Technical Writer Wanted For The Glue Company

No special skills needed - it's a cut and paste job...

If you have a Facebook feed or other social media connection you'll have had any number of people passing on information from others by simple means - they have pressed a hashtag key or a forward button and flooded the computers of their friends with another political meme or picture of a cat riding a motor mower.

It is the civilian version of what used to be the rip-and-read radio news service that interposed itself between you and a teletype machine. It kept you up-to date, but generally the date was July 8, 1959. Still, it was better than waiting for the newspaper to be thrown into the rhododendrons at 5:00AM next morning, particularly if the news was not what the editor or the owners of the paper wanted you to read...'cause then you didn't read it and never even found out that you didn't read it until much later.

Nowadays we instantly read, hear, see, and possibly taste darn near everything over the computer and a juicy news story will be available over dozens of feeds...but if you look carefully, the dozens of feeds are all saying the same thing. Because most of the writers of the various posts are sitting down by the teletype machine with a pair of scissors and a pot of glue.

It's the same for the technical photographic writing. You may see a dozen reviews of a new camera or lens but eleven of those will say the same thing because they have been derived from a press release or product sheet. It is only No.12 that has anything new because in many cases only No.12 has actually had the camera in hand and pressed the shutter button. Don't be too cynical about the other 11 - there may not have been enough of the new cameras in the country when the call for a tech report came out and the writers have just had to wing it.

You can have confidence to a certain extent in the eleven other reports. If they have not been typo'ed too badly you will get the basic information you need. But if you want to really find out the valuable bits, look for that twelfth piece. It is only the people who have handled the equipment* that will be able to let you have a human view of it.

And then come down to the shop and pick it up and form your own assessment. Judge as carefully as you might, and remember that you are as free to have a good opinion about new equipment as to have  a bad one.

*Sometimes with sticky fingers.

Images: farming on a small scale at Cannington Showgrounds.

Weegee Woulda Been Proud Of Joby

Arthur Felig was not a man to use compact cameras for delicate pieces of ethereal art. His batting record with still life bowls of fruit was woeful. I do not think he ever used a graduated neutral density filter at the seaside in his life.

Yet...he was the greatest blood and guts press freelancer...in the toughest areas of New York in the 1940's...and he used press cameras to do it. One shot, two shots, and then run for it. Run for the car to develop the film pack in the boot and then run for the picture desk of the newspaper.

Arthur...also known as Weegee...had no time for weak equipment, and if you are in the same frame of mind, Joby have just what you want - the Joby Pro Series Hand Grip With Ultra Plate 208.

Heckuva thing to sell - a complex metal casting to bolt onto the bottom of your camera and a rubberised grip to hold it with. I mean, cameras have grips already, don't they? Yeah, but not if you're Weegee class - big handed with tough assignments.

If you need to sling a flash from the left hand side of a camera instead of right in the middle, this is the deal. You screw on a Manfrotto double-thread adapter, a cold shoe, Joby's own locking arm, or any other connector to the top of that grip and the thing is going to stay there without coming off in ANYTHING.

 

You can pop the baseplate onto an Arca-Swiss mount all along the length. You can run a wrist strap or one of your camera stop ends onto the right lower edge of the camera as well as the upper right edge and sling the camera vertically like the old Leica M5. Metz provided this option for years with the metal bracket of the 45-series and it was a blessing. It would be even more so now when we want to keep that damned strap out of our eyes as we raise the camera for a shot.

If you've a mind to, you can attach the grip below the camera for a handle. Raise the thing above the crowd surrounding the murder victim, fire the flash, and run for it*. Weegee would have.

And if worst comes to worst,  that handle and the metal casting make a good mace. A lot easier to hang onto than the grip of your average DSLR.

* Popping a red-hot Press 25 at your pursuers while you leg it...

The Pukka Pack For Particular Persons

Choosing a back pack for exploring the less developed corners of the empire is a delicate task. One must accurately assess the opportunities that will be presented as well as the risks that will be run. This is why our featured article - the Think Tank Trifecta 8 -  will be on the short-list of many adventurers.

The basic idea of the Trifecta 8 is to take enough equipment onto the wild to enable you to capture images of the savages whilst not weighing you down in case you need to make a run for it. Modern thinking has provided us with mirror-less cameras and lenses of reduced size and weight and this is all to the good. Now we have a way to carry them about the person.

Just as Kipling’s cavalryman spent the winter preparing his spring campaign - paring an ounce of weight where he could to extend the range of his mount - so we can reduce the amount of gear we carry. But it still needs to be accessible at short notice when we come across a herd of wildebeest or porcupines.

The Trifecta 8 accomplishes this by maximising the main openings in the case - two lateral flaps and one ventral opening. The two former features allow the user to access either side of a central divider whilst the pack is worn on the back. If it is taken off, the ventral opening gapes wide to allow access to the entire equipment compartment.

Security amongst troublesome natives can be increased by cable-tying the zips of the side panels tighter and only using the ventral access panel.

Note that there is also a dorsal panel at the top of the pack that opens to allow storage of watercress sandwiches and bottles of cold tea.

So the next time you are headed out past the perimeter of the camp - or the range of the Gardner guns - remember to pack your mirror-less camera and lenses in this splendid case. It is professionally - made and will give years of sterling service.

Pip Pip!

Who In Their Right Mind Would...

a. Give their credit card details to an unknown person on the other side of the world for a small camera accessory that they could just as easily buy in Perth?

b. Air-freight a small camera accessory half-way around the world to Perth?

c. Think that they support the conservation of the ecology of the planet while compelling someone to fly a jet aircraft halfway around the world to deliver a small camera accessory?

d. Need a small camera accessory - since the cameras we use have every conceivable function built-in?

e. Stock a small camera accessory that yields about $ 2.00 profit if it sells immediately and $ 20.00 loss if it sits on the shelf for six months?

f. Take pictures that are never again looked at - sitting as they do on hard drives or in computer bodies - with expensive small accessories that have come half-way around the world?

g. Enter pictures taken with small accessories into photo contests that are destined to be seen only by other people who are willing their competitors not to win?

h. Put up photo contests that revert to a fight between users of two different camera systems...and their small accessories from America?

i. Agree to act as a judge at such a contest for the price of a glass of cask wine and some cheese on a stick?

j. Read lists like this?

The answer to these questions is " pretty much everybody I know..." in one way or another.

I have just completed the exercise of pricing up items from international firms for one of my hobbies - building miniature scenes - and then calculating the shipping, postage, handling, and enchilada fees for them. Then I went round to the lady in Myaree who runs Miniature World and bought the little furniture over the counter for less than it would have cost imported. I call that a win - and I suspect that clients of Camera Electronics might be fooling themselves if they indulge in late-night forays with their credit card onto overseas sites. They would do far better to come down to the shop and get the goods in hand right now.

As far as taking pictures and never having them seen, Instagram and Flicker solves that problem, though sometimes the feedback is not quite what we would desire. I'm still debating whether offering images to locally-produced publications is productive or not - so far the only thing it has produced is silence from the editors. This would not bother me so much if it were not for the fact that every time I call round the editorial office they turn off the lights and hide behind the couch. I am starting to get a feeling...

PS: Don't feel bad about reading internet lists. We all do it, and it is forced on us. It is a social media trick they teach in the lectures. At least we are not giving you pictures with dead whales on freight cars...

Tune-Up Time With Manfrotto

How many of us get a tool kit with our new digital cameras these days? In the old film days it was common for the box containing the SLR or rangefinder camera to have a complete tool pouch including a stilson wrench, set of spanners, lens brace, film jack, and a bottle of optical antiseptic. In the case of some Kodak cameras you got a 8-round clip of .30-06 ball ammunition and a toothbrush.

I think we are being done - nowadays you're lucky to get a battery charger and a squidgy little lens cloth with some. Even the instruction manuals are on a CD...or are a web address.

Well, all that having been said, it is refreshing to see that Manfrotto, the famous Italian tripod and lighting accessory manufacturer, has realised that users of their equipment still like to be able to maintain the goods. Their recent carbon-fibre monopod model is a...well... a model of a good product. It works and will keep on working.

The monopod idea is brilliant for anyone who is toting heavy cameras or lenses and needs some relief from the weight. I spend 4 hours shooting dancers on WA Day with a long zoom and a heavy little camera. The Manfrotto monopod I use - an early cousin of this one - takes all the weight out of my arms and puts it down, while not occupying a big triangular patch of floor. Makes the difference between an easy job and a arm breaker.

Well, like some older Manfrotto CF tripods, this one has three lever claps to adjust the sections. Far faster than screwing the sections together like some cheaper monopods. As they are acting on springs, there will come a time when they grow weaker, and need to be adjusted. This is where Manfrotto have been smart - they moulded a plastic box spanner onto a grip and clipped it to the shaft of the monopod.

If the weather changes or the equipment ages, you just tighten up as you go.

Brilliant. Combine it with the Manfrotto 234 or 234RC tilt top and you've got the smartest quick support in town.

The Translucent Mushroom vs The Poop Scoop - A Studio Battle

I was conscious of the anomaly of what I was doing but it was all for a good cause; I was trying to determine which of the new Mag Mod light shapers would be the best for event coverage. I had inveigled Chelsea Bunz - the Steampunk Absinthe Fairy - to come in and pose for head and shoulders shots with the IceLight 2 and Promaster LED 120 portable lights and I thought to take advantage of the chance for some Mag Mod experienmts. They were duly conducted but I am still in a quandary.

For those who came in late, the Mag Mod light shapers are designed to attach firms to portable speed lights and to give either colour, diffusion, or concentration for the flash. I want something that will let me front up to Steampunk patrons of Rigby's Bar in St. Geo. Tce when they have one of their Steampunk Balls and take well-lit portraits in a flash. I need to do full-length, half torso, and head and shoulders.

I most definitely don't want to do it with a tripod light stand or strange umbrella rig. I know this because I have tried it before and found out that in a crowded venue of people having fun, that kind of gear makes me a social menace. I need to be light, bright, and no tripod legs to trip up the dancers.

The Mag Mod Dome is the translucent mushroom. It attaches magnetically to any speed light and provides what can best be described as a bare-bulb effect. Gorgeous in a small room - the light goes everywhere and nothing gets too much of a hot spot. I would choose it unquestioningly for areal estate coverage. The pros in that game know their own lighting better than I do l but I still think the bare-bulb is the way to go.

The other choice - the Poop Scoop - has a more dignified name; Mag Bounce. I know my readers, and I am willing to bet a number of you will ask for this product by the name Poop Scoop. The manufacturers can gnash their teeth...Australians are Australians and this sort of thing happens... It does not detract from the useful nature of the device.

I find it delightful. Bigger than the translucent mushroom, and slightly more daunting in appearance, it casts a harder front of light out to the subject - witness the slightly harder shadow behind Chelsea - but there is still a some illumination that escapes upwards and backwards through the white silicone shroud, and this bounces off walls and ceilings. If the Stay-Puft man was a photographer, it would bounce off him. The fact that it projects more may be the deciding factor for open events.

The joyous thing about the Poop Scoop is the fact that Mag Mod have put two sets of samarium magnets in it at 90º to each other. You can run the speed light sideways and still project out the front of the camera. This means you can alternate between portrait and landscape orientation with a twist of your left wrist. If you're shooting a prime lens with auto focus you never need shift hands to fumble for anything. Just run and gun.

The other joyful thing is that if the event you are covering - Steampunk Ball, family dinner, or wedding - turns violent, and you have to make a run for it...The Mag Mod accessories are mostly made of soft flexible silicone rubber. You can squash them up and stuff them into your pocket as you scuttle for the door.

The Eye Of A Fish - Tokina

I have not reviewed many fish-eye lenses in this column over the years - not for any sinister reason, mind, but really because I am at a loss as to what images will be best captured with them.

I do not swim underwater with the fish and rarely go to pop concerts or inaugurations that might have tens of thousands of people attending them. I rarely go into caverns or cathedrals, and generally do not take the wide view of the place. So for me, the fish-eye view is a novelty.

For others, it can be the exact way they see the world...and I am not talking about haddock and tuna...some people see a wider view than I do. Not surprising, really, as I was fitted with spectacles at the age of eight and have seen the world through frames for the last 60 years.

For those who do see more, the Tokina AT-X 10-17mm f:3.5-4.5 DX Fisheye lens is a wonderful device. It is avaiable for Canon and Nikon mounts - this one is the Nikon version - and is built in the old-school material - metal. Note the slightly bulging front element that is characteristic of a fisheye lens and the fixed compact lens hood.

As we said with the other Tokina lens reviewed recently, the focus and zoom ring action is smooth and well damped and the operation very quick indeed.

A worthy optic for experimenters, interior shooters, landscapists, and environmental shooters. Not exactly a portrait lens, unless your taste in portraiture differs markedly from that of the rest of the world...and from that of the clients. Mind you if your clientele are haddock or you do schools portraits for herring and you can sell  the images, by all means come in and buy one!

As with all Tokina: made in Japan

One Of The Dishes On The Buffet - Tokina

When we get a big-name camera we sometimes get a big name complex...and we cannot see beyond that name.

Members of camera clubs throughout the state are familiar with this as discussions of Nikon versus Canon versus Sony versus Flapoflex start up during the coffee breaks. The opinions expressed range from youthful enthusiasm to senile folly but fortunately there are few fist fights over the subject. Fair amount of snarling, but...

It can be the same with the lenses for the cameras. The big-name enthusiasts argue with each other and in the process sometimes fail to remember that there are other players in the game - and some of them are stars. Sigma, Tamron, and Tokina come to mind...and we're going to consider the latter brand.

I can make a personal judgment of this brand of lenses - I own one. It was purchased when I ran Nikon cameras and I was so taken with what it does that I retained it when I switched systems. It is the constant workhorse of the Little Studio and for good reason; it has a focal length and focus range that is unavailable in other brands , and it is very well made. For interest - you are looking at the illustrations on this column through it - the Tokina 35mm f:2.8 Macro.

But back to the lens in the heading image. Tokina AT-X 70-200mm f:4 PRO FX VCM-S. That's the usual advertising alphabet soup to tell you that it has a big enough image circle to work on all Nikon cameras, an image stabilising mechanism inside, and no aperture ring. You'll see that readily from the upright image, but what will not be evident until you handle the lens will be the weight of it and the solidity of the barrel. The secret lies in the fact that Tokina use metal barrels for their lenses.

The operation of the focus and zoom ring are as smooth as you could ever want. The focusing is internal so there is no pumping of the front element.

In every respect this is a first-class medium zoom lens that deserves your consideration along with the others in the class. The price is likely to be very attractive. I know the 35mm Macro was certainly so.

One other note: Made in Japan.

Don't Be Shortsighted -Try A MIOPS Pic...

I have waited a decade for a straight line like that...you may also have been waiting a similar length of time for an easy way to make special effect shots with your digital camera. Well, the time has come - the MIOPS is here.

Over the last few years there has been increased interest in doing spectacular shots - capture of lightning as it strikes - lightbulbs and balloons shattering - time lapse sequences  - sound and motion activated photography - etc. Some of these images have always been possible - even in the film era -  but the amount of equipment and specialised knowledge to arrange them has been staggering.

As an example, most photographers have seen Dr. Harold Edgerton's stoboscopic pictures and experiments with flash in history books. Or they have seen Muybridge's studies of animal motion. The results are pedestrian now but were revolutionary at the time, and the amount of grear and mechanical setup that was needed to get them was far beyond what you could carry or afford.

Lightning shots have been done for over 100 years, but not reliably and not easily. You generally had to stand out in an open field while Ben Franklin got his kite in the air...Climbing to the top of the church steeple with a metal umbrella in the middle of a thunderstorm was also a possibility but generally it was the sort of thing you only did once...

And chasing pictures of elusive wild animals in the woods? Baits and blinds and trip wires and telephoto lenses and crawling around in a ghillie suit to change the glass plates...The only simple way to get wild animal shots was to sit in a tree during bear season and make a noise like a bucket of blueberries.

Okay. Now it is the 21st century and you have a digital camera with an electronic trigger port. Canon, Nikon, Sony, Pentax, Olympus, Fujifilm....whatever. If it has a socket for a cable release you are in business. You also need a mobile phone - iOS or Android - and a teenager* to show you how to get an app to work on it.

You also need the MIOPS controller. This little box contains the ability to do sound and light triggered exposures  ( There's your lightning and pistol shots taken care of. ) and it will sit there and do the multiple shots over a very long period of time that the time-lapse photography requires. You don't need to sit there and fire the camera every 5 seconds or so - you can go about your business while it does the monotonous task.

You can get it to respond to laser beams of light or to the sudden interuption of a light beam - here's your chance to leave it in the woods for those wildlife shots without sitting up the tree. You can set up a light trigger beam to capture images of intruders. You're only limited by your imagination and several inconvenient statutes...

The MIOPS is powered by a good - sized lithium rechargable battery so that it can be on duty and responding for a long time. It is equipped with a shoe mount as well as a 1/4" tripod screw socket so you can securely couple it to the camera. There are dedicated connection cords for a number of popular camera makes - the one you see in the illustration is for Canon. Bless them, they have made the cord as well as the controls and port covers in bright orange so that you can see them when you are out the back of Doodlakine at midnight on a astro-shoot and it is as black as the inside of a cat. Would that ALL manufacturers of cords, wires, and connectors for studio use followed the same lead.

As far as controlling the controller, that is where your mobile phone comes in. The days of complex codes and strange computer words are gone - Bluetooth couples the MIOPS to your phone and as soon as the teenager gets the app into the phone, you can use it.

Expensive? No. About 60% of what this sort of thing used to cost and about 600% easier to use. And in-store right now - no need to try to find something on the internet. Save your internet time for reading this column...

* Or you could get the Camera Electronic staff to show you how to do it. They are like teenagers but without the sarcasm and eye-rolling.

The Little Black Box In The Corner - Canon CS100

Canon users please draw nigh and give attention. We have a good thing for you.

This blog post looked to be difficult for me - I do not use the Canon system cameras and I am somewhat clumsy with modern file storage and transfers. I trembled at the amount of complexity that I feared would be involved.

Then I read the instructions and looked at a YouTube advertisement. It turns out that what looked like an elephant in the room was the little one from Walt Disney and I need not have feared looking like a Dumbo. This Canon hub is as easy as to use.

Think of it as a 1 Terabyte storage device that you can put files into from Canon cameras or various smartphone devices. It connects to your television to let you store videos or see still files. You fill it up and away you go.

Ideally, the connection to your phones and Canon cameras is wirelessly via WiFi or NFC. They realise that some people have older gear so there are ports in for USB connections and you can feed in standard CF and SD card signals.

You can pump out the electricity to your television, computer, monitor, smart phone, or laptop. You c also command PictBridge printers to make inkjet prints wirelessly. Your production desk will no longer resemble a telephone switchboard in 1932.

As an old darkroom printer I appreciate more and more the streamlined business of digital work, and this sort of easy centralisation can only be good. Thank you, Canon.

Gimmee One'A Dem - Part Five -The Hot Wash-Up

Okay, your friend has come with you into the shop - or perhaps it is the other way round. You may have the whole fam damily in there as well, and that can make for distraction and pressure - better to just keep it to two customers and one sales person. Note: the sales person does not have to be the owner of the shop. The staff are perfectly qualified to help, teach, and bargain, and you gain nothing by waiting for the boss. In fact, you lose time...and if you are not careful you lose standing in the eyes of your mate. Word to the wise...

Assume the best. A comfortable day, room to move, and the sales assistant has had coffee. Let your friend see the three kits on the counter in front of them. If the kits are matched as to lens capability and other general specifications, you can move to the next most important measurement: what does it feel like when they pick it up? This is the point at which the buyer is as expert as the sales assistant or the mentor...because they can feel what feels right or wrong for themselves.

It may be a matter as simple as the weight. Or as complex as the shape of the body grip. Few of these small-frame cameras have a grip big enough to take a full western man's hand with all four fingers engaged. You inevitably have one curled around the bottom of the grip. The other hand can hold the body if you do not have the screen swung out, or at least rest on the zoom ring of the lens. Thankfully, all three have on/off switches that re easy to access and shutter buttons that fall easily under the forefinger. The Nikon has the best two-pressure grip, if you are an old Enfield shooter. ( and less recoil...).

The eyepieces are similar, and as most modern cameras include a dioptre adjustment, they can be quickly brought o the individual's needs. The nose clearance is different for all three, so get your mate to try that out. Funny thing to mention, but noses are individual items...

Are they all reliable? Yes. Is one more reliable than the rest? No. Does it make a scrap of difference in which Asian country the camera or lens was made? Probably not - they have all passed through the cattle race of the Australian importer and that is who you would deal with for any issues.  They are all three reliable, and what is better, that means you are off the hook as far as your mate is concerned.

Some final thoughts: Why did you and the shop hit upon selling a DSLR kit to your mate instead of a compact camera or a mirror-less camera or a waterproof camera?

Well, partly because that is what they asked for...and there is no commercial sense in refusing to sell someone a hamburger when they ask for a hamburger...

Partly because it is the sort of purchase that can grow to greater things in the future. It's happened before. The entry-level buyer goes off and has a whale of a time and comes back and starts to haunt the internet, camera clubs, and shops. The initial little camera purchase becomes a a five-camera system with more long lenses than NASA. More and more gear is sold - more and more new things are tried - and it all ends either in a AIPP fellowship or a messy divorce. Either way our accountant is comfortable.

Partly because to give a person a smaller camera - waterproof or not - is to encourage sandy beach-side disaster. As much as we may want them to carefully ensure that there are no sand grains in the rubber seal or near the extendable lens system, we know what is going to happen. Every summer brings a crop of crunchy cameras back to the shop. The DSLR commands more respect from the user and promotes a bit more caution. Of course when they come in asking for a tiny action camera you can throw caution to the winds and look out the health insurance...

Gimmee One'a Dem - Part Two - The Canon 700D Kit

The One'a Dem series this week will showcase cameras that may be recommended to your mate with safety.

I shall leave the manufacturer's representatives and fan-boy geeks to point out long lists of differences and advantages in their own favourite equipment in an attempt to gain superiority. The commonalities will be:

a. Small - frame cameras. Your mate is a tourist with a family.

b. Moderate 18-55 mm zooms.

c. Automated operation. Your mate is not a great reader of instruction books

d. Actual availability. In-shop now. Your mate can have the camera before he gets on the Boeing.

e. Affordable pricing. We need to leave spare cash for Bintang tee shirts and Jack Daniels at the duty-free.

 

Today's kit is the Canon 700D. A bit bigger physically than the other cameras, and somewhat lighter. Of course, all three cameras have plastic-mount lenses of light construction, but if they are prepared to leave them on the mounts and not wear out the bayonet, the optics should actually do a very good job. The resolution, distortion, AF speed, and CA may not be up to the standard of the L series lens but then neither is it going to be heavy nor expensive. Horses for courses.

The body opens up at the back to swing the LCD screen to the left. A good thing if they are going to shoot with the thing over their head, but a danger if it is going to be taken off on a door jamb. As a mate, you would be wise to get them to reverse the screen and tuck it into the camera back to start with. Disregard the action-photo advertisement where everyone has an screen swung out.

 

Intelligent auto answers most of the novice's needs and you can tell them not to put it off that until they are well into their photography. The machine opens with JPEG, sRGB, and a number of other standard and inoffensive factory settings, so get them to leave well enough alone for now. Do help them to set the clock and calendar so that they can search for photos later on the computer.

 

The factory settings for the video will also be safe enough for when they bring the results back but be warned that you will be expected to sit through an hour of the mates at the BBQ. If you want to distract them, explain the pictorial symbols on the mode dial and let them do macro and portraits.

All cynicism aside, you will be sending someone out with a very sophisticated machine that can grow with them if they take a continued interest. The 18 megapixel sensor is plenty for the camera and the ISO sensitivity goes way higher than most people can use. If this venture proves a success, there is an entire mountain of Canon glass available for this body. If you use Canon, your mate can borrow yours...

Do explain the optical stabilisation routine to your mate, but be conservative. Better that they should steady themselves just in case and with the added help of the OS the images will look good. You might be able to hand-hold 1/2 second on the topmast of a sailing ship in a storm, but that's why you are an icon.

Gimmee One'a Dem - Part One - The Maaaaaate in the Business

I like to think that the people who read this weblog column are astute professionals and keen amateurs. Enthusiasts in art and science - renaissance men and women who can turn their minds and hands to any task. Experts, in short.

Unfortunately, the readers will also be seen as experts by some of their friends who are not as well versed in photography. They may be seen as a resource to be exploited when it comes time to choose a camera. Sort of a walking CHOICE magazine. Someone who can do the hard yards of thinking and make sure that their mate gets something fabulously good for hardly any money at all.

Maaaaaate....

It's not as much fun as you might think. You may indeed be an iconic international superstar ambassador with a string of awards stapled to your CV, but if you put your mate onto a piece of equipment that becomes a disappointment, your name moves from Mentor to Mud. Here's a series this week that will help you maintain your standing in the studio and the saloon bar.

Firstly, be realistic. Is the mate asking you for good advice or bad advice?  That's not as enigmatic as you might think. Some people want you to tell them what to buy because they want to use the goods. Some want advice because they just want to spend money - and will never make pictures. Some just ask to trap you into an argument. You can succeed with the first, and have a good time. The latter two classes of mate will just cause grief.

Secondly, be realistic again - but this time assess whether your mate has the intelligence to succeed with a digital camera. Be as cynical as you please, but keep the answer to yourself. If you send someone out to operate the NIMITZ and they are really only suited to a ten-foot tinnie and a pair of oars, no-one is going to be happy. It's true to say that you never can tell - some people have blossomed into technical geniuses when confronted with the control panel of a modern DSLR, but it is always good to leave a chance open to an automatic escape. Remember that Kodak got rich with the Instamatic camera and poor with the digital...

Thirdly, be fair. You are not the press agent for the camera shop ( I am! ). You are not the shop's management nor the accountant. You are not authorised to offer your mate a great deal on something the shop sells unless you actually own the place...and it is unfair on your part to drag someone in through the front door on the inference that you have the power to compel the owner to discount goods. When it comes to money you cannot be a mate in more than one direction at a time.

You might have wondered about the first part of the title - well, for the purposes of the next few articles, we are going to imagine that your mate is one of the people with little experience of photography...but that they have a need for a " good camera " and enough money to purchase it. We are going to further assume that they have a family, hobby interests, and are going to travel. And that they want you to recommend a surefire winner of a camera kit for them so that they can go to the holiday island/city/mountain top/fiord and bring back winner shots.

We're not going to assume that they read instruction books or internet sites before they buy or use the camera. I mean, why would they? They've got you...

Maaaaaate...

Report From The Trenches - Manuel And The Canon - Part Five

Well, it has been a week since the motor sport workshop up at Barbagallo raceway, and you've been able to read some of the things that Manuel Goria told us about the techniques of shooting. Now here's the final bits of advice regarding the physical business of chasing cars.

a. Where do they race cars? At car race courses. Some are good places for pictures, and some are awful ( guess which category Barbagallo falls in...). When you are in the good looking place, show the good looking place a lot in the pictures. When you are in the dump, concentrate on the car and blur or fuzz out the backdrop. You may need to use a longer focal length for it. Get up high and get down low.

b. The race course organisers and the industry rely on photographers and videographers to advertise their events and draw money to the sport. But they can be strangely partisan when it comes to who gets access to the place. Video crews get more favour than still shooters in the pit areas.

c. Work is required - it is not just a case of plopping down at one point and watching automotive art pass in front of you. Manuel walks about 20 Km per race finding new positions and scenes of activity.

d. Get close to the fence. If you are lucky there will be a hole in it that you can see through, or at least enough image coming through wire mesh spaces to allow you to optically bypass it. Vertical fence elements are easier to avoid than horizontal ones. If someone would cut a hole in the barrier...

e. Lousy weather is always a possibility. Racing cars and wet weather are spectacular, even when they are racing safely. But the business of keeping the camera equipment operating is part of the problem for both manufacturers and users of professional equipment.

The expedients that others adopt - rain sleeves, ponchos, raincoats, housings, etc. are a nuisance to Manuel. He does without them. He is largely waterproof and has come to depend upon the higher-end Canon professional bodies and lenses to have a similar degree of water-resistance.

Other photographers in other divisions of the sport would do well to take note. Water penetration is one thing, dust and dirt strike is another. Anyone who has ever shot pictures at the speedway knows what I am talking about - a shower of gravel is bracing but no good for expensive gear. Likewise for  the shooters who do the drag races, burnout comps, and drift events. Our sensors are delicate things and there is a lot of particulate matter in the air in these situations. No wonder Manuel says that they have Canon and other makers' service representatives at the big car races to do sensor cleaning each time.

f. You think the cars are fast? Consider how fast the photographers have to be in reviewing, selecting, editing, and enhancing their images at the events to get them to the publisher's desk in time for consideration. The amateur has a week to produce a masterpiece - the artist a lifetime. Manuel and the rest of the workers get about a half hour after standing around all day in the sun or rain.

Better him than me...

Now for a final note on this event - a note from the point of view of a neutral observer*. I think the paying customers got fantastic value for their money this time.

Leave out the lunch and the give-aways and the chance to shoot with a zillion lenses and the free prints that Sheryl was offering for the best images of the day. ( Up to A2 if they wanted...). Leave out the special prices on Canon gear that Saul promised - and people could take him up on that for a week. Leave out the fact that the Porsche owners were pushing hundreds of thousands of dollars of toy cars around the track all day. The real value was Manuel.

He is a true professional in several ways. He is in a tough business. He can do that business to a high standard, repeatedly, and to order. He can profess - that means speaking and teaching his knowledge. And bless him, he does. No hiding back trade secrets for fear of people finding out how to take his job away. No mystery talk to make himself look exotic. Just plain speaking, well organised, and to the point. It was a pleasure to listen to him.

Note: I have no idea whether he is an award-winner, international icon, or superstar ambassador. We weren't told that. He was not covered in gold medals like a wine bottle or a North Korean general. He did not puff himself or his business nor ask us to subscribe to his politics, religion, or emotional state. He just showed us how to take good racing car photos.

That makes him the best photo lecturer I have seen in about thirty years.

*Not that neutral. I got lunch out of it...

Heading image: every one of those lens or body caps represents a photographer out there in the boiling sun taking pictures of race cars. Canon and Camera Electronic know how to have a good time.

Panning For Gold With Manuel Goria - Part Four

In the previous weblog columns this week we have mentioned that our motor sport professional - Manuel Goria - insists that the image must be focused. You must fight overexposure, shaky hands, and heat haze to get the focus point dead on where you need it and everything around it pin-sharp.

And now you get to ignore that advice with his next lesson - when and how to pan the camera.

We all know about panning a camera to follow the movement of a passing bird, plane, car, or person. It gives us a chance to have the main subject in focus while everything around it is blurring out. The blur is a stream of motion behind or in front of the thing that we wish the viewer to concentrate on. It's simple to do. Not.

Oh, it is simple to twist oneself around, but trying to coordinate the rate of twist and the change in rate ( plus the change in change of rate...like the firing solution for a battleship...) is the tough part. Close to us needs more and faster movement - further away slows this down. The angle that the subject makes as it moves to us also affects the amount of movement we make - a car approaching or moving away is less angular movement but more focusing. Fortunately, it is a firing solution that the Canon processors can cope with.

The use of a parallel position beside the track may let the shooter get a very clean blur behind the car, and sometimes a degree of blur in the wheel spokes. Up and down movement spoils the effect, however. It seems to be much a matter of chance s the shooter develops skill - Manuel says that it is about a 1:50 chance of a keeper when shooting in a pan.

Oddly enough, panning while use of a slow shutter speed can have the effect of getting a main subject in full even if it is intermittently blocked by spectators or fencing.

Manuel likes to see a bit of a tilt in the images - as long as the attitude of the car in question will support the angle and as long as there is no tell-tale vertical element in the rear of the main subject to give away the illusion. Often images can be given freshness and a dynamic look by tilting. Just don't go mad.

The blurring need not be exactly even - as long as the main image is coherently sharp in the areas that you need to illustrate - helmet, logo, wheel, etc...you can have quite a wild backdrop. Look for helpful colours there.

Final notes tomorrow - Manuel tells about the professional shooter's task actually on the F1 circuit.

Razzle Dazzle 'Em With Canon Cameras - Part Three

Apologies to the lyricists for " Chicago "...I couldn't let that one go. Because that is what you can do with the Canon cameras and lenses at the motor racing track. Here are more thoughts from Manuel Goria for the shooter - and seller - of car images:

a. If you are taking a picture of a car, the car should fill the screen. It should be in the place on the screen that you decide upon. This decision can be based upon art aesthetics or sure knowledge of where the editor is going to put other elements of the design. If you are going to need to have a vertical image, shoot a vertical image. But shoot the car close enough and big enough.

b. If you shoot multiple car images with different backgrounds, you have a chance to sell multiple copies to the owners or editors. Variety pleases.

c. If you are shooting for a sponsor's needs and that sponsor has a logo on the car - or on the track - the logo is the thing you must show. In most instances you will want to show it very clearly.

d. Sharpness is the ultimate test of the salability of any image. It can be lost through wrong movement or technique, through overexposure, or through the heat haze and mirage that affect motor sport tracks.

Note: Barbagallo proved this to all the shooters. Even with magnificent lenses that could come to very sharp focus, too much exposure let the images waver.

e. To get sharper images, a shorter exposure time is needed. To get enough depth of field for sharpness on the contours of the car you may need to use a smaller aperture. Both of these factors may dictate a high ISO - up to 5000 ISO in some cases. The Canon 1DX can do this easily with good low noise, but it is still open to reduce the ISO as far down as you can to preserve quality. As with everything, it is a balancing act.

f. Salable images can be unusual or iconic - if there are structures like Dunlop bridges or famous locations, shoot some of these as they are expected. But also shoot location shots that show where the race is taking place. Accept the fact that some of the best shots happen in front of some of the worst backdrops and plan these shots with a shallow depth of field or a blur.

g. Compositions that do not show all the car can sometimes work, but you have to choose the right car. People who know the shape of iconic cars want to see ALL of it. It is possible to use trackside elements and colours in an artistic motif to make an interesting shot out of an ordinary one - it is all about quick design as much as capture.

Note that Manuel always likes to see the front wheel of the car in sharp focus...unless it is an occasion where he doesn't...and that is tomorrow.