Last post of 2015 at The Visual Science Lab.

 For me, a visual reflection of the passage of time. One super power of photography...

Another prediction: People on the web will grow bored and tired of the techno savants. Audiences want to be entertained and enlightened; not lectured to.

In the field of photography there have always been "technical masters" who take it upon themselves to instruct all the unwashed masses of photographers in exactly how they should use their equipment to make photographs. Part of the faux pedagogical practice seems always to be the obsession that the students use the specific tools used by the "master." 

The Professional Photographers of America more or less codified what they passionately thought should constitute a "good portrait" and taught generations of people how to slavishly copy their lighting, their techniques, their posing and, of course, suggested the appropriate cameras and lenses with which to make these cookie cutter pictures. 

And in each generation the images that become iconic, and the images that are most appreciated, are the ones that break the rules, break convention and express a new way of looking at the external (and even internal) world. 

A number of self proclaimed "masters," "experts" and "technical geniuses" have figured out how to market to the enormous pool of less experienced photographers who come to the web to learn about making photographs, selling them on a program of technical exceptionalism that has nothing whatsoever to do with the creation of great (or even interesting) photography. The "masters" spend weeks shooting charts and test still lifes. They "field test" the equipment and then rush back to their computers to stare at the images and make cultish pronouncements about the presence or absence of a lens's nano-acuity or a camera sensor's asymmetrical noise assimilation overfill resistance and they push people to feel as though they can't enjoy photography, or even do it properly, unless the masses surrender to the regimen of looking at the craft through the uncomfortable lens of the master's shared obsessive compulsive disorder.

Perhaps 2016 will be the year in which the self-appointed technocratic elite of photography gets generally ignored and people relax a bit and become more interested in how to make images that are new and different. Images that thumb their collective noses at a play book of rules, preconceptions and gear fetishism that is generally unhelpful.

I just looked at a book I was given for the holidays. It's some of the work of Sheila Metzner. She was a wonderful art and fashion photographer who worked in the previous century. She used a printing and shooting technique that yielded color saturated, grainy images that were the antithesis of the teachings of our modern techno-masters but most of images were beautiful and emotionally immersive. 

The work of Deborah Turbeville also comes to mind as does the work of fashion photographer, Peter Lindbergh. 

There are so many great role models in photography who made their marks without being slaves to technology. Might it be time to reject the pursuit of metric measures and replace them with interesting subjects, shot in a new and interesting way?  Just a thought for the new year. 

Watch out for those third order harmonics, especially when they mix with the hemholtz patterns.

A prediction I can make with confidence: People will continue to make fun, interesting, disturbing, compelling and banal photographs in 2016. Another prediction I feel certain of: We will buy more cameras and lenses.

Image by Chuck Close. Photo realistic painting.

Photography is less like bubble wrap and more like pizza dough. You can't just pop all the bubbles and be done with images. With dough, if you squeeze in one direction the dough will flow out into another direction. You can't eat bubble wrap but you can sure make tasty pizza from good dough. Especially if you practice. 

My most fun camera purchase of the year. The Olympus EM5.2. There

I made most of my income last year shooting with Nikon cameras. One in particular; the D810. But it was not the camera that made me smile most and pushed me to do fun pictures most often. That honor goes to the Olympus OMD EM-5.2. And I'll try to tell you why. 

There is a reason people pay crazy amounts of money for really cool watches. Most of the really cool watches are mechanical. Automatics. Self-winders. We collectively like the idea of precision machining. Of distilling down mechanical engineering to its quintessence. And, apparently we like the same feeling and design aesthetic in our cameras; at least I do. 

The Olympus OMD line of cameras is an interesting milestone in camera development because these cameras, along with cameras like the Nikon 7X00 series, the Pentax K-3s and the Panasonic GH4, represent the point at which most of us will agree cameras became transparently good. To echo a word used by blogger, Ming Thein, all of these cameras have reached and surpassed the point of sufficiency. They are more than adequate for the imaging needs of almost everyone. 

The desire for more megapixels and bigger sensors may have its place in practice for professionals who must, on occasion, be ready to deliver enormous files (while most of the time they will also find 16 megapixels more than adequate....) and for ardent amateurs and artists who have a need to print their images at very, very large sizes. But clearly, for most of us, the sensor and image pipeline development of cameras hit their Honda Accord or Toyota Camry level of sufficiency with the introduction of Sony's low noise 16 and 16+ megapixel sensors, nearly three years ago. The need for the "Bentley" version of a standard camera is largely fiction. 

The one thing my Olympus cameras don't do with my current m4:3 lenses that would make them a match for my full frame cameras is to have an exciting ramp from in focus to out of focus with the lenses I currently own. Friend Frank has consistently shown me that I can get the same effect with faster, higher quality glass on the smaller cameras. I have used his Leica/Panasonic 42.5mm f1.2 lens wide open and I've seen the light (and a wonderfully shallow depth of field portrait rendering).  There are more and more very fast lenses coming onto the market for the smaller cameras which help mitigate this difference between formats. 

But cameras are more than just the sum of their sensors and their lenses. I like the Olympus cameras for several other reasons. I love the tactile feel of the EM5.2 control knobs, as well as their prominence on the top panel of the camera. The size and dimensions of the camera, with the added battery grip are absolutely perfectly sized for my hands. The EVF is great. The image stabilization is one of the wonders of the photographic world. And, counterintuitively, the file size of the raw files is just right for my workflow, and the workflows of nearly everyone I know who is seriously interested in photography. 

Add to all this a sophisticated color rendering, that seems to be a consistent Olympus hallmark, and you've got a great shooting system. Good handling, good color, good viewing, great imaging and metering. It's a powerful system and the camera, currently, brand new, is $899. The EM5.2 ticks every box for me. It's why even though I may stray to other camera systems from time to time, I always come back to the Olympus OMD series for the sheer, exuberant fun of taking photographs. 

I upgraded from the original EM5 cameras to the EM5 version 2 cameras this year. I have two of them. One is black and one is silver. Both are equipped with grips because we shoot video with them and the grips add an input for microphones. I have a fun collection of lenses for these cameras and I'm only sitting on the fence about getting one more lens. I want a serious 70-200mm equivalent and I'm torn between the Panasonic 35-100mm f2.8 (which I have owned and found to be more or less flawless) and the newer, bigger, very well reviewed Olympus 40-150mm f2.8 lens. The Panasonic is smaller and lighter but the Olympus has 50mm of extra reach, which can come in hand. It also has a tripod mount --- desirable for shooting vertical portraits while on a tripod. I'm sure I'll go back and forth until the next project and then make a choice. The only other thing I need to buy is more batteries. Always more batteries. 

But I am comfortable with the cameras and I don't consider the rush to higher megapixel counts in these cameras to be necessary for me. Most client uses for image files haven't changed much since the days of six and twelve megapixel cameras. Yes, used at the bleeding edge of commercial applications, the bigger files are great. But most of us can go through a year or so, professionally, before a project with such stringent and lofty requirements come up.

I'm a bit chicken. Burned by the devastation of the last economic meltdown. I'll use the Nikon D810 not out of necessity but as extra layers of insurance, when I shoot for clients. But when I go out for the joy of taking images and I have no one else that I have to please, except for myself, my choices are much different. It's an important distinction. Work - Play. All the emotion in these kinds of discussions is mostly wrapped up in the artificially binary nature of thinking. Lots of people believe that you MUST make a choice. You must select one system and give it your allegiance at all times. 

I've said time and again that Texans often own a big pick-up truck for hauling crap around and doing work but also own a nice sedan; Honda, BMW or Mercedes --- maybe a Ford Fusion, for those times when parking a dually truck in a downtown parking space just doesn't make sense. 

For my fun camera system of the year I am highly recommending the Olympus OMD cameras. They fill a great niche, are fun to use, and very affordable. 

After almost a year of using them for business and pleasure I am 90% able to navigate their one, non-fatal flaw: the menus. 

Curious to know if you have a dual camera inventory. One for business, another for pleasure. Or am I the outlier here?

A small image gallery of stuff shot commercially last year

with Olympus EM5.2 cameras and M4:3 lenses

(plus an adapted Nikon or two).

Does your lens really need to be the sharpest one in the world to take a photograph of this? I think people will get the content even if the micro contrast is just a little muted.... But that's just me.

From Austin, Texas. The Graffiti Wall. A thought for the New Year. 

Austin is an interesting town to walk around in. Beautiful in its creative energy.

I was walking around the Clarksville area when I saw this. I thought it was beautiful. I walk around here a lot and had never seen this before. Normally it's the kind of shot I'd make with a longer lens like and 85 or a 100mm. But today I had only the 28mm lens I was testing with me. I got pretty close to the painted rock and that allowed me, at f5.6, to take the sharp edge off the leaves in the background. I'd put little red arrows on the image and lie to you about how I spent a couple hours with a calculator and a protractor computing the various angles that might best draw your eye into the picture but that's such rank bullshit you'd probably never believe it.

I saw it. I responded to it. I shot it. Any pretense to pre-shot analysis and planing is just  Monday morning quarterbacking. Anyone tells you they planned it all out is really just saying, "I got lucky and there were some diagonal lines that worked for me."

There's a time for deep dives into design and a time for reaction. The time for deep dives into design is mostly when drawing out the plans for a house or office building. The time for reaction is when you have a camera in your hand and something interesting in front of you to shoot. Go. And try a few variations while you are there....

OT: What do you get the dog that has everything, for Christmas?

If you really want to do the holidays right for Studio Dog you might consider.....tennis balls. She loves them. Really. Just loves them. We have one hallway that's about 50 feet long and when the weather is awful she loves it if you throw balls down the hall. Her main goal is to catch them on the bounce. She'll bring em right back, too.

Tennis balls make dogs smile.

Photo: Studio Dog with tennis ball. Nikon D750. Nikon 50mm f1.8 G.