Philosophy The Devil is in the details, or not.

JensM

Hall of Famer
Got three blinding flashes of the obvious, over the 24 hours that was Sunday.

First flash:
SOOC moon.jpg Which turned into this Moon.jpg

This was based on not doing my due dilligence, just running the G9 on apperture priority. I am not a very accomplished starry photographer and have to date made exactly one moonshot that I am somewhat satisfied with. This is not the one, but I liked what I saw outside and hurried to get it on the SD card.

The basic premise is a rather clichee shot of the moon through the branches. I have a idea that mastering the clichés to some level will bring some sort of general understanding to the topic. Clichés have become clichés for a reason, and should probably be investigated based on that.

Second flash:

stump.jpg

I like my oldies, to some extent both lenses and cameras, and have worked a bit with the G3/14-42 PZ since I got the G3. One of the lenses I haven't used much at all is the venerable 14-45, the original Lumix Kit lens. But there are enough of fellows that has sung its praises, so hey-ho off to town I go. Holding a slight look on shutter speeds and such when taking the combo into the garden for a small stroll with the beast and loading off the result into LR after a pleasant time. Going through the shots it is fuzziness galore, followed by tugging of hair and beard and what not, pondering what the duck went wrong.

Sloppy technique, based on shooting somewhat unsupported one handed off the screen was one possible solution, and thoughts about how bad the stabilising effect on the 14-45 was, was another... Turns out I have horsed around with the lens earlier, and by some notion turned off the OIS, combine that with the sloppiness of the shooter and there are absoulutely possibilites to muck up the shoot.

Third flash:

lightpost.jpg

On my way to bed last night, I looked out and saw a very nice light foggy scene outside, and did an about face in the stairs, grabbed the G9 which already had the PL50-200 mounted and out on the terrace I went, didnt look on nothing, just got some frames, put the camera away and called it a day. When doing post after waking up, I thought it was rather mushy even after running it through both Topaz Denoice and sharpener. Lo and behold, I hadnt set the cap on the auto ISO after doing a hard reset on the camera, so the camera ramped the ISO up to 12800, and that is rather mushy, and something I know is mushy, because I have experiemented with the ISO earlier on, and normally have it capped at 3200.

The moral of these flashes of the obvious, is that the devil is in the details, and I should probably pay some attention to said details, when the scenes are less than optimal. Fully trusting the great automats that are todays cameras is normally good and great, but they need sustainable inputs into their systems.

I normally have some sort of though-process going on when it comes to the exposure triangle, which regularly have me messing with the exposure compensation, which I also did on the moon shot, but mostly for these instances my brain farted and let loose the automatic stuff, or for flash 2, turned it off... :unsure:

I take it with good humour and as a learing experience and not more seriously than making this post, hopefully for some sort of discussion and/or disclosure of other fails to enlighten and/or edumacate and possibly entertain other parties amongst the fine fellows aboard this splendid forum. :drinks:
 
In 1994 I spent 37 hours waiting for a large, rare geyser in Yellowstone that had reactivated after nearly 20 years of dormancy. I did get to see it. I had set up my Mamiya 645 on a tripod so that I could watch the eruption without having to look through the viewfinder. The eruption was great, but when I developed the film all the shots were out of focus. Apparently I had bumped the focus ring and not realized it. I should have double checked the viewfinder at the start of the eruption. Doh!
 
I have a couple of thoughts on this, but it's something of a rough draft for now ... Let's see what I can make of it today.
  1. If the devil is (only) in the details, we're *not* talking about technique. In a nutshell, technique is everything - as we've witnessed, you can miss the best of opportunities by committing a small handling error (been there, done that - time and time again). And you can fail to catch the most amazing sights adequately if you frame or compose sloppishly - it'll not be a good image, period (even if, in some cases, cropping may save it, or some of it). The best gear doesn't save you from getting it wrong. So, again, it's all about doing it right.
    Good technique ("shot discipline") should be part of what you *enjoy* about the process of photography - because it's the essence of success.
  2. Your technique has to fit *you*! There's no one-size-fits-all approach here. Your way of shooting has to become sort of second nature, something that fits your vision as well as your abilities, innate or acquired. It's only logical that some gear will fit your technique, some will not - especially so if you don't take the time to learn or even develop a technique that brings your best capabilities together with the best capabilities of your gear.
  3. It always pays to know your gear and work to its strengths as well as curb its disadvantages.
    So, strive to get to know your gear, at least insofar as your way of photography depends on its handling and capabilities. If you don't pay attention to what might pass for "details" in this respect, you'll be disappointed more often than not. This also means that some gear won't help you achieve your vision because it *can't* - so you either have to adjust said vision (easy to say, painful to do) or think about what (type of) gear will help you do what you want to do.
    If you buy stuff you can't handle (or are not willing to learn how to handle), it's absolutely futile to expect gear to solve your problems, perceived or real.
  4. This boils down to: Practise! Shoot as much as you can, and get to the bottom of what *you* can do with *your* gear. There's an urban myth that's called the "10'000 hours to proficiency"; thankfully, neurophysiology tells us that it's more like, "get it right seven times in a row without thinking, and you're good" - but that only holds true if you can do this *every* time you pick up a camera (or, e.g., a musical instrument and play that pesky piece you always struggle with - flawlessly). In my martial arts days, we settled for 500 to 1'000 repetitions to get something "down", make it routine instead of something you had to piece together in your head before executing it. I reckon this means 500 to 1'000 keepers with a piece of kit or a combo to be certain you're in control, though familiarity (e.g. within a brand or paradigm) will help.
    As an aside, even though this may sound counter-intuitive, variety actually helps to a certain extend. If you can do your thing no matter what gear's in your hands, you can be sure of one thing: *You* can handle "it". If some (slight) error doesn't leave you baffled but makes you instantly adjust to the issue as well as aware of the options at hand, things are on the right track.
[LOL - in the end, I deleted most of what I had written. Insight comes in small packages ...]

M.
 
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