Yesterday’s post, yesterday’s comments. Loved them. Link here.
The ask was: “Two different cameras, shot taken 1 minute apart, two different perspectives. What’s your favorite?” Same photos above. Here’s my take.
- I didn’t really See them until I was at my desk, at home. Wow. What a difference!
- One taken with a camera that had dials for aperture, for shutter speed, for exposure compensation. So it had to be better.
- One had a separate, expensive zoom lens. So, it had to be better.
- One camera was so much bigger than the other. And was made for still photography. And was so much more expensive then the other. So it had to be better.
Photo 1: Came from an iPhone, zoomed 2x. No other alterations.
Photo 2: Came from a Fuji X-T4 with a 50mm x 140mm zoom lens. No alterations.
I stared at the iPhone photo. I wasn’t there. Not with this scene. Not with these vibrant colors. Yet, I was drawn to this photo. “Warmer” (Beth, Darlene, Jnana, Michael, yes.) “Better composition with light and dark contrast.” (Jnana, Lori, yes.) “Bright, depicts the awakening of life…under the kiss of blush” (Christie, Louise. Yes.)
No. No. But it just can’t be. It had to be an aberration.
So I did it all over again this morning. Except this time, I took 20 shots with each camera.
Result: Same.
Can’t be the camera. Can’t be. Has to be the Operator. What an amateur. Can’t be the camera. Not with the money sunk into this device.
I’m standing under a hot shower a few minutes later, thinking about the photos.
I think I need a Canon.
Inspired by Jnana Hodson‘s review of my shots — some day I hope to see and be 50% as good Jnana.
“The top one, though I would try to level the water to flat horizontal rather than its current slight tilt. It’s warmer and speaks of sunrise. The bottom photo is tonally too muddy. There’s no light detail and no distinctly dark contrast. Also, the right side of the shot lacks the compositional closure the bit of land gives the top shot, balancing the land on the other side, even though the power lines are a bit of clutter. That detail invites the eye out into the bay beyond before returning to the heron or egret in the foreground.”