Archived posting to the Leica Users Group, 2013/03/25

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Subject: [Leica] Technical detail--why?
From: sonc.hegr at gmail.com (Sonny Carter)
Date: Mon, 25 Mar 2013 16:55:52 -0500
References: <1FAEC7E9-142F-40DF-BB4C-AECAA40CEDF9@frozenlight.eu> <EB1CAE194A1E4FFCBB91ABB648C39D80@syneticfeba505> <CABNC8SpzNgU5efbvbyTuk-hOmtSt-rnYSX+RDpXLUd_R-5VDqA@mail.gmail.com> <CABNC8SpStuO+k+CgkgGrA0pRHcQXT+ujQv557HseZdqWckV0WA@mail.gmail.com> <163455EC-1EF2-43AB-9351-A4FA097765F2@sfr.fr> <CAFfkXxtvZb2K8AMSZfKzjVKhtAddEa4daZTwgqnzLpCvqcCJmA@mail.gmail.com> <CABNC8SqapJ6F2yHqdiq-FoUznqqs6sXKrN_ZSAESiuD-177dQw@mail.gmail.com>

On Mon, Mar 25, 2013 at 4:10 PM, Cedric Agie <cedric.agie at gmail.com> 
wrote:

> Before going back to the lab or in the field to a similar situation I
> just have a short look to my notes to remember what was best. Not only
> with a camera or lens, but also if I have a new flash. I could not
> imagine testing new studio flashes without making several tests and
> taking notes.


How many sets of studio flashes do you buy in a career?


> The same with macro-photography  or reproduction of
> difficult subjects like paintings, antiques, jewelry etc. Of course
> digital photography makes things easier and you can go faster to a
> final if not better result.
>

I'm not sure how previous setups can influence new ones, especially in
macro work.  I've done my share of fine jewelry and every piece needed
individual attention.   In my current work, I do a great deal of difficult
images such as paintings and very old documents, and again, each item needs
to be examined and treated as an individual.



>
> If I take notes in the lab or back home from the field, I do it as
> soon as  possible. They are usefull later when I look at pictures,
> when projecting them on a screen or watching them on a computer
> screen. So I can compare results  and make up my mind when there is
> something new. All professional photographers I know (but they are
> few) work the same way and sometimes compare their results. I guess
> amateurs never or seldom do so and prefer endless discussions about
> subjects, in fact articles, they have just read somewhere and that
> they take for granted.
>

I'm not sure what you are saying here, except that if you are saying all
professional photographers take notes, then you are dead wrong.  I'm not
out there any more, but I was for many years.

Read this:  Professional Photographers Take Pictures.  They don't scribble,
except for cutlines if they are news guys.


> When a professional photographer reads something new, he has an
> attitude of prudence, he first wants to know  what and why, before
> accepting (buying) anything. Even with Leica and Hasselblad.
>

I agree.


>
> Regards.
>
> Cedric
>
>
>
>
>
>
>
>
>
>
> 2013/3/25 Sonny Carter <sonc.hegr at gmail.com>:
> > Ted sed:
> > "I DON'T CARE WHO THE HELL THE PHOTOG IS, THERE IS ONLY ONE THING YOU
> NEED TO
> > DO !   and that is shoot successful, interesting and on
> > occasion.......  mind-blowing photographs."
> >
> > If you're a scientist engaged in optical experiments comparing the
> > composition of various silica glass lens components, I could see
> > making careful notes between each shot.
> >
> > If you're doing catalog work, and consistency is important from page
> > to page, even if you are working in various locations,  I could see
> > making careful notes between each shot.
> >
> > If you're shooting stills from an undersea vehicle of say the Titanic,
> > and you do some tests,  I could see making careful notes between each
> > shot.
> >
> > Hopefully, we approach a picture from the other side.  We take our
> > experience, look at what the camera is telling us, and decide if it is
> > telling us the truth.
> >
> > Sometimes cameras and light meters lie.   They really do.
> >
> > Guys like Ted  know when the camera is fibbing.  They don't need
> > notes, or notebooks, or ledgers.  They have it in their heads; maybe
> > in their fingers.
> >
> > If you find yourself fiddling around with a camera, looking at a
> > notebook, then you need to be carrying a photographer's bag instead of
> > pretending to be one.
> >
> >
> >
> > --
> > Regards,
> >
> > Sonny
> > http://sonc.com/look/
> > Natchitoches, Louisiana
> >
> > USA
> >
> > _______________________________________________
> > Leica Users Group.
> > See http://leica-users.org/mailman/listinfo/lug for more information
>
> _______________________________________________
> Leica Users Group.
> See http://leica-users.org/mailman/listinfo/lug for more information
>



-- 
Regards,

Sonny
http://sonc.com/look/
Natchitoches, Louisiana

USA


Replies: Reply from imagist3 at mac.com (George Lottermoser) ([Leica] Technical detail--why?)
In reply to: Message from photo at frozenlight.eu (Nathan Wajsman) ([Leica] Technical detail--why?)
Message from tedgrant at shaw.ca (tedgrant at shaw.ca) ([Leica] Technical detail--why?)
Message from cedric.agie at gmail.com (Cedric Agie) ([Leica] Technical detail--why?)
Message from cedric.agie at gmail.com (Cedric Agie) ([Leica] Technical detail--why?)
Message from philippe.amard at sfr.fr (philippe.amard) ([Leica] Technical detail--why?)
Message from sonc.hegr at gmail.com (Sonny Carter) ([Leica] Technical detail--why?)
Message from cedric.agie at gmail.com (Cedric Agie) ([Leica] Technical detail--why?)