A chaotic assemblage of disconnected images. Just for fun. My fun.

Ben acts as lighting shepherd and white balance target custodian at a photoshoot for a law firm. 

Belinda baked a blueberry pie in the new range. We are all reflexively making quesadillas on the griddle on the stove top. I never knew new things other than cameras could be fun to buy and use....

The Asian style bowl with sticky rice. An unfulfilling dinner for a true Texan. 

But oh so healthy.

We're seeing red at the Hope Outdoor Gallery and capturing it with the Sony RX10iii. 

A shot from a couple hundred feet above. Made possible with the Sony RX10iii's magic lens.

Reclining Art Tourist.

When photographers get together they talk about cameras and lenses. 

Do graffiti artists talk about various brands of spray paint? 

Maybe. Krylon seems to be the Canon of painters...

The selfie within the frame.

Artist hard at work. 

Vigilant Dog monitors commotion in the hallway. 

Escaping up the ladder and into the sky.

The other (wider) end of the Sony RX10iii lens.

The collections of masks I choose from when going out to collect on overdue invoices.

Youthful enthusiasm at the Mercado in San Antonio. 

Cooking up comfort food at the Mercado in San Antonio. 

Hmmm. Get your Frida Kahlos here?

I'm beginning to understand. It's all about the frames.

Keeping watch over the Mercado.

Does this camera make me look fat???

Majestic Theater box office detail. San Antonio. 

Remind me to pick up a payday loan on my way back to the car....

It was a black and white afternoon. Toasty hot and monochrome.

I finished with my allotted chores, my studio loose ends, and the changing of the air conditioning filters. It's not as though I needed the additional exercise having swum several rapid miles this morning, along with a bout of resistance exercises; but I felt the need to go out and embrace the heat. I also wanted to give the Zeiss Tessar 45mm f2.8 lens a second chance before I wrapped it up and sent it back to the dealer. Was the lack of snap I noticed last week something endemic to the lens or had shortcomings in my technique dealt it a losing hand?

When last I wrote about the tiny C/Y optic I was leaning heavily on hyperfocal distance settings for sharp focus. Might have worked in the old days but in the days of adapters, etc. even being a fraction of a millimeter longer or shorter than the original computed flange distance might make all the difference in the world. I traded out adapters and reminded myself to use focus magnification to confirm the efficacy of my focusing. 

Ahhh. The foibles of the tester and the testing chain... The lens is really very nice when you take the time to ensure that the focus point is where the focus point is intended to be. Short version? The lens is better than I wrote it was. It is indeed sharp and yields detailed and high resolution images. It's still not "snappy" but it performs extremely well and the slight lack of zing, vis-a-vis the most modern of lens designs, is very easily remedied in post processing. Or by increasing the contrast setting, in camera, for your Jpegs. I'm keeping the lens. I have commuted its return sentence. 

My first mistake or misstep of the year as a blogger. Tragic. 

It was well over one hundred degrees at 2:30pm and the radio weatherman claimed that the "heat index" was hovering around one hundred seven. I had the wide brim hat but I left the house with a  short sleeved technical shirt. By the time I'd walked a couple of blocks I found myself wanting a long sleeve version. The less burned you get the cooler you are later in the day. No heat radiating from burned skin...

I ducked into REI (Outdoor and camping equipment store) and found a medium, long sleeve, REI Sahara technical shirt, with an SPF of 50, on the clearance rack. I also bought a bandana which I soaked in the store's water fountain and wrapped around my neck. Newly configured, I headed back out to resume the walk. The new combination was effective and I did not succumb to the heat, even though I spent a good amount of time in the blacktop heat sink of downtown. 

The images are secondary today to the walk. I wanted the camera in my hand and I wanted to re-test the lens but mostly I did not want to capitulate to the Texas weather. And I was not the only one. There were hardy souls all around, running, biking, shopping and even drinking outside on sun-drenched bar patios. 

We've had 15 or 20 days of temperatures over 100 but I stopped complaining about the weather after my recent trip to Baton Rouge. They had similar temperatures but the humidity seemed permanently stuck at a zillion. It was a nice afternoon for a walk. 

A repost: Hewing to your own path when making portraits.

It's almost comical when you interface with new clients about making a business portrait. They might come to you because they've seen some signature work you've done for someone else and the new client decided that it really clicked for them. They've been all over the website and blog and now they are ready to get together and make a nice portrait. "You know, like the ones on your website.."

And then it begins. They want you to come to their location. They have a very limited amount of time in which you can set up in this location. The person you are to photograph is "A very busy person so you'll only have a few minutes of their time.." The new client would kind of like it if you could match the style of the images they've already had done for their website. "We like that dark gray background you use but could you make it yellow and brighten it up and still keep that nice feel that we like about your work?" 

I'm hardly making this up. It happens all the time. It's the way that participation commercial art homogenizes everything it touches. 

I really like portraits made in my own little studio space. It's not that the space itself is magic but, to me, it's a known commodity. One less variable in the equation. When I shoot in my space I can always come into the studio the night before and set up the lights just the way I want to. And I can set up time consuming lighting. The kind you have to use a lot of light stands to make.

Generally, when I get to new client location the time allotted to me for set up before the very important person's schedule intersects briefly with mine, starts to get sucked away as I wait and wait at the front security desk. Every non-employee at this facility has to be escorted by a media specialist. You wouldn't want a rogue portrait photographer stalking the hallways. But the emissary from the client is invariably not at her desk when I arrive. I leave voice mail and the bland and unmovable security desk person moves glacially to find her direct line on the in-house data base. He asks me for a third time if I can spell the contact person's name. I can. But I can't understand it for him.

After enough time has passed for me to read two or three trade journals about cloud storage and data center design my media specialist comes faking-puffing down the hall to receive me, or to take me into her custody. Or some permutation of that. We drag a cart laden high with lighting gadgets and support gear past row after row of carpeted cubicles until we get to the elevator that is out of order. I look at 200 pounds of gear on my cart while my media specialist mulls over the efficacy of taking a couple flights of stairs versus retracing our initial path to find the other bank of elevators...

When we get to the room I am stunned into silence by the mental disconnection that must take place in the minds of the people who supposed they might want a new portrait of said "very important person." Do they really expect that we'll be able to do a wonderful portrait of vip in about 140 square feet of space? When over 60% of that space is already occupied by a very ugly and very unmovable conference table? Do they expect us to manage a nine foot wide background in a room that is only eight feet wide? Do they think we can transmute the laws of physics and get our 6 foot by 6 foot scrim set up and ready to concurrently occupy the space already filled by conference table molecules and atoms? And finally, who designs these mini-conference room torture chambers with seven and a half foot ceilings?

When this pattern is repeated time and time again by legions of clients you start to change the way you work. You only take small softboxes or umbrella boxes that are quick to set up and take no space at all. You take only the gear you think you can sprint up the stairs with while avoiding cardiac arrest. You start telling each media specialist that you need two hours to set up. In this way, if your media specialist is twenty or thirty minutes tardy in coming to collect you then you'll still have mountains of time left to negotiation the elevator/stairs and figure out how to move a 900 pound table two feet to the right without shredding the carpet and the wires that connect the odious teleconferencing system seemingly permanently married to the giant, wood laminate covered monstrosity of a table. And you'll have ample time to move all of the counterfeit AERO chairs out into the hallway. Argue with the security guy over the fire code and them move all the counterfeit AERO chairs back into the mini-torture-conference room.

And you'll get to do all these things right up until you realize that the air conditioning has been turned off to this space and no one knows how to turn it all back on.

A week later you'll get the phone call that starts like this: "There's something wrong with the pictures."

Me: "I checked each one as I was making the web gallery. They looked okay to me. What's the problem?"

Them: "Well, I was looking at them with four or five of the other people in the office and the problem is that there's a shadow on one side of his face. One side is darker than the other.

Me: "Oh, that's the style of lighting we use. It shows off the contours of people's faces better and makes the images a lot more interesting and three dimensional. We discussed that with the marketing team when they hired me..."

Them: "Oh. Well, I don't know about the marketing people by I'm the VIP's admin and I know he won't like this either. And neither does Francine in accounting and she's a really good landscape photographer..."

Me: "Have you gotten any input from the marketing team? And has Mr. VIP seen them?"

Them: "No, we got the link you sent for Mr. VIP and we decided to save him some time and go through them first. But I'm not even sure we should show them to Mr. VIP. He won't like the shadow on his face.  And he shaved off his beard and mustache since the session... so the pictures don't even look like him anymore."

Me: "Well, I can't really do anything about the shadows on his face. That's what your marketing team said they wanted, and they hired me."

Them: "Yes, but we write the checks...."   A long silence ensues.  Followed by: "I think we could live with the shadows if you could find some way to just Air Brush the beard and mustache off his face..."

Me:  "I'm sorry but that's impossible. Even if we could do it in Photoshop that kind of retouching would take days. It would be better if we could just re-shoot him. But this time I'd like for him to come into our studio. We'll have more control over the lighting."

Them:  "He's far too busy for that but let me see if we can reserve the same conference room...."

The reality is that most people don't know what is required to set up lights and do a really good and sincere portrait. All they want to do is walk in somewhere quick and grin at the camera. Happy with a flat as a pancake, one-to-one lighting ratio and a crappy background. Part of our work is translating to people who live in these other universes what it is we do and how we do it.

I shot two portraits in the studio this week. One was on video and the one above was a still project. I was lucky to work with an art director who really understands the whole process, from beginning to end. He gets "buy in" from the client and he carefully leads them, step by step, through what to expect in a portrait sitting. And he shares back to me, in very clear terms, what his needs are. He would rather always have business portraits of his clients shot in the studio because it's easier to control access to the sitter. To cut off the interruptions and help them get their heads in the game.

I set up my lights the day before and I test them. I've been working with large, soft, light from one side with small white "flags" as fill. I've been using banks of fluorescent fixtures (made for video and cinema) behind 6x6 foot silks diffusers. I'm blocking out any stray light that wants to come into the studio. I use a posing table from the 1950's to give subjects some place to rest their hands. I'm using a fresnel spot light to cast a subtle, soft light onto the background.

When the sitter arrives my art director is here to greet her. We're introduced and I take some test shots as we get to know each other and talk about what everyone wants to get from the shoot. Then the art director says, "I'm leaving now. I'll be in the house having coffee and returning phone calls. Come and get me when you need me. Kirk will take good care of you."

Once my art director walks the twelve steps to my house and starts operating the Keurig coffee machine and arm wrestling with my little dog we start our session in earnest. I'm looking for a few different emotions. Compassion, caring, warm, happy and calm. We talk about these attributes and how to manifest them in the image. We chat and I ask about things I know she is interested in. In twenty minutes or so we call for the art director. We review the images and everyone is happy. I'm happy that I am able to supply nice, rich shadows to someone who will understand and appreciate them. The subject is happy  because she knows we have her best interest (visually) at heart. And the art director is happy because he knows he has an image of his client that will look good on the website and in some public relations they've got coming up.

The image above is one I grabbed from the very end of the session because it reminded me of how sweet the session was and how engaging Nancy looked at the end. It is almost certainly not the image that the art director will select. He knows the demographic he's aiming at and almost certainly I'm not in it. And that's okay.

When I do my portraits on my own path way I have at least a chance of making something that positively represents my sitters. When I capitulate to the demands of clients, against my better judgement, I fight to get something that is usable. Something a client is at least willing to pay for. There's big ocean between these two points. Hewing to your own path is a way of making sure everyone wins. At the very least being in control gives you a fighting chance.

A "Bokeh In Your Face" repost from 2014. From the "One Inch Sensors Rule" stack of blog posts....

http://visualsciencelab.blogspot.com/2014/01/think-that-fancy-bokeh-isnt-possible.html

An interesting normal lens that fits the Sony A7 just right.

non-photographic ramblings: After a long July, in which I worked too much and swam too little, I've been conscientiously back in the pool and trying to be diligent about making it to the early morning workouts. It's Summer in Austin so even with the water chillers running the pool is still on the warm side. Today the water temperature was 83.5 degrees. A bit toasty for swimming fast, long distances.  Our coach modified the workout by incorporating lots of sets of 50 yard swims, mixing up the freestyle with other strokes to keep us engaged. 

It's a Saturday tradition for some of us to go out for coffee after the workout. We catch up with each other's lives and talk about swimming, pool politics and, where appropriate, the Olympics. Today one of our crew detoured over to the farmer's market nearby to pick up a bag full of TacoDeli breakfast tacos. I went with an egg, cheese and black bean version. Most Austinites would agee that TacoDeli breakfast tacos are the Leica of breakfast tacos.... 

I'm working on a new discipline in my swimming. I am eschewing all the extraneous swim gear, like fins, hand paddles and pull buoys in order to concentrate solely on stroke mechanics for the next few months. While most of our workouts are straight swimming we do use swim gear to enhance various parts of our training. I've just decided I've been leaning on the toys a bit too much and should spend more time distilling down the techniques dealing with body position, hand entry geometry and stroke timing.  So far, it seems to be working. Time will tell. I've resigned myself to the idea that I'm never going to go as fast as Michael Phelps or Ryan Lochte. 

on to the photographic rambling: First up, an amazing public admission of spectacular gear excess. Not on my part but by a well known, west coast photographer. I was looking at my Facebook feed and there on my screen was a post from a luminary in our field who wanted to show off what he was packing in his bags for some travel assignment or workshop. He is a Nikon "Ambassador" so I wasn't surprised that his gear was all Nikon. It was the sheer overkill that made my head reel. It's almost like the advertising manager sat next to him and read off a list of stuff they'd like to promote and had the photographer pack it in.  We're talking six camera bodies (including the latest D5s) and ten big, brand new professional zooms of various focal ranges. And we are talking about a lot of overlap between focal ranges. 

I have no idea what this photographer is running off to shoot but I doubt he'll be doing much running with the 40 or 50 pounds of gear he's toting. I get the need for back up cameras and the idea of using separate bodies for individual lenses but even the most ardent gear addicts might draw the line at wearing six heavy cameras, sporting six even heavier lenses, with three more lenses in the bag, just in case. It's funny because at the same time, over on Petapixel, there was a profile of a veteran Olympic sports photographer who was showing off the gear he was taking to Rio. Three bodies. Four lenses. A bunch of CFast memory cards and ..... that's about it. What could our art photographer friend be hunting that might require more gear (over 100% more) than a veteran sports photography professional shooting with the experience of three Olympics under his belt?

I guess I found the whole thing hilarious (and sad) because the gear-happy photographer was so obviously proud of his mountain of glass and metal, and I had just written a blog about the changing targets and changing gear. The idea that our jobs have changed and DON'T require that kind of portage commitment. Now, none of this is intended to malign the photographer's talent; he's really a good picture maker, but he weakens his case as a real talent by making his connection and commercial relationship with Nikon so blatantly obvious. It was a mercantile Facebook post and that's the best I can do. 

a follow on thought: There is a pervasive idea of professional courtesy that we blogger/photographers seem to extend to one another. In a way it's dishonest. I wasn't going to write what I just did about the gear nut because I thought some of his fans would put two and two together and roast me for being critical of the photographer's choice in slut parading his Nikon inventory as though it was a requirement for a real assignment. And it is true that everyone has different inventory comfort levels when they go on assignment. On the other hand a post like the one delivered to social media leads legions of other photographers (aspiring new professionals, hobbyists, etc.) to believe that kind of heedless excess is a normal and everyday part of being a "real" professional photographer when nothing could be further from the truth. No one needs the sheer inventory vulgarly displayed there and to not comment on it is, in a way, a backhanded complicity in the over reaching marketing of photo gear in our time.  It boarders on reverse marketing: The idea that Nikon cameras are so unreliable that a pro might need many back-ups just to cover butt...

Two cameras and three lenses will handle all but the most specialized jobs. Everything else is just a free advertisement for the manufacturer.  Ah well. I will now put the fire extinguisher next to my desk and await the fury of the perceptive fans of said gear jockey. I still think he would be just as well served with a nice bridge camera.... (kidding, just kidding ---- hmm.)

and now, on to what I am interested in today.  Another manual focusing lens cobbled onto a Sony A7ii. After my successes with two different Contax/Zeiss lenses attached to Sony full frame cameras, and after having received ample compensation for projects completed in the last few months, I decided to "reward" myself by scrounging around and looking at a few other lenses from the same brand and era. Nothing to see at my local resource, Precision-Camera.com, but a few interesting used products over at KEH.com (the big, used equipment store in Atlanta). I looked at 85mm lenses and I looked at wide angles but nothing really tweaked my interest until I came across the tiny and super light weight Zeiss Tessar 45mm f2.8 lens for the older Contax (Y/C) cameras. I think I was mostly interested because of the small profile of the lens and how apt it looked in conjunction with small, A7 style body. 

I found a "mint" version and decided to order it and see what makes this lens tick, if anything. It's the antithesis of a previous lens I owned, the Sigma 50mm ART lens. That lens has pounds and pounds of miracle glass, many elements, much gravitas and a very fast aperture. When I shot with it I was mostly busy trying to nail exact focus with the last century focusing mechanisms of my Nikons. Once in a while everything would click and I'd pull out and image that was beautiful and striking because of the lens's ability to be shot wide open, drop focus all the way out of the background but to still be sharp where I wanted it to be sharp. Very sharp, even wide open... 

On the other hand the Zeiss 45mm Tessar is an ancient design that uses only four elements. Hard to even imagine in this day and age...  It weighs about as much as the lens cap and back cap of the Sigma 50mm f1.4, and it's actually small enough to fit in a pants pocket with room left over for a Zippo lighter and a pocket knife with a corkscrew. 

I've been using K&F Concepts lens adapters that I found on Amazon.com for my growing Contax lens collection. They are a whopping $19 and seem to work well. They might not be totally accurate (flange distance) so if you are using the hyperfocal settings on the lens ring I'd stop down an extra stop just to make sure you cover the tolerance slop.

As you can see in the photo above the focusing ring is very narrow and certainly takes some time and experience to get used to. The aperture ring near the rear of the lens is wider and easier to handle but it is what it is. The front and rear elements are tiny. Or maybe they are "normal" in size and we've just been getting used to outrageously big front elements in our willing participation in the marketing dance to sell faster and faster lenses.

On the Sony A7ii the focus peaking does a decent job but for images were I need to know for sure that we've achieved all the sharpness I think we can wring out of this lens I feel like I need to hit the focus magnification button and go in for a good look. The lens is decent wide open but certainly nothing to write home about. By f5.6 it's sharp across the frame and there is NO vignetting that I can see. I'm guessing that f8.0 is the optimum setting but, frankly, I don't really care. All the images I took looked sharp enough when viewed at normal sizes. 

The one parameter that is less than optimal with this lens seems to be its contrast rendering. It's a bit flat. It lacks "snap." But here's an interesting post processing trick: You can use the contrast slider, the clarity slider, the enhance slider or a combination of all three to get the lens to provide images that look exactly the way you want them to look in Lightroom.  It's a fascinating secret and one I think I'll make into a high dollar, weekend long workshop in the new future. Look for the T-shirts any day now. 

So, if the lens isn't particularly fast or contrasty then why the heck would anyone want to use it anyway? Hmmm. I like it because unlike the recent Rokinon lenses I've bought (100mm Macro and 135mm f2.0 Cine), and the memory of the commitment it took to go out and around the streets with the five pound Sigma 50mm Art lens, this lens is a featherweight with a very small profile. It makes my whole A7ii package a delight to sport around. The angle of view is pretty much perfect for me and, if I use reasonable technique I get really nice images. And that's before we talk about the different flavors of rendering between modern and more archaic lenses. 

The lack of snap in the little Tessar translates into very nice skin tones and images that will put up with a lot of post processing nonsense. They have a different look and feel. Not better or worse but different. I notice the same thing when I compare the ancient Nikon 105mm f2.5 with the 100 mm f2.8 Rokinon Macro. They both resolve similar levels of detail but the appearance of high sharpness, right out of camera, is much greater with the Rokinon. The advantage to the Nikon is that it appears more real, like something you'd see with your eyes instead of an image created by a camera. That alone might be a juicy selling point for some artists who have a different vision for their work than just an endless repetition of super sharp, in focus images. 

I guess the proof is really in the shooting. I had a chance to get out and around town with the 45mm Tessar a few days ago. The first image is a 100% crop of the image just below it. If you click into the crane you'll find high amounts of detail and great color. Not as much snapola but a very mellow rendering. 

finally. marketing images. While the trends for interchangeable and cool camera sales are all heading toward the draw of gravity and pervasive entropy the world of marketing still sees images of cameras as being indicators of artsiness and aspirational living. Below are two construction fences that make use of camera imagery to augment their basic marketing messages. These are surrounding a unit under construction in the sweet spot of Austin's downtown so I imagine that one bedroom units are starting at a half million dollars or more. It's funny that they would use older film cameras to convey their message. I would think that the target market would be able to afford all six of the cameras and all ten of the lenses that seemed to make the social media poster referenced above so proud....  I like the signs anyway. 

Shift, shift, shift. Shift happens. The audiences change. The target changes. The content changes.

Remember those great American cars from the 1950's? They were enormous and had wonderfully rounded and sculpted lines. Five tons of rolling art. Back seats that doubled as beds. Infinite trunk space and so much more. My very first car was a 1965 Buick Wildcat. It had an enormous V8 engine, a hood that took up real estate and an air conditioner that could chill a six pack of beer between San Antonio and Austin. Not quite as voluminous as the 1950's Cadillacs but still formidable in its presentation.

Except for collectors we don't drive those cars anymore. Cars have evolved. Maybe not in a sexy direction but certainly in a more practical direction. Padded dashes replaced sweeping metal ones. Headrests and seat belts were added. As gas soared in price cars shrank in size and weight. The sexy lines of the body styles were replaced with "jelly bean" designs that are more efficient at moving through air.

These cost cutting and efficiency changes were partly a result of the 1950-1990's exodus by Americans to far flung suburbs which created Herculean commutes. Cars had to be cheaper to acquire and operate as families moved from owning one car to owning two cars and accumulating mileage at a dizzying rate. With the decline of small towns and compact cities it became impossible to commute by walking for most people. Now (with the exception of people living directly in downtowns) it's virtually impossible to go anywhere without a car. That moves the idea of the car away from an aspirational acquisition to a necessary commodity, which strips away the glamour and allure of owning and using them.

If the millennial generation is any indicator we won't be going backwards to big car worship any time soon. In fact, this rising generation is almost completely car indifferent. Makes sense that something like 90% of Corvette buyers and 80% of Porsche buyers are also getting ready to apply for Medicare.

So, when I went out to buy a car a few years ago I had three parameters on my radar: Good gas mileage. Reliability. The ability to put enough gear into the car to make it efficient for business. Gone was any desire for the 400 horsepower cars of my youth. Where could I drive them fast? Not in Austin. Too much traffic. Gone was my lingering nostalgia for my old Karmen Ghia. Where would I put that Pelican case full of LED lights? And the C-Stands? And the nine foot long roll of seamless paper? I bought a Honda CRV but I could have done just as well with a Jeep Compass or a Ford Escape or a Toyota Rav 4....

In decades past Texas photographers seemed to have a penchant for purchasing used (or New, if they were doing well financially...) Chevrolet Suburbans. The rationale was the sheer amount of gear they could load into the vehicle and still have room for an entourage of assistants. I wonder now if there are any clients left who really need photographers to show up with tons of gear and a gaggle of people to move it around. It seems so ---- inefficient.

But that brings me to photography in general. When I started shooting for fun, and then for money, the camera that the masses (and I) thought was the coolest thing to own in the imaging universe was the Nikon F2, with a big motor drive on the bottom. There were some zooms floating around but those were the days when we strived to arrive on our jobs with a shiny Halliburton suitcase full of prime lenses. Single focal lengths. And we didn't want to specialize so we felt like we had to carry a full range of lenses in order to be ready for anything. It wasn't at all rare for someone to arrive and open their steamer trunk-sized Halliburton to reveal lenses from 15mm to 400mm in closely spaced focal lengths. Something like: 15, 18, 20, 24, 28, 35, 50, 55(macro), 85, 105, 135, 180, 200, 300 and 400mms. No wonder we felt the need for assistants; especially when one considers that there were no wheels on those Halliburton aluminum cases...

With bags full of Kodachrome 25 slide film we also needed as much light as we could deliver to the film gate. Those were the days of 2400 watt second and 4,000 watt second Speedotron and Norman electronic flash systems that tipped the scales at 30 to 60 pounds. And that was just for the box, it doesn't consider the weight of cables and heads and stands and more.

And none of this was efficient. Not at all. With the extra people, and the mountains of gear to get from one location to another, or one room to another, a hard working professional might only get four or five set-up shots done in a day. Add models to the mix and the number of shots shrinks even more.

So, what is my point in recounting this stroll down memory lane? Just as we are paring down the size and inefficiencies of our transportation options it would seem, from looking at the photography landscape, that it makes sense to do the same with our cameras and our basic working tools. We can still get from point "A" to point "B" with more efficient gear, we'll just spend less money and less time getting results that reflect the targets at which we are now aiming.

Just as independent bricks and mortar book stores have disappeared from our daily environment so too have traditional portrait studios. I can no longer drive around Austin and see large, gold framed, 24 by 30 inch "master" portraits in mom and pop studio show windows. No more large and gaudy portraits of debutantes and pledge sisters. The saccharine, soft focus child's portrait with a field of bluebonnets in the background has disappeared as have most of the local labs that counted on gauzy, big canvases of heavily retouched portraits to make a profit. Gone except in the most depressed and backward areas. Relics of a different aesthetic period in our culture.

Along with the retreat of the big framed, canvas portraits is the retreat of diffusion filters. vignetters, posing blocks, posing tables, English countryside backgrounds. Weathered (plastic) brick backgrounds and all the trappings of conventional, last century portraiture. It's a similar view over on the commercial side. The portraits we do now are environmental, for the most part. The lighting is either what is present in the environment or a good, designed approximation of that light. The key to success is in making the images seem real. A slice of life. The ultimate ascendency of the "snapshot aesthetic" sometimes helped along by "supporting" light not obvious light.

I am rarely asked to shoot portraits for display anymore. Recently we did one for a utility company located in rural Texas. We were following a tradition in their offices but, with the arrival of a new CMO (chief marketing officer) that may be a thing of the past as well. No, most of our work is headed to websites. Microsite or pop-up online campaigns. Little of it ends up in printed magazines or brochures, and even less is destined for walls. We mostly get paid to deliver images for three targets: websites, trade show graphics, video displays. Many of these projects, I think, could be done with cameras like the Sony RX10iii which can handle a surprising variety of visual content creation needs. I'll confess that many jobs now can probably be done with the latest iPhone, with the value add being the styling, lighting, point of view and taste of the photographer.

Photographic jobs did not magically  grow in complexity, level of difficulty or sheer technical demand as the cameras have gotten better and better. In fact, we are at a point where we are still buying cameras to handle the memory of previous times and not really accessing them for the performances needed today. Products and portraits still need to be lit and composed well. They still need to be post processed correctly. But the need for hyper performance faded as post production creation blossomed.

We may still want, or be able to, continue to do the work the way we've always done it but I think it is smart to acknowledge that so much has changed and, along with it, the way we do the business of photography has changed. We charge now for what we know instead of how long we work or what kind of equipment we bring to bear. The client is licensing the look, not the machinery of production.

I've proven this to myself so many times in the last few years. It's the reason the Sony A7ii trumps the A7R2 for everyday use. I use the full frame camera not for the high resolution or the low noise but for the basic look that lenses provide on the full sized sensor. When I don't need or want that look there are many cameras with smaller sensors that work as well or better for specific tasks. To pretend that we spend our days shooting double truck print ads for very high production value magazines is self-defeating. Like trying to drop a 600 cubic inch engine into a Volkswagen Jetta for one's daily commute. At some point the suspension gives out. Or the post processing load becomes unwieldy.

Newer cameras may make some tasks easier but a well honed skill set makes jobs easier still.

The latest Zeiss (or fill in the blank with your favorite lens brand...) lens may make for sharp photos but I'm betting the discipline of using a tripod with your existing lenses will provide a lot more bang for the buck.

You don't have to change. But you should be aware that the photographic world is changing around you. I know this is an Olympic year and the focus is on the high end DSLR cameras made for capturing sports. But the other 98% of the market might (most probably) be better served adapting the newer technologies and formats in order to make their work the best it can be.While being affordable, portable and fun to drag around.

I like change. If I can add value to any camera then all change works for me. If I can't add value without a specific cameras system then I have become nothing more than an equipment rental house. No glory for me there.

Shift happens. It may mean your cameras become cheaper, lighter, easier to use and more fun. Can't see how fighting that makes for a good business strategy. We're all in the consumer culture together. The DSLR was an aspirational tool a few years ago. Now vision and knowledge are the aspirational tools and the cameras are just the conduits.  The big camera and the bag of lenses seems now a bit like a Member's Only Jacket or a Camaro with a hood scoop. No longer cool and coveted. Now just an ungainly tool. No wonder sales are dropping; we no longer need to bring "window dressing" cameras to work. Now we can just use what works for the projects in front of us.

The lights are still too big....

I look forward to reading about a photographer from a newer generation who ably does high end advertising photography work with nothing but a long focal range fixed lens camera. Something like a Panasonic fz 1000 or a Sony RX10ii. It would signify to me that his or her client was hiring based on a portfolio of well seen images or video and not the last century swagger of gear ownership.