One of the most popular genres of photography has been, since the very emergence of photography, landscape photography. As a record of places visited to the creation of prints intended to be hung on walls as art, landscape photography consumes the attention of not only enthusiast photographers, but also of the general picture viewing consumers. Landscape images greet us the moment we boot up our computers and often grace the screens of the devices that we choose to carry in our briefcases and pockets. The array of bright colours and startling compositions has meant that for much of the landscape imagery that is produced there is a certain sense of, ‘meh’ that has now become the standard response to what was once considered incredible imagery. Why is that?
About this Blog
Photo Writing is the web version of the Photo Writing mini-magazine produced by Limephoto and Emil von Maltitz since 2010. As of 2015 it is now completely online. Feel free to browse through the articles and please leave comments in the comments section if you would like to engage with us.
Tuesday, June 25, 2019
Thursday, June 20, 2019
The Nik collection has a fairly storied history to date. It began when Nikon decided to let go the Nik team and their proprietary software based on what they called ‘u-points’. The u-point technology underpinned Nikon’s RAW developer, Capture NX2. This was a fantastic - albeit slow - RAW developer that could arguably get the best results of any programme from Nikon RAW files. As an independent software developer Nik brought out the Nik collection, also based on their u-point technology. The full collection cost a whopping US$500, but you could also buy each of the independent apps for about $99 (if memory serves me correctly). In particular, their Color Efex, Silver Efex, HDR Efex and Viveza were quickly recognised as some of the best plugin apps in the industry. Then in 2012 Google bought Nik and effectively killed off Capture NX2 as Nikon lost their stake in Nik. Google also drove the price for the full collection down to $150, then to $99, and finally offered it for free!
Posted by Emil von Maltitz at 4:01 PM
Friday, May 17, 2019
|Shape and size of the V6 (blue) compared to the V5-Pro (red) mounted to a Zeiss 18mm on a Nikon D800e|
Earlier this year Nisi brought out their latest 100mm square filter holder, the V6. For those who aren’t aware of Nisi, they broke onto the scene a few years ago and completely disrupted the photographic filter market that has for long been dominated by Lee Filters (at least in South Africa, but certainly also in Australia). The original V5-Pro filter holder was fairly unique in that it allowed the use of a special polariser filter that could be screwed into the actual holder adapter, rather than in the front of the holder like the enormous and costly Lee 105mm polariser (see this article on the holder systems compared to each other).
Posted by Emil von Maltitz at 4:34 PM
Wednesday, May 15, 2019
It has become popular to ridicule the much copied act of Gear Acquisition Syndrome, or GAS for short. For those who aren’t familiar with the acronym GAS, it refers to the build up of equipment in the never-ending pursuit for some kind of silver bullet for our photography (where that silver bullet is a piece of equipment). The first part of GAS is the reasoning that every flaw in a photograph is surmised to be a result of the equipment, not the photographer. If the image is out of focus, get a new lens. If the image is blurred, get a new camera, etcetera. The second part of GAS is the insatiable desire to play with new toys and the justification created to buy them. So the thinking goes, “I am starting out in wildlife photography…wildlife requires big lenses…I’ll buy a big lens….oh dear, I’m not getting close enough [to the subject]…I’ll buy another bigger lens”, and so it goes.
Posted by Emil von Maltitz at 12:54 PM