When Inspiration Takes a Vacation

May 2, 2011 G Dan Mitchell 10 Comments

It happens to (almost) everyone. The pendulum sometimes swings towards enthusiasm, inspiration, and creative work that almost seems to flow all by itself. But pendulums swing both directions, and one of the prices we pay for doing creative work is having to cope with the inevitable dry periods when enthusiasm, inspiration, and creativity are nowhere to be found, periods when you can find yourself questioning your talent and abilities. (I think that one characteristic of “mature” artists is that they understand this cycle and are less likely to be undone by it – both because they are familiar with its existence and because they have learned ways to deal with it.)

I don’t claim to be the definitive expert on this issue, but I have some experience with it in both photography and music. There is much more to be said about this than I have space for here, but I thought I’d share a reply I wrote in a forum where a poster posed the following: Continue reading When Inspiration Takes a Vacation →

Photographs: Architecture, Photographs: Northern California, Photographs: San Francisco, Photographs: Structures and Objects, Photographs: Urban/Street

Laundry, Fire Escape, Chinatown

May 2, 2011 G Dan Mitchell 2 Comments

Laundry is hung to dry on fire escape above the streets of Chinatown, San Francisco.

This is a photography from one of my early morning photo-walks in San Francisco last summer. I take the train to the City very early in the morning and then walk. A lot. On this morning I passed through Chinatown on my way to the North Beach area fairly early in the morning – well before the tourist crowds showed up. A few blocks from the main tourist area it is a different world with markets opening up, deliveries being made, and busy people everywhere. I was working in more or less traditional street photographer style – to the extent that someone armed with a DSLR can do that ! – and shooting with just a 50mm prime lens on the camera and trying to work quickly as images presented themselves.

I imagine that many people who pass through here may easily be so focused on the activity at the street level that they might not look up. It often strikes me as surprising that in areas where so much is going on at street level – many people, colorful shop fronts, lots of action – the fronts of buildings right above present a completely different appearance. The first thing that caught my attention here was the laundry festooning the fire escape landings. But I also like the geometry of dark landings, ladders, and pipes against the lighter stucco wall, and the wonderful light coming through the morning haze from upper right and casting the lined shadows across the walls of the building.

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Commentary, Equipment

Why Your 21MP File “Looks Softer” Than Your 12MP File at 100% Magnification

May 1, 2011 G Dan Mitchell 5 Comments

(Note: 21MP cameras were state-of-the-art when I wrote this. While that is no longer the case, the explanation of the concept still applies to comparisons between more recent higher MP cameras cameras with differing sensor resolutions. And, years later, camera reviewers are still making the mistake that I address here.)

A frequent photography discussion forum meme is that “this old camera with fewer photosites produces sharper images than this newer camera with more photosites. In fact, I have carefully inspected 100% crops from both and the evidence is clear!”

Not so fast.

Let’s imagine that the comparison is being made between the full-frame 12MP Canon 5D and the full-frame 21MP Canon 5D2, both of which I own and use. If you put the same lens on both cameras, set the lens to the same aperture, and point both cameras at the same subject, the lens will project exactly the same image onto the sensors of both. Let’s say that you do this under controlled conditions, and you decide to compare the two captures to see if the 21MP camera is really sharper than the 12MP camera.

You want to compare closely, so you display both images as “100% magnification crops” – portions of the image that show each individual pixel from the original photograph as an individual pixel on your computer monitor. You display the two images side by side and, squinting closely and looking back and forth between the two, you notice that the 21MP original is certainly no sharper than the 12MP original and that the 21MP image actually looks a bit less sharp! You decide that a) higher MP cameras are less sharp than lower MP cameras (you have the evidence!), and/or b) the camera companies are pulling a fast one on us.

You are actually wrong. Dead wrong.

When gazing too long and too intently at a computer screen, it is easy to forget that the real world is not always represented accurately on the screen. In this case, the error is a result of viewing on a computer screen rather than making more realistic comparisons, for example between two prints of equal size. With the screen image comparison, you might overlook a fact that explains why the sharper (or at least equally sharp) camera appears to be less sharp. A look at the above illustration will help.

The image includes two copies of a full-frame photograph. Think of the one on the left as representing the photograph made on a 12 MP camera (like the 5D) and the one on the right as representing a 21MP camera (like the 5D2). The original 5D image would be 2912 pixels wide, while the original 5D2 image would be 3744 pixels wide. The full-color area of each image represents the part of the original image that would fill the screen of a 1280 x 1024 monitor when the originals are viewed at 100% magnification.

The critical point illustrated here is that the 1280 x 1024 “slice” of the 21MP image shows a considerably smaller portion of the overall image, and in order to fill the same size screen it will have to be magnified more than the image from the 12MP camera. If the two images are equally sharp to begin with, the one that has to be magnified more to fill the screen will lose more of its original resolution because you are looking more closely at a smaller portion of the image.

In the end, if you were to make two prints of the same dimension from the two original full images, the higher MP original would look at least as sharp as the lower MP original, and if you use good lenses and good technique (and print large enough that it makes a difference) the higher MP version has the potential to resolve more detail.

Some related points

A few related notions about sharpness and megapixel resolution also come up from time to time, and those who believe in them can be quite stubborn about their misunderstandings. Here are a couple:

Claim: When you move to a higher MP sensor your photos will be more susceptible to motion blur.False. This is not the case at all. If you make otherwise identical photographs with a low MP full frame (or other format) digital camera and a higher MP camera using the same format, prints of the same size from both sources will have exactly the same amount of motion blur. (Technically, the higher MP camera will provide a more accurate image of the blur, but that doesn’t change how much blur there is.) In both cases the blur covers the same percentage of frame width. And, if you are tempted to check 100% magnification crops to prove me wrong, don’t forget what we saw above about looking more closely at a smaller area with the higher MP example. (The good news for the higher MP sensor is that when there is less motion blur it has the potential to produce an even higher resolution image of the subject.)
Claim: Because the diffraction-limited aperture is larger when you work with higher resolution sensors, you’ll have more blur at smaller apertures with the higher MP system.False. You’ll have exactly the same amount of diffraction at every aperture. Diffraction is an optical phenomenon that is not affected by the sensor. Once again, if you make prints at some size from otherwise identical frames from a higher and lower resolution system, at every aperture diffraction will affect both the same way. And, again, while the higher MP system is never worse, if you use a very good lens and open up a bit you may get an even sharper image from the higher MP system.

In every case, either the two systems perform the same or the higher MP system is better. There is no situation in which the lower MP system will produce a sharper print at a given size, and there are some in which the higher MP system will make a sharper print… or allow one to make a larger print with the same resolution.

Photographs: Architecture, Photographs: Northern California, Photographs: San Francisco, Photographs: Structures and Objects, Photographs: Urban/Street

Golden Eagle Hotel

May 1, 2011 G Dan Mitchell 6 Comments

Man sitting on steps in front of tattoo parlor below the Golden Eagle Hotel, San Francisco.

Last summer, on one of my “walking shoots” in San Francisco, I wandered into a less-than-lovely area of The City – though it has its points of visual interest, for sure. I named this photograph after the Golden Eagle Hotel at least partly because I assume that the dilapidated green apartment building above the colorful (in many senses) shops at street level comprise the “hotel.” Another reason is that I wasn’t sure I wanted to title a photograph “Tattoo” or “Naughty Laundry!” (I don’t know what the “Naughty Laundry” place is, and I probably am better of keeping it that way! :-)

In a sense, every photograph I make is “about” something, though often they are simply about the qualities of the subject or subjects themselves. You could certainly look at this image that way. I was certainly intrigued by the juxtaposition of the very colorful and closely packed shops and the very drab apartments above. The building itself, which may have seen better days, is interesting to me architecturally. What is with the little round windows, with their thick frames, between the conventional rectangular windows? And despite having some interesting San Francisco qualities, the building is terribly run down. A close look reveals peeling paint, wires running here and there, painted over spots of what might have been graffiti, and so forth.

Then there is that guy sitting on the step of “Goldfield’s Original Broadway Tattoo Studio.” There are no other people in the scene, and my recollection is that there really weren’t many people around. He sits, face downward and headphones on, apparently completely engrossed in whatever technology he holds in his hand, and apparently also completely disassociated from his environment. You can find a lot of people like this today.

G Dan Mitchell Photography

Monthly Archives: May 2011

When Inspiration Takes a Vacation

Laundry, Fire Escape, Chinatown

Why Your 21MP File “Looks Softer” Than Your 12MP File at 100% Magnification

Golden Eagle Hotel

Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.