August. Every day over 100(f). This is the month to spend time at Barton Springs.
Everything seems to move so fast for photographers and videographers and yet everything seems to move glacially slowly for client adaptation. Get photographers or videographers together and many times the subject of conversation circles around to the latest technologies; and is accompanied with the implicit understanding that we must continually upgrade to the latest stuff just to survive in some sort of ultra-Darwinian marketplace (wrong assumption, IMHO). I'm a part-time victim of that process. I buy into the excitement and fear of tech advances and then I rationalize my way back out again. I sing the praises of the Nikon D810 and then do a wonderful job on a project with the tiny Olympus cameras. In the end it helps that I am married to an award winning, and very wise, graphic designer.
She is currently working in a large, good ad agency in Austin, Texas. She is part of a team working on national and international ads. Her point of view on gear and camera tech?: Nobody in Advertising Cares as Long as the Image Looks Great. And when she says, "Looks Great." she is never talking about resolution or even dynamic range but always about: gesture, pose, expression, color design, composition, propping, styling and timing. People who work with images everyday in their jobs and are responsible for knowing how things will print and how they will look on posters, or brochures, or as tiny web snippets, have long known, or sensed, that our cameras hit the point of sufficiency years ago. They laugh at us for worrying about the difference between 16 pixels and 18 pixels or 24 pixels. Doesn't matter as long as the image looks great.
Let me explain the term: sufficiency.
The first time I read it I was over on Ming Thein's website reading some