(转贴）大底综合症 (Big Camera Syndrome and Clients)# PhotoGear - 摄影器材
m*l
1 楼
越来越多的pro开始走出大底综合症，下面转帖一个pro的文章。作者是英国人，获得过
不少奖项，包括2012年1月的SWPP and BPPA Photographer of the Year Awards （
Society of Wedding and Portrait Photographers）。
原文链接：
http://lindsaydobsonphotography.com/blog/big-camera-syndrome-an
不肯看原文，而且死守大底的，多是有大底综合症的新手，得治。
原文黏贴：
I have a friend who manages a camera store and the question he is most often
asked is “which camera takes the best pictures?” The only viable answer
to this is “any” simply because the picture will generally look fairly
similar irrespective of the camera, given the good standards of most modern
equipment. A big expensive camera will instead offer additional features
such as weather sealing, ruggedness, a rapid frame rate and high-speed focus
, and often enhanced ability in very low light. Those are rarely attributes
which are relevant to the casual hobbyist and according to the friend I just
mentioned it’s not uncommon for a novice to make an extravagant purchase
only to return to the store and say “this camera doesn’t take very good
pictures”. At the expense of labouring a very well worn point, photographic
excellence is directly related to an individual’s technical skillset,
creative vision, and experience. Photography is rather like being very good
at golf or tennis – it takes a number of years, quite a bit of tuition, and
endless practice before one starts to reach competency.
With growing professional interest in the latest crop of compact mirrorless
camera systems there have been several debates about whether or not paying
clients will express concern if their chosen photographer isn’t using “the
big stuff”. There’s no doubt at all that most of the public at large do
still believe that the camera creates the beautiful images that they are
paying for when they enlist a pro. That statement won’t be lost on many of
us, since it suggests that the only real requirements to becoming a pro
shooter are an expensive camera and lenses. If that were the case we would
all be happily doing this for a living yet each year thousands of hopefuls
will try and sadly fail. After all, it would be a little strange if I could
cut and tailor a business suit simply by virtue of the fact I own some good
shears and a well specc’d sewing machine. The thing is that a camera, no
matter how fancy and expensive, is firstly just a box with an aperture,
shutter, and an ISO/ASA switch. It can only record what the photographer
lights, composes, and directs. In cost terms the latest technology enables
us to shoot at higher speeds if we need to, and to shoot in wet and dusty
conditions, and to shoot in lower light that we have in previous years.
Those are generally the features which determine whether one camera will be
more expensive than another. But those things will not make you a
photographer.
Large or small, we choose our cameras according to the kind of work we do.
Sports photographers will invest in a rugged weather proofed camera body
capable of high frame rates and rapid buffering, whereas a wedding or
portrait photographer will favour decent lowlight capability. But these
cameras are extremely heavy and cumbersome, as are the rugged professional
grade lenses we must fit to them. The consequences, over time, can be injury
to the photographer and fatigue. I know so many photographers, just like me
, who suffer RSI and joint injuries to the hands, fingers, wrists, back and
neck. These can be career limiting problems unless we address them, and
thankfully good-quality cameras and lenses are now available at a much
smaller size (though not necessarily at a smaller price point). Sensor
technology is such that they can record good detail and accurate colours in
the same way that their larger counterparts can (in fact they often have the
same sensors) and some are weather sealed such as the Olympus OMD EM-5. And
lenses to fit these smaller systems are in many cases superlative, often
matching the huge lenses we’ve been putting on our DSLR cameras (I’m
referencing Fujifilm’s X lenses and the latest Micro 4/3 fast primes and
zooms). This means that more and more professional photographers are now
turning to much smaller camera systems to greatly ease the physical burden
which can at times make our work utterly miserable. I for one am cheering
these new advances and I have currently invested in top of the range small
systems to add to my professional kitbag.
But some photographers are concerned that their clients will think they’re
using inferior cameras which are not up to the job. That is not the case
nowadays and the leading contenders in pro led mirrorless systems include
the Fujifilm XP1, the Fujifilm XE1 and the Olympus OMD EM-5. Others will no
doubt follow. How do we deal with “big camera syndrome and clients”? I
think it’s a case of reassuring such clients that it’s the skills and
experience of their photographer which matters, and the photographer is
always the best judge when it comes to choosing appropriate tools for the
task in hand. And that is key – your kit, large or small, must be the right
kit for the job. When I undertake portrait work a fast camera is rarely
necessary and I will choose my equipment based on good image quality, decent
low light ability, and my choice of fine grade optics. When fast action,
animals, or wildlife is the subject I will almost always use a highly specc
’d DSLR with a fast frame rate and accurate tracking focus. In other words,
when I take my car to the garage it wouldn’t occur to me to insist on
knowing the brand of the equipment used to fix it, what matters to me is the
judgement of the mechanic and his ability to perform his work efficiently
and to a high standard. Providing his spanners and wrenches are up to the
task I have little interest in how big they are. If your clients have ever
seen or handled a 35mm camera from years back they will immediately see that
it is the same size (or a little smaller) than the mirrorless cameras that
many professionals are now adopting. There has been a trend in the modern
DSLR market to produce bodies which have become bigger and heavier with each
incarnation – which is daft.
Show your clients your images – I’ve won top industry awards using
equipment which would make some people laugh and I have enormous prints on
my wall taken with what many would consider to be very basic cameras.
Generally speaking amateurs and hobbyists will want the latest and often
biggest cameras available whereas established confident professionals choose
their equipment based on specific performance parameters and ergonomics –
real-world results are what matter rather than obsessive pixel peeping. What
matters is the quality of the end result and the level of professional
service that you can offer your customers. That is what will, and should,
form the basis of your reputation and referral stream. Stop worrying about
how big yours is versus the next guy – to quote a cliche it’s how you use
it that matters.
For the many occasions when I no longer need to use my DSLR kit, my compact
system of choice is as follows:
Olympus OMD EM-5 with Leica Summilux 25mm f1.4, 45mm f1.8, 35-100 f2.8
A real wolf in sheep’s clothing bearing little resemblance to previous
Micro 4/3 cameras. The image quality of the OMD rivals or even exceeds that
of many current APS-C sensor DSLR bodies, particularly in low light. The
lens options available are stunning. This camera handles much like a DSLR
with fast accurate focussing.
不少奖项，包括2012年1月的SWPP and BPPA Photographer of the Year Awards （
Society of Wedding and Portrait Photographers）。
原文链接：
http://lindsaydobsonphotography.com/blog/big-camera-syndrome-an
不肯看原文，而且死守大底的，多是有大底综合症的新手，得治。
原文黏贴：
I have a friend who manages a camera store and the question he is most often
asked is “which camera takes the best pictures?” The only viable answer
to this is “any” simply because the picture will generally look fairly
similar irrespective of the camera, given the good standards of most modern
equipment. A big expensive camera will instead offer additional features
such as weather sealing, ruggedness, a rapid frame rate and high-speed focus
, and often enhanced ability in very low light. Those are rarely attributes
which are relevant to the casual hobbyist and according to the friend I just
mentioned it’s not uncommon for a novice to make an extravagant purchase
only to return to the store and say “this camera doesn’t take very good
pictures”. At the expense of labouring a very well worn point, photographic
excellence is directly related to an individual’s technical skillset,
creative vision, and experience. Photography is rather like being very good
at golf or tennis – it takes a number of years, quite a bit of tuition, and
endless practice before one starts to reach competency.
With growing professional interest in the latest crop of compact mirrorless
camera systems there have been several debates about whether or not paying
clients will express concern if their chosen photographer isn’t using “the
big stuff”. There’s no doubt at all that most of the public at large do
still believe that the camera creates the beautiful images that they are
paying for when they enlist a pro. That statement won’t be lost on many of
us, since it suggests that the only real requirements to becoming a pro
shooter are an expensive camera and lenses. If that were the case we would
all be happily doing this for a living yet each year thousands of hopefuls
will try and sadly fail. After all, it would be a little strange if I could
cut and tailor a business suit simply by virtue of the fact I own some good
shears and a well specc’d sewing machine. The thing is that a camera, no
matter how fancy and expensive, is firstly just a box with an aperture,
shutter, and an ISO/ASA switch. It can only record what the photographer
lights, composes, and directs. In cost terms the latest technology enables
us to shoot at higher speeds if we need to, and to shoot in wet and dusty
conditions, and to shoot in lower light that we have in previous years.
Those are generally the features which determine whether one camera will be
more expensive than another. But those things will not make you a
photographer.
Large or small, we choose our cameras according to the kind of work we do.
Sports photographers will invest in a rugged weather proofed camera body
capable of high frame rates and rapid buffering, whereas a wedding or
portrait photographer will favour decent lowlight capability. But these
cameras are extremely heavy and cumbersome, as are the rugged professional
grade lenses we must fit to them. The consequences, over time, can be injury
to the photographer and fatigue. I know so many photographers, just like me
, who suffer RSI and joint injuries to the hands, fingers, wrists, back and
neck. These can be career limiting problems unless we address them, and
thankfully good-quality cameras and lenses are now available at a much
smaller size (though not necessarily at a smaller price point). Sensor
technology is such that they can record good detail and accurate colours in
the same way that their larger counterparts can (in fact they often have the
same sensors) and some are weather sealed such as the Olympus OMD EM-5. And
lenses to fit these smaller systems are in many cases superlative, often
matching the huge lenses we’ve been putting on our DSLR cameras (I’m
referencing Fujifilm’s X lenses and the latest Micro 4/3 fast primes and
zooms). This means that more and more professional photographers are now
turning to much smaller camera systems to greatly ease the physical burden
which can at times make our work utterly miserable. I for one am cheering
these new advances and I have currently invested in top of the range small
systems to add to my professional kitbag.
But some photographers are concerned that their clients will think they’re
using inferior cameras which are not up to the job. That is not the case
nowadays and the leading contenders in pro led mirrorless systems include
the Fujifilm XP1, the Fujifilm XE1 and the Olympus OMD EM-5. Others will no
doubt follow. How do we deal with “big camera syndrome and clients”? I
think it’s a case of reassuring such clients that it’s the skills and
experience of their photographer which matters, and the photographer is
always the best judge when it comes to choosing appropriate tools for the
task in hand. And that is key – your kit, large or small, must be the right
kit for the job. When I undertake portrait work a fast camera is rarely
necessary and I will choose my equipment based on good image quality, decent
low light ability, and my choice of fine grade optics. When fast action,
animals, or wildlife is the subject I will almost always use a highly specc
’d DSLR with a fast frame rate and accurate tracking focus. In other words,
when I take my car to the garage it wouldn’t occur to me to insist on
knowing the brand of the equipment used to fix it, what matters to me is the
judgement of the mechanic and his ability to perform his work efficiently
and to a high standard. Providing his spanners and wrenches are up to the
task I have little interest in how big they are. If your clients have ever
seen or handled a 35mm camera from years back they will immediately see that
it is the same size (or a little smaller) than the mirrorless cameras that
many professionals are now adopting. There has been a trend in the modern
DSLR market to produce bodies which have become bigger and heavier with each
incarnation – which is daft.
Show your clients your images – I’ve won top industry awards using
equipment which would make some people laugh and I have enormous prints on
my wall taken with what many would consider to be very basic cameras.
Generally speaking amateurs and hobbyists will want the latest and often
biggest cameras available whereas established confident professionals choose
their equipment based on specific performance parameters and ergonomics –
real-world results are what matter rather than obsessive pixel peeping. What
matters is the quality of the end result and the level of professional
service that you can offer your customers. That is what will, and should,
form the basis of your reputation and referral stream. Stop worrying about
how big yours is versus the next guy – to quote a cliche it’s how you use
it that matters.
For the many occasions when I no longer need to use my DSLR kit, my compact
system of choice is as follows:
Olympus OMD EM-5 with Leica Summilux 25mm f1.4, 45mm f1.8, 35-100 f2.8
A real wolf in sheep’s clothing bearing little resemblance to previous
Micro 4/3 cameras. The image quality of the OMD rivals or even exceeds that
of many current APS-C sensor DSLR bodies, particularly in low light. The
lens options available are stunning. This camera handles much like a DSLR
with fast accurate focussing.
