The folks over at Treat recently emailed us to share their new massive glossary of photography terms originally published on their site. If there is any term that you’ve ever wanted to know, it’s probably in here. You can check it out on their website or hit the jump.
We’re going to let you in on a fact of life: no matter what you’re doing, you need to get the shot. No one will sit there and give you the benefit of the doubt that maybe you were nervous; they want you to work to get what you needed to accomplish. And in street photography, you always saying that you’re too shy to capture a moment or get close to a subject will mean that in the end you’re probably not going to produce an image that works. Of course, there are exceptions, but it’s also a generally accepted notion that shooting wide is one of the best options that you can do when shooting the streets.
And even if you’re just getting into the medium, it’s always best to start wide.
Behold: the Panasonic 42.5mm f1.2. Yes, an f1.2 autofocusing lens is here for the Micro Four Thirds system. Customers have ben dreaming about a lens like this for many years and as the system has grown up, so too have its optics offerings.
We’re very much inclined to say that this portrait lens is something that you’ll never want to let go of. In collaboration with Leica, Panasonic has created something that is sharp, delivers great colors with skin tones, and isn’t too heavy.
And if anything is holding you back, it will really only be the price.
Pinhole photography has to be one of the most beautiful forms of the art. It forces a photographer to rely on great composition, exposure timing, and creative ideas to yield a beautiful image. But fair warning: you won’t be doing any pixel peeping or anything else technical aside from figuring out your exposure in the first place.
It’s nimble and small. In fact, it’s the smallest lens I have ever owned. On paper, it is a handmade beauty from Japan. The MS Optical Perar 24mm f/4 Super Wide is produced in the basement workshop of Mr. Sadayasu Miyazaki. When I first read about it, I was infatuated because I always wanted a pancake lens. There was one small issue. It was an M mount and I use a Sony A7. There was a quick easy fix though, a Metabones Leica M Lens to Sony NEX E-Mount Adapter. So I spent my money on it while having no clue what to expect with this lens. It could have been crap or wonderful on the A7. It was a risk I was willing to take and here is what I think.
Editor’s Note: This is an OP-Ed. On the other hand, you can call it a rant. In fact, call it a rant.
Five years as an Editor in Chief, two years as a wedding photographer, a half a year at Magnum Photos, and two years as a working photojournalist taught me something: there is such a thing as a very bad photographer. Give them expensive gear, all the lights in the world and more and you’ll begin to see that if you don’t have the vision, creativity, and the know-how when it comes to working with a scene and creating something then there is a strong chance that you’re going to be creating useless garbage.
Trust us, we should know.
This year, the site is turning five years old–and we’ve been reviewing cameras since day one. The technology has become better and better and back then folks used to say that something is a good camera or a bad camera. To a certain point, this is still expressed in forums, in conversations amongst friends, and by people that have nothing better to do with their lives than be trolls. But I’m going to tell you the complete God’s honest truth right now about the world.
Are you ready?