent APS-C camera bodies (X-T30, X-T4, for example), and their sharp and relatively compact and affordable lenses. But I am deeply invested in the Canon ecosystem – it would be so much easier if Canon would come up with a well-designed camera like Canon 7D Mark II, but updated and upgraded into current, mirrorless sensors’ and image processors’ capabilities. One can always make wishes? Happy weekend, everyone!

Specializing or diversifying?

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Pikkutylli (c) Frans Mäyrä, 24/5/2020.

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.

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My photobook experiment, Spring 2020.

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.

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Tiny spider (macro photograph, (c) Frans Mäyrä, 9/5/2020)

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.

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Winter plant telephoto (c) Frans Mäyrä, 26/2/2020.

Art of Photography: Vivian Maier/Ted Forbes

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.

Valokuva, taide – taidevalokuvaus?

”Jänö” (Frans Mäyrä, 24.2.2020)

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.

”Tutkimaton tie 3” (Frans Mäyrä, 24.2.2020)

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. 🙂

Enlightened by Full Frame?

Magpie (Harakka), 15 February, 2020.

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.

Hatanpää, 15 February 2020.

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.

Standing in the rain. February 15, 2020.

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.

Systems in the rain…

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.

Joining the company. 15 February, 2020.

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!

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