Fotografia de rua

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Fala-se muito hoje de street photography, é um saco onde tudo se mete. Há contudo, não só na street photography bem como em qualquer outra área da fotografia um elemento crítico para que a imagem tenha, de facto, algum valor: o sujeito. Street photography não é fotografia produzida na rua. Street photography é fotografia produzida na rua, cujo sujeito ou ação é relevante, transmite inequivocamente a cultura de um lugar ou de uma cidade e é tirada no momento certo (decisivo dizia Bresson). O resto são cenas de rua, desinteressantes, perigosamente pretensiosas.

Fotografia: London, UK. West London Tales

What happens at ISO 20000?

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What happens at ISO 20000? Well, pretty much a bit of grain. These photographs were taken with available light – believe me “available” is an overstatement. Two or three 40W lightbulbs, scattered along the stage, musicians moving all over the place. Even at f1.4 things were hard. So cranking up the ISO was basically the only way the get this right.

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For those of us that still remember film, being able to record an event under this sort of circumstances with such detail and with this little amount of noise is a nothing short of a revolution.

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If there is something the digital age has brought to us is the ability to still have your job done even under extremely difficult scenarios. Of course, speed, resolution and the lot also have improved.

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All these photographs were taken at 20000 ISO. I know, you want to me let you know what camera did I use, lens and all that. Rest assured, there are a few cameras (and some of them aren’t full frame) that can do this. But, can you?

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Are you brave enough to crank up the ISO and stop complaining? Try… you will be surprised.

Have a great 2018!

Review of the Profoto A1 – The Future in Mobile Flash? By Tina Eisen, Lens Rentals blog

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A couple of months ago I got my hands on the newest addition to the Profoto family, the Profoto A1. The first on-camera flash of the Swedish brand, which can be doubled up as an off-camera flash and as an air remote with built-in TTL for triggering additional A1 units, as well as the other models of the Profoto universe.

As one could imagine, this announcement came as a surprise to many, as Profoto is known for creating premium studio strobes, particularly their Pro Pack systems, which outclass (and out price) much of the competition.

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Being 99% studio photographer, I had my reservations. A speedlight? Oh, no way, speedlights make everything look so artificial! But then, Profoto is known for their superb quality of light, so I might just give it a shot in the hope to have my prejudice proven wrong.

More here:https://www.lensrentals.com/blog/2017/11/review-of-the-profoto-a1-the-future-in-mobile-flash/

What’s in a photo?

Terror

Terror é algo a que nos habituámos nos últimos anos. Sabemos que nenhum lugar é seguro, nenhuma cidade está a salvo. Esta fotografia retrata, de forma teatral, a potencial ameaça que todos enfrentamos nas nossas ruas, aeroportos, teatros, ciclovias. A postura do esqueleto, misto de admiração e terror, parece contrastar com a calma impassível dos muçulmanos que assistem aos movimentos da marioneta com crítica atenção. Os muçulmanos não são todos terroristas, longe disso – sabemos que a maioria do povo muçulmano não subscreve o terrorismo – mas a associação dos elementos nesta imagem parece querer levar-nos a tirar conclusões simplistas, imediatas.

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No mesmo cenário, momentos antes: uma criança crescida demais aninha-se como pode num carrinho de bebé, escondendo-se atrás de um saco gigante de M&M’s, olhando de forma medrosa, desconfiada até, para o esqueleto. Será este um sinal dos tempos? Assimetrias galopantes entre cidadãos do mesmo país, miséria, quase fome e excessos convivendo lado a lado?

Canon EOS 5D Mark II, Canon EF 70-200 F4 L USM. Leicester Square, London.

 

Pixel peepers, how much resolution do you really need?

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How Much Resolution Do You Really Need?

By Bing Putney on October 11th 2016, SLR Lounge

 

The spec sheets on today’s flagship digital cameras are impressive to say the least. Nikon offers 36, Sony 42, and Canon’s 5DS a staggering 51 megapixels. And that’s just right now, and that’s not touching the likes of Hasselblad and Phase One 100MP offerings. Ever since digital cameras began to supplant film as the industry standard, resolution has been the headline feature of every camera along the way.

The trend of packing more and more pixels onto our image sensors doesn’t seem to be slowing down, as every year we marvel at the newest staggering megapixel number, only to see that number surpassed mere months later. However, in this relentless contest for king of the resolution mountain, it seems rare that we stop and ask the question: how much resolution do we actually NEED?

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Naturally, the answer to this question will be a personal one and dependent on a number of factors, but there are a few constants that can help you as a photographer, to answer it for yourself. For example, we have standards in place to describe the abilities of the human eye, and unless your intended audience is a nest of bald eagles, these guidelines can suggest the point of diminishing returns, resolution-wise.

What Is Resolution?

First, it’s important to understand what we’re talking about when we describe the resolution of a photo. Resolution is essentially the ability of the human eye, camera sensor, printer, or screen to differentiate between two points. To calculate this ability, you need two key pieces of information: the distance between the two points, and the relative viewing distance from those points. Imagine that you’ve lit two candles, placed them 1 foot apart, and drove a mile away from them. At this distance, you would most likely be unable to tell if you were looking at one candle or two. In order to see that there are, in fact, two candles, you would need to move them further apart, or get closer to them.

Keep reading here: https://www.slrlounge.com/how-much-resolution-do-you-really-need/

 

 

Um edifício icónico, parte II

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Mais um par de horas, ao nascer do sol, à volta da estação de camionagem de Viseu. Não me canso deste edifício, acho que ainda teremos parte III, centrada nos utilizadores e na sua interacção com o edifício.

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Para já ficam aqui mais uns quantos momentos, registados na pacatez de uma manhã de domingo de um outono ensolarado e anormalmente quente.