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I really didn’t mean to buy a new camera. I guess I should say that I thought about it and decided not to buy a compact. I wrote about canceling my Olympus XZ-1 order because I have never been happy with a compact. I’ve been impressed with output from the current generation of 10 megapixel compacts like the Canon s95, but for the money, I reasoned that I’d always be wanting a full sized sensor. Better to use the D7000 with a prime or two than a camera that I really didn’t want to work with.

I had also looked at the micro 4/3rds cameras, but they all seemed to be too big to slip into a briefcase like the compacts or my Sigma DP1. If its too big to carry when I can’t bring the D7000 with the Tokina 17-85 mm then I wasn’t gaining anything. Thom Hogan and Derrick Story are both very enthusiastic about micro 4/3rds and similar cameras as a format that is easier to carry than a full DSLR and yet provides equivalent images.

It is Dante Stella that I’m going to have to blame for this. He wrote about the Sony NEX-5 so seductively that I had to try one. And I bought it. My local shop, Service Photo, is dropping Sony so they cut me a good deal on camera and one lens kit. I had about 15 minutes shooting with it today during a visit to Johns Hopkins and the walk yielded this image.

Why the Sony? First of all it really is small enough to drop in my briefcase during a workday like today. I would never have carried the Nikon DSLR to this meeting. The photos you see of the camera makes it look ill-proportioned, but in the hand its a nice compact package that only as large as it needs to be.

As Dante points out, the interface is atypical for a DSLR but works well enough for my style of working. While its often said to be more like a compact camera in operation than a DSLR, it seems to me more like a cell phone interface than a camera interface. As long as I can get to standard camera controls rapidly I’m fine. Aperture, Shutter speed, exposure compensation are all easily changed.

THe sensor in the camera is an APS-C, the same dimensions as the D7000. As you can see, so far the images don’t disappoint. They have the resolution and microcontrast of a DSLR.

Too things really pushed me to buy the NEX-5. First the flip up screen allows the camera to be held at waist level like a TLR. Its a stable, unobtrusive way to hold a camera. This image was taken from waist level. Holding a camera up at arms length is not a good way to get tack sharp images like this, vibration reduction or not.

The second factor is the opportunity to use my Leica lenses on the camera with an adapter. I haven’t used the Leica M6 for at least 6 months but both resist selling the Leica kit and buying an M8 or M9. The NEX requires focusing on the camera screen rather than by rangefinder, but some photographers are doing this regularly. And the Sony’s 1.5 crop keeps lenses closer to their 35mm design than the 2.0 crop of micro four thirds.

Not a typical image for me, but it wall that was on offer for the new camera in the house.

In the documentary, David Hockney: A Bigger Picture, the painter David Hockney talks about how shadows were the reason why he moved to California from rural Britain.

His father was a fan of Laurel and Hardy. In those films, Hockney saw clear sharp shadows all the time, even if the setting was Christmas. He decided he wanted to live in a place like that, where the sun shone and, I think, illuminated the world.

Whenever I arrive in LA, I’m struck by the quality of light. Its as unique as the Old Masters light in The Netherlands and the Renaissance light of Italy.

I recall when I captured this I became aware of that quality of light and tried to capture it in the images, bringing it through the post-processing as well.

The refined approaches of Vincent Versace’s new book,Welcome to Oz 2.0: A Cinematic Approach to Digital Still Photography with Photoshop are contributing to my ability to communicate the quality of light. I’m working on making it my own since my goals are to emphasize the experience of light in a particular place.

I cancelled my preorder for the new Olympus XZ-1 compact this morning after some thought about whether I would really use it much. This is another image from my California trip, again proving to me that I could put the D7000 and Tamron zoom in my carry-on and capture images during a few hours of down time.

There are photographers that I respect who have been using the latest generation of compact cameras and the micro four thirds mirrorless cameras from Panasonic and Olympus as a lighter kit.

I’ve realized that I’m just not a travel, editorial or event photographer. I use my photography as a creative outlet. I return home from a vacation with photographs of stumps and storm drains. The big view location photographs tend to be uninteresting to me when I review the images.

Certainly I always wish I had more visual diary type images, but if I go out with a compact, I end up capturing what I find visually interesting, not what I want to remember.

I use my iPhone camera regularly because its connected and has geotagging built in. I can upload to Facebook for friends and family or send an email or MMS with the image. Downloading RAW files into Aperture just doesn’t have the same spontaneity.

I leave the Sigma DP1 out of the discussion because its a full size sensor compact and provides images of great quality. Its a slow, quirky camera with a slow fixed lens (f/4) and a sensor that doesn’t do well above ISO 400. But its been my travel creative camera and provided some of my best images. I also keep the Leica M6 for shooting film from time to time. But the D7000 is my camera of choice. I don’t see that adding an expensive compact like the Olympus is really going to help me capture more images.

Another take on the subject.

These were taken looking down on the break from the Malibu Fishing Pier. The Tamron zoom is racked out all the way.

One of the tricks here is using FocalPoint to create blur that makes it look like the perspective is closer, like using a tilt shift lens to create images that look miniature.

This is one of the fundamentals of Vincent Versace’s “cinematic” approach. Capture the image knowing what you can do in post processing, but preserve everything in the capture that you’ll need for the further manipulations. On film, you needed the tilt shift lens. In the digital realm, one can easily simulate the effect.

Another principle is to add these effects enough to get the brain to look, but not beyond believability. This is really a cinematic principle. We want suspension of disbelief, not disbelief itself.

I had a few hours to capture some images during a trip this week to LA. This is the ocean at Malibu.

As a workflow evolves, image capture should too. At the time of capture the are the basics of exposure, focus and composition. The post processing starts at capture. When I started capturing some simple wave on sand, I knew that I’d be working with a contrast in tone and texture between green ocean and warm sand.

Like many others, I’m finding the 13 inch MacBook Air a very capable substitute for my 15 inch MacBook Pro.

The two main obstacles both relate to file storage. I’ve been running a dual Aperture Library strategy for a few years now. I have a project library on the internal hard drive and a large reference library on an external FW800 disk. There’s also the slower USB drives used for Vaults. The Air lacks FireWire, so I need to use USB 2.0 to access the big library. But it works well enough to transfer a project onto the internal SSD drive in the Air. It just takes some planning and time.

The other obstacle is saving Photoshop files on the Air. Its a lot slower than the MBP. This is presumably memory and processor dependent. SInce I work in bulk with Aperture it’s not a big workflow issue, just the only big noticeable step backward in moving from one system to the other. Filter and layer speed on the 2GB Air is perfectly fine.

It’s been suggested that the SSD helps the photo workflow because it provides fast virtual memory. This may be true. In the past I’ve always had Macs hang because of paging memory to disk, a situation improved by adding memory to the Mac. An SSD may be a more cost effective way of dealing with this compared to actual RAM

Reductionism can be powerful.

Through careful study, a component of a system can be identified and its role in the function of the system defined. Manipulation of that component can be shown to affect the system in a predictable way. It’s often possible to generalize- the heart is a pump in mice, cats and elephants. At a molecular level in the brain, the established role of CREB in aplysia neuronal function predicts role of CREB in mouse hippocampus. Human hippocampus? Well we can’t know because the experiments can’t be done, but the body of available evidence generates a strong belief that it does. The scientific fact that KREB is involved in human learning and memory

These scientific theories are not facts, they are statements with a probability of being true and a complementary probability of being false. Scientists recognize this at least implicitly because the method of science is to collect additional data that will either falsify or support the theory. This data will either increase or decrease belief in the truth of the theory. Sometimes theories are completely abandoned. Our earlier belief turns out to have been unwarrented.This is straightforward pragmatism.

It’s a major mistake to ignore the probability element in scientific theory. We don’t even need to consider how reliable the data really is, the nature of these complex systems makes their significance uncertain. The influence of one system component may vary in hard to predict ways because of changes in other components.

And because statements about complex systems are not true or false, we must make decisions based on belief, the probability of the statement being true. Since just about everything we deal with is a complex system, this impossibility of knowing the future is everywhere. Uncertainty can be found in the very structure of the world.

These flat, often bisected texture and contrast studies have been a constant in my images since I picked up my Minolta SRT200 in 1979. I’ve always struggled with how easily I can make these. These days I look at an image like this and simply appreciate how the image recreates the pleasure I personally have being in a receptive state looking at the world around me. Its a re-creation, a re-experiencing of a place and time now distant.

We’re too snow and cold bound in Baltimore for new image capture, so I’m wandering through Umbria again with these D300 images from 2009. The Oz 2.0 techniques are giving me a second chance to see and enhance the light in the captures.

Chaos Theory was developed by exploring dynamical systems in computers. Its worthwhile considering this idea of a system itself in our exploration of deciding better.

Systems theory is an approach to studying a collection of parts by considering them as a whole. Each part has its role to play and some how interacts with other parts of the system. Consideration of systems is vital to understand where uncertainty comes from in our world or in simple clockwork universes like computer programs.

There’s is a much stronger tradition in empirical science of reductionism, understanding the functioning of a system by taking it apart to study its component pieces. The contribution of the part is considered by examining the interaction of that part with other parts of the system. If the functioning of those parts is understood, an overall picture of the system is built up. For example, the biochemical processes of a cell can be understood by analyzing the metabolites and how they are processed by cellular enzymes.

Reductionism has proven an extraordinarily powerful way to understand the world. For the most part, when an enzyme is blocked in a cell, its product disappears and its precursor builds up exactly as expected. You don’t need to know much about the function of the metabolites or the habitat and behavior of the animal. The function of these components is likely to be the same in locust, rat, cat and man.

A powerful reductionist approach is to study simple systems. The study of memory in the brain of humans or even rats remains much too complicated to explain as a system. It was possible to trace the system to particular brain areas like the hippocampus by studying brain injury in man and experimental lesions in rats. But after establishing that a rat without its hippocampal formations can’t remember how to rerun a maze, how can you figure out the circuitry within the hippocampus that stores that memory? And even if you do, how do you trace that function in the full functioning of a rat in a maze with its visual input and motor output?

Eric Kandel took the approach of finding a much simpler system to study memory, choosing the sea slug Aplysia as an experimental model. This classic reductionist approach provided important insights into how connections between neurons are changed by activity and eventually many of the same mechanisms were found to be operating in the rat brain. Eventually manipulation of these mechanisms in rats demonstrated that they were critical for memory formation.

Reductionism often works well in science. It shows that a component or mechanism in one system serves a similar purpose in another system even though these systems may be too complex themselves to understand fully. This can serve as valuable information if it turns out that manipulation of this one particular component has a consistent effect on the functioning of the overall system.