Harry Flashman

Wednesday, 19 November 2014 16:18

Upgrading cameras

Replacing one’s camera is almost as difficult as upgrading your car. However, cameras are much cheaper than cars!

A couple of weeks back I received a very nice letter from one of the readers, and it was very pleasing to read that someone does actually read the column. The letter was as follows:

Dear Mr Flashman,

Firstly, I would like to say how much I enjoy your weekly articles in the Pattaya Mail. Please keep up the good work!

Secondly, I am writing to you in the hope that you can give me some advice and guidance.

I currently have two cameras. One is a Sony DSLR A300 (with two lenses). One being a Sony SAL 55200 (55-200 mm lens) and the other a Sony 3.5-5.6/18-70 mm lens. This camera is a few years old now and I tend not to use it that much as it is quite heavy & bulky to carry around. For the last couple of years I have tended to favor my other camera which is a Panasonic Lumix DMC-TZ20 with Leica lens. A compact camera that takes quite good pictures and is easy to carry around.

Lumix FZ1000.Lumix FZ1000.

However, I am thinking to trade both these in and upgrade to a Nikon D5200.

So firstly, what do you think of my decision? Secondly, could you recommend a retail outlet in Thailand that could accommodate my request? If you have an idea of trade-in values that would also be helpful. I suspect that somewhere in Bangkok would be my best option although I live in Pattaya.

Thank you for taking the time to read my mail and any alternative ideas and options that you may have would be much appreciated.

Barry

So what should I be advising Barry? The first piece of information I really needed, unfortunately Barry didn’t include with his email. Just what does he want to photograph? Action? Landscapes? People? Glamor? Macro?

Looking at his DSLR Sony he has lenses covering 18 mm through to 200 mm. This is limiting his options. Definitely not the camera to use for shooting tigers! The other end of the scale at 18 mm isn’t bad, but this is also not the camera to use for dramatic landscapes.

Like many photographers, Barry has become tired of lugging the DSLR around and backed up the Sony with the Panasonic Lumix DMC FZ 20, one of the early Bridge-cameras with the non-removable Leica lens. With a range of 35-410 the Lumix gives an enormous range and is much lighter to carry.

For me, I would forget the DSLR with interchangeable lenses and the attendant weight problems. With today’s compacts/bridge cameras, the image quality is perfectly adequate, unless you want enlargements the size of a barn door.

I agree that trading in both of his current cameras for something newer makes sense. But I don’t agree that the Nikon D5200 should be the next step as this is back to weight and bulk.

A Panasonic Lumix FZ1000 would be my choice, and has received very favorable reviews. For example, the verdict from E-Photozine:

The Panasonic Lumix FZ1000 is one of the cheapest 4K video recording devices available, and offers an array of impressive video features. However, if you don’t want to record 4K video, and just want a camera capable of taking excellent photos, with a good zoom lens, then the Panasonic Lumix FZ1000 certainly delivers here as well. With a relatively large 1 inch 20 megapixel sensor, a bright Leica 16x optical zoom lens with f/2.8-4.0 aperture, and full manual controls, the camera is capable of producing excellent image quality. Build quality is very good and the camera has a lot in common with the Panasonic Lumix GH4, the top of the range Micro Four Thirds camera from Panasonic. There are numerous external controls and buttons, as well as full manual controls, but you can also use the camera in auto mode, or one of the scene modes and still get great shots, as well as high quality video.

Trade the two cameras on a Lumix FZ1000 at one of the camera stores in MBK Bangkok would be my advice. (And yes, I use a Lumix as my camera of choice these days too.)

Wednesday, 12 November 2014 15:28

Wounded camera syndrome

There is much similarity these days between mobile phones and digital cameras. I was reminded of this the other day when my daughter managed to drown her (reputedly waterproof) phone. Cameras also do not swim well either, unless it is an expensive Nikonos. Neither piece of modern technology does well in the dropped stakes either.

Wednesday, 05 November 2014 16:58

B&W without the dip and dunk

In the days gone by (pre-digital) it was almost an apprenticeship for all budding photographers to go through developing and printing their own black and white photographs, known as D&P.

Wednesday, 29 October 2014 16:38

Time for a time capsule?

According to the Associated Press, a time capsule was opened this month in Boston in the US. “A Boston time capsule dating to 1901 contained letters, photographs, newspaper clippings, political campaign buttons and a presidential message on U.S. foreign relations; archivists said Wednesday. The shoebox-sized capsule was removed last week from the head of a lion statue that has long stood guard over the Old State House.”

Wednesday, 22 October 2014 15:26

Kirlian cameras and Electrography

The subject of Kirlian photography has come up again. This I found interesting as while Kirlian photography was a fad a few years ago I thought it had since died.

Kirlian photography is not new, despite all claims to the contrary. It should be more correctly referred to as the ‘Kirlian effect’ was demonstrated at the end of the 19th century and was then known as ‘electrography’.

However, it did not get the publicity it needed to catch on until a Russian electrical technician Semyon Davidovitch Kirlian and his wife Valentina Kirliana published a paper in 1950 in the Russian Journal of Scientific and Applied Photography in which they described the process, now known as Kirlian Photography.

‘New Age’ followers seized upon this as being able to photograph the ‘aura’ of a person, and, at long last, show to the unbelievers that all the ‘bio-energies’ had a basis in ‘science’. Kirlian photography has been linked to telepathy, orgone energy, N-rays, acupuncture, ancient eastern religions, and other paranormal phenomena.

I am not going to get embroiled in semantics as to whether the Kirlian effect and the aura can be used for medical diagnosis (as is claimed), or whether Reiki practitioners have sparks coming out of their fingers when they are ‘healing’. However, I can reveal what is being recorded on film, and what you need to have your own ‘Kirlian’ camera.

First off, the Kirlian effect is ‘real’, but what is being recorded is not paranormal, but is a phenomenon called ‘Corona Discharge’. Corona discharge is seen in lightning and the sparks that come off your fingers after you walk on nylon carpets. This used to be done as a party trick by Nikola Tesla (1856-1943) who used to introduce new discoveries with his body glowing and sparks flying from his fingertips. Tesla, by the way, was a brilliant inventor, and it was he who introduced the concept of alternating current, used today, rather than Edison’s direct current.

The corona discharge that is recorded by the Kirlian photographers requires the object being subjected to an electric current and the size and color depends upon moisture that is present on the skin, and this is why inanimate objects do not give off a discharge as do animate ones.

Terence M. Hines, a psychology professor says, “Living things (like the commonly photographed fingers) are moist. When the electricity enters the living object, it produces an area of gas ionization around the photographed object, assuming moisture is present on the object. This moisture is transferred from the subject to the emulsion surface of the photographic film and causes an alternation of the electric charge pattern on the film. If a photograph is taken in a vacuum, where no ionized gas is present, no Kirlian image appears. If the Kirlian image were due to some paranormal fundamental living energy field, it should not disappear in a simple vacuum,” he said.

One team that spent some time examining the Kirlian effect has found a list of 25 factors that can affect a Kirlian photograph, including thickness of the skin, recent physical activity, and yes, mental stress. All of these affect the amount of moisture on the skin. Other factors include voltage level, voltage pulse rate, atmospheric gasses, the internal force and angle of the object held against the film, and barometric pressure. In effect, a single person can come up with different ‘auras’ simply by changing finger pressure and the amount of moisture found in the skin. That’s the ‘science’. As for the psychic energy claims, you can make up your own mind! Just be careful that the tree you are hugging isn’t giving off a purple aura.

To make Kirlian photographs you need an HV/HF generator, a Polaroid SX 70 camera instant Polaroid film (3.25" x 4.25", type 669 or equivalent), instruction manual (click to view pdf file-81KB), interpretation guide (click to view pdf file-540KB), 11x17inch Laminated Poster, and “Life’s Hidden Forces”. Specifications - Shipping Weight: 7lbs, dimensions: 15in x 11 x 6, Power: 110/120V or 230/240V, please specify). And all that, which will allow you to make money at ‘alternative’ fairs will only set you back USD745. Bring your own tree.

We have become a nation of narcissistic voyeurs. Ever since we realized that we could hold the smartphone up to a mirror and capture our own likeness, there has been an earth shattering change in photography. This has been exacerbated by the newer smartphones that can take a picture backwards, so we don’t even need a mirror! In fact, just how often do you now see young women applying their make-up, using the viewing screen while holding up their phones? All the time, is the correct answer.

Wednesday, 08 October 2014 16:03

A bag full of lenses

Pro photographers do not rely on one zoom lens, even if it could cover 18-800 with one flick.  Pro photographers will have many lenses, but there will be enough prime lenses to almost cover that 18-800!

Wednesday, 01 October 2014 17:06

Are your photos sharp or soft?

Two common words in photography are ‘sharp’ and ‘soft’, and photographically speaking there is an enormous difference between them.  Those terms are the ones reserved for describing whether the final image is well focused.  We speak about ‘sharp’ focus and ‘soft’ focus and everyone knows what is meant.

Wednesday, 24 September 2014 15:32

The impossible Andy Warhol

Last week I covered the amazing Weegee. A photographer who never flinched taking shots of people who had been shot. Weegee was photographing the end result of people’s misfortune. He did not make the viewer wonder about the situations he photographed. By comparison, let us look at another artist/photographer who is remembered for his ability to record the human psyche in all its shallowness (and complexity). This is Andy Warhol (1928-1987), a complex character himself, and probably even deeper than Cartier-Bresson.

Wednesday, 17 September 2014 16:37

The photojournalists’ creed

It has been said for many years that the photojournalists’ creed is “f 8 and be there!” Interestingly, nobody knows who first uttered those words and applied them to journalism, but they remain pertinent, even today in the instant digital age.

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