Enthusiast photographers and camera angst

click photo to enlarge

The general public seems to believe that a "better" camera produces "better" photographs. It's a view shared by many enthusiast photographers and quite a few who earn money by selling images, two groups who should know better. It seems to be forgotten that one of the reasons for the tiers of cameras produced by manufacturers, and for the frequent renewal of their model ranges is the desire to feed on the belief that as far as producing finer photographs goes, newer equals better. Yet nothing could be further from the truth. It is usually the case for enthusiasts that the camera is the least important element in securing higher quality photographs. It's true that if you specialise in particular areas of photography - for example wildlife, aviation or even weddings - you are better served by one model rather than another, but for the generalist photographer there are many cameras that will meet their needs. And therein lies the problem: too many photographers don't identify their own needs, but instead believe what they are told in online forums, magazines and the like. A new camera will, they convince themselves, allow a step forward in their photographic development. The holy grail for many seems to be an increase in "sharpness". Others fret about "noise". Then there are those who fixate on dynamic range, bokeh, burst rate, and a plethora of other technicalities. When I read such things I'm reminded of the hi-fi buffs who spend their time listening for the flaws in their equipment rather than to the music!

It occurred to me a while ago that there is a fairly easy way for the enthusiast photographer to remove the angst of camera ownership: simply look at the recommended models that produce output acceptable to a large stock agency. Here's the list for Alamy, one of the biggest, updated for June 2010. It shows most of the DSLRs that have been produced since sensor size commonly reached 8MP, and quite a few other models as well. If your camera is on that list (and in many, if not most, cases it will be) then it is, by a definition that should be acceptable to the majority of people, a very capable machine. So quit worrying, enjoy using it, and start working on the important aspects of photography such as subject, visualization, tone, colour, light, composition, etc. If your camera isn't on such a list (or is one of Alamy's unsuitable cameras) then, before you think about scrapping it, think about whether or not it provides for your photographic needs - these are all that matter - and if it does, then carry on using it.

Today's photograph shows a carrion crow sitting on a building surveying the throng of people below on the promenade at Skegness, Lincolnshire. He (or she) was perhaps hoping for a discarded chip, hot dog or burger fom the early evening crowds. What caught my eye, and pleased me, was how the crow was not deterred by the anti-bird devices fixed around the building's edge. I decided to try a shot that heavily emphasised the bird by framing a composition that is mainly cloud.

photograph and text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 150mm (300mm/35mm equiv.)
F No: f5.6 Shutter Speed: 1/400
ISO: 200
Exposure Compensation: -0.3 EV
Image Stabilisation: On

The carrion crow

click photo to enlarge

"Carein Crowes...neuer medle with any quicke flesh."
The earliest known record of the name Carrion Crow in English, 1528

Standardized names for British Birds appeared much later than is generally realised. Not until A List of British Birds by a Committee of the British Ornithologists' Union in 1883 was a comprehensive list compiled that used only one vernacular name for each species. Yarrell, from 1843 onwards had attempted standardization, but used multiple names for some species. In 1768 Pennant's British Zoology (Birds) had adapted English names to match Linnaeus' scientific classification. In fact, not until the second half of the seventeenth century did bird books appear in English, though authors like Merrett (1667), Charleton (1668) and Ray (1678) translated or used Latin names or borrowings from continental authors.

Of course, the great majority of our bird names are folk names that arose anonymously. They often show regional variation (e.g. Lapwing, Green Plover, Peewit, Tewit), apply to the more common birds, and were sometimes shared between those that we now recognise as separate species (e.g. Marsh Tit, Willow Tit). In the distant past no distinction was made between the Carrion Crow and the Rook: they were both called simply "crows". However, with the rise of the study of natural history observers noted the rook's whitish beak, feathered legs, different call, more gregarious habits and greenish (as opposed to purplish) iridescence. And, later, the similarity of the carrion crow to another crow with patches of grey was realised, as was the interbreeding where their ranges overlapped. Consequently carrion crows became Corvus corone corone, and Royston crows, later called hooded crows, the sub-specific Corvus corone cornix.

However, none of this improved on the bad name that the carrion crow had with country people. Far from being seen as a useful scavenger that cleared the land of dead carcases, its habit of raiding poultry pens, game-bird hatcheries and the nests of songbirds, ensured that its name was as black as its feathers, and it remained the subject of persecution. In literature Shakespeare, Blake, Poe and others used the bird to represent the dead, or as an omen of impending doom. Which is a shame, because carrion crows are attractive birds that can be enjoyed in a wide variety of habitats from mountain-sides to the sea-shore. Today's image was taken on the slopes of the Pennines and shows a bird in a characteristic pose, searching for food from the vantage point of a dead tree. Unfortunately, the way I've taken the shot, in ominous-looking evening light and silhouette, reinforces the stereotype of the species as a lone, malevolent, brooding presence, ever on the look-out for its prey!

photograph & text (c) T. Boughen

Camera: Olympus E500
Mode: Aperture Priority
Focal Length: 150mm (300mm/35mm equiv.)
F No: f5.6
Shutter Speed: 1/320
ISO: 200
Exposure Compensation: -0.7 EV
Image Stabilisation: N/A