mr moonlight

Lives in United States Miami Beach, United States
Works as a Graphic Designer/Photographer
Joined on Dec 7, 2006

Comments

Total: 189, showing: 1 – 20
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In reply to:

norman shearer: Liken a camera to a hammer and you will understand the import of gear. Now focus on the desired outcome and above all enjoy the journey.

I bought a cheap hammer once. It broke and I replaced it with a much better one, sparing no expense.

Link | Posted on Mar 13, 2020 at 17:00 UTC
In reply to:

Vermeero: I really get the message of this article!
I’m still happy with my Canon EOS 5D which I bought second hand back in 2009, it’s my main camera. I only take pictures in RAW and use Adobe Lightroom so I also can benefit from it’s noise reduction.
For me, this works perfectly fine.
Lately it’s all about the camera that needs to adapt to the user, but hey we are humans so we can easily adapt to cameras as well!

The 5D is one of the best digital cameras ever produced. I still use mine as well. Yes, I do like the features of my newer cameras, but my 5D is the only one I've kept and the only one I'd replace with the exact same model if it broke.

Link | Posted on Mar 13, 2020 at 16:57 UTC
In reply to:

MikeB2000: Seems like a nice camera, but it's expensive and limited to 35mm equivalent. For anyone interested in a fixed lens camera, do you also carry an ILC camera with you for those inevitable opportunities where you need a wider angle and/or telephoto? I'm asking because, as an amateur, I would feel handicapped without having a range of, let's say, 24-80 equivalent for "walking around" focal lengths.

There's 2 great conversion lenses, but a fixed lens camera isn't for everyone. Personally, I'm used to shooting with primes and like to go the less is more route. The less gear you have to lug around, the faster you can work. I can grab just my X100 and go. No need for a camera bag or anything else besides a few extra batteries. Adding more gear doesn't equal better photos, but being forced to think about creative ways to work with one focal length can.

Link | Posted on Feb 5, 2020 at 18:08 UTC
In reply to:

Jhaakas: Seriously, $1399 for a fixed lens P&S? I get the convenience part but what makes this become more expensive than an milc? !!

The X100 series is a premium camera, so you're going to pay a little extra for that. The main advantage is that with a fixed lens, you can optimize the camera for just that one lens and keep the whole package smaller. If you don't need any other lenses and are fine with the wide/tele adapters, the little extra you pay is worth it. It's not that much more than what you'd probably pay for a camera with similar features + a good lens.

Link | Posted on Feb 5, 2020 at 17:55 UTC
In reply to:

MrHollywood: No IBIS??? Why can't anyone get this segment right??? Fuji continues to cripple this line of cameras in much the same way that Ricoh continues to cripple their GRIII (no finder and no flash and tiny buffer).
If Fuji had updated to IBIS, this would have been the king of prime-lens compacts.
Another "they blew it" entry from the shortsighted designers joins the heap along with Nikon's Z cameras (no vertical grips and single card slot) and the latest gripless D780.
Do these people sit down and say, "Well, we have a great camera here. Now how can we screw it up?"

IBIS adds weight and takes up space. Personally, I'd rather not have it and have a lighter smaller camera. IS works by having either the sensor or an optical element that moves to compensate for shake. Any movement of the sensor or a lens element means that you need a larger image circle to cover the sensor. This means a larger heavier lens or a smaller sensor. I don't think the trade-off is worth it.

Link | Posted on Feb 5, 2020 at 17:50 UTC
In reply to:

franzel: Great machine .

The price is dictated by Apple's desire to sell iMac Pros , though .
I don't think their is a market for an overpriced tower with an all-in-one as the affordable option .

That, and OSX has lost too much of its backwards compatibility, making Macs more non-pro and! niche than ever .

@black pearl
That's really what it comes down to. How much productivity would I lose taking the time to build my own machine? What if it breaks down. I can have another Mac on my desk and be back up in running in a few hours with little work from me besides driving down to the Apple store and back. I could hire someone to build me a machine, but then I'll end up paying more. If I needed the processing power, it's kind of a no brainer.

Link | Posted on Dec 11, 2019 at 18:09 UTC
In reply to:

GabrielZ: The X100 series needs only 3 things to be perfect for what it is...a new lens (very likely to happen) weather sealing and image stabilization, either optically or in-body. It would be nice to get at least 2 of these in a next-gen model🤞

Hopefully a new and faster lens! Weather sealing and IS also a plus. I never had much of an opinion on tilt screens, but after shooting with the Canon 6DII, I love them. Whatever the updates are, I hope they arrive soon!

Link | Posted on Mar 28, 2019 at 22:43 UTC

Cr*p in cr*p out. No surprise here. Some of the greatest images in history have been those published by News outlets who have hired professional photographers to take them. H.s. Wong, Forman, Jeff Widener, Kevin Carter, Malcolm Browne, Nick Ut,... The chances of a random person with a camera taking a high quality image that will stand the test of time is slim to none. It's sad to see higher quality news having less value these days.

Link | Posted on Jan 4, 2019 at 00:27 UTC as 21st comment
In reply to:

WillWeaverRVA: This might be the first Lomography rebrand of ancient film that actually produces decent-looking pictures.

"nothing beats watching your negatives come out after you've developed them yourself." except for popping in a card and downloading them of course!! ha ha!

It's sad to see film become a thing of yesterday, but I must say that experiencing the transition to digital was quite interesting. I remember reading my Time Life photography books and there was one section on the future of photography. Boy were they way off.

Link | Posted on Nov 9, 2018 at 00:03 UTC

It might be interesting to see if smartphones, being fixed lens cameras, has had an effect on the popularity of dedicated fixed lens cameras like the X100F.

Link | Posted on Oct 12, 2018 at 18:26 UTC as 6th comment
On article Pro Services: Are they worth it? (151 comments in total)

I used to be a CPS member and the service was outstanding. Repair turnaround times are ridiculously fast. I once sent a lens out on Monday and had it back Wednesday morning. On the other hand, there's a limit to how fast you can physically ship a lens out, get it repaired and get it back. You have a shoot the next day or even the same day, and a piece of gear isn't working, there's not much you can do besides rent or buy. Now I just have multiple back ups and cross coverage of focal lengths, so if something goes down, I can live without it for a few weeks. Obviously it costs more to double up on gear, but there's less worry. A 24, 35, 50, 85, 135 and 200 can all be covered by a 24-70 and 70-200. You can double up with consumer lenses to keep costs down if you need.

Link | Posted on Mar 12, 2018 at 20:49 UTC as 20th comment
On article Why brand market share shouldn't matter to you (547 comments in total)

When it comes to buying into a system, I figure a huge portion of the advertising is aimed at new photographers. Even though most of them will not be buying higher end professional lenses or gear for years, it's important to get them interested and confident in whatever system they are buying into. For all of us who are pros or serious amateurs that are well invested into a system... there's little chance of us changing. I shoot Canon and any marketing they do on me would be wasted $$ as I'm already hooked. I'm not going to jump ship at the cost of tens of thousands simply because Sony or Nikon's current flagship camera has a few nice features that Canon doesn't have yet. Over the years, I've seen very very few photographers ever switch systems.

Link | Posted on Mar 12, 2018 at 14:55 UTC as 27th comment
On article Film vs Digital: Fashion photography shootout (404 comments in total)

Film, enlargers, darkroom space, chemicals, time... are all additional costs that really add up and it's not something most clients are willing to pay a large premium for. While I love shooting film, it's just not practical for me to use it.

Link | Posted on Jan 20, 2018 at 05:28 UTC as 125th comment | 3 replies

I used to be a member. I didn't use it that many times, but when I did, I had my gear back in 3 days. Meaning I sent it next day air on Monday evening for AM delivery, had it back in my hands Wednesday morning. Can't get better than that. I never needed any loaner gear since I have backups of everything. Even a next day loaner can be a day late.

Link | Posted on Nov 14, 2017 at 04:05 UTC as 2nd comment
In reply to:

Flat Earther: Who needs EXTREMELY ACCURATE colors?

Accurate color is pretty essential if you have a large workflow and don't want to waste ink/paper. My workflow gives pretty accurate colors straight out and if I do need to adjust, it's slight and the second print is dead on. My NEC monitor is pretty much, WYSIWYG.

Link | Posted on Nov 4, 2017 at 21:42 UTC
In reply to:

BobT3218: I don't want to have to fiddle with a monitor to get it right? I want a monitor that provides correct colours straight out of the box and stays there, in other words, a plug-n-play reference monitor. Is there such a thing?

Closest thing I've used is the NEC. Great monitor and very accurate. Calibrating will obviously give you better accuracy, but out of the box it's pretty close to printing what you see on screen. Of course you have to have a good printer too.

Link | Posted on Nov 4, 2017 at 21:38 UTC
In reply to:

dash2k8: I've never used a textured background before and admit my complete lack of knowledge in this area. Could someone tell me the benefits of using a physical textured background versus green- or bluescreen and then applying it in post? Seems to me that for the same amount of work setting up the background (actual background vs bluescreen) a post-produced background is much more flexible (as long as the masking is done right) and you can get any kind of background imaginable. I fail to see the usefulness of this product.

Besides the additional photoshop work involved with green screens, it's nice for the client to be able to see what they're getting during the shoot. Plus it makes the session feel more unnatural to your subject with a big green background behind them. A few hundred bucks for a backdrop isn't much if it's a timesaver and you're a working photographer. Plus, I like the way it's curved. That will really make a difference when you're in a cramped space and you want to get different angles or you have a larger group.

Link | Posted on Sep 27, 2017 at 19:44 UTC
In reply to:

dash2k8: I want that flash! So small yet so powerful, why hasn't any of the major brands made something like this yet? Canon, Nikon, Sony et al., are you guys seeing this!?

Most likely made by Graflex.

Link | Posted on Jul 3, 2017 at 18:37 UTC
In reply to:

talmy: I've seen plenty of TV shows where you can hear the film advancing in a DSLR. Don't expect any accuracy here in a horror flick! And possessed Polaroid film has shelf life measured in hundreds, if not thousands, of years.

Since many cameras have a fake film advance sound, I give them a partial pass on that one.

Link | Posted on Jul 3, 2017 at 18:30 UTC
In reply to:

Steve in GA: If you try to use logic to explain a film like, "Polaroid", you're missing the point.

Zdman, Nightmare on Elm Street was totally realistic.

Link | Posted on Jul 3, 2017 at 18:25 UTC
Total: 189, showing: 1 – 20
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