One Of The Students Whose Speculative Apple Designs Were Popular On The Web Has Actually Gone On To
Vaniria Setser
The possibilities of a new year can inspire us to (re)ignite passions, set new goals or send the mind raveling in wild flights of fancy. In the grand scheme, the heavens do not notice that a rock has hurtled through the cosmos to retrace its steps once more, but on that rock, we humans take notice every January.
A brief diversion before we get started. These predictions are meant as a little fun with tongue firmly in cheek. Some serious, some not-so-serious, some wishes and dreams, but on some level, I'm aiming to be plausible and based on some truth. In other words, if I'm right, it's \"I told you so,\" and if I'm wrong, \"just kidding.\" Enjoy!
One Of The Students Whose Speculative Apple Designs Were Popular On The Web Has Actually Gone On To
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I think this one is a no-brainer. There won't be any escaping 'global shutter' in 2024. With Sony's anticipated February release of the a9 III, there's a lot of hoopla about global shutter finally coming to a still photography camera.
I was recently surprised to hear from dozens of photojournalists wondering if they should preorder the a9 III ASAP. Surprising, because these same photojournalists have yet to make the switch to mirrorless systems, and yet here they are asking if this is THE camera that would convince them to leave DSLR behind finally.
Global shutter is nifty for doing away with rolling shutter and making flash sync a near afterthought, but it is not without its compromises. In our testing, we found that a9 III image quality takes a hit, particularly at higher ISO settings. It still makes sense for sports shooters, but its use of global shutter isn't the 'game changer' and future for every type of photography. (Not just yet anyway, maybe version 2 down the road?)
Contrary to popular belief, camera video features don't necessarily make a still photography camera more expensive. Rather, video feature improvements overlap with ways to improve still camera features. The performance gains and R&D costs are shared across stills and video, and one way or another, we're paying for them.
What do I mean? Let's look at sensor readout speeds and processors. Faster sensors and processors help video reduce rolling shutter, but they also improve autofocus and enable features such as subject recognition for stills. There are benefits for still photography as well as video, and the development costs don't necessarily increase costs for still photographers since they're already baked into the sensor development.
In other words, the costs are shared and any advancement in sensor speed for stills benefits video, and vice versa. More to the point, the costs are incurred even if you're only trying to do it just for stills. They're intrinsically linked, and taking one away doesn't make the other cheaper. So, let's embrace video and reap the benefits when it comes to photography features.
Audio has long been a neglected side of the video equation in cameras. Video editing dogma has foretold that viewers will forgive bad pictures but not bad sounds. For instance, who doesn't know someone who refused to watch Tenet due to sound issues?
From my experience, our cameras haven't always kept this in mind when thinking about how to implement audio. Monitoring sound quality isn't possible on most entry and mid-tier cameras, and it's often not until you get into more expensive cameras that you are graced with a headphone socket.
Without a way to monitor directly, we risk improperly setting gain levels to where we miss sounds that are too low or risk clipping sounds that are too high. Some cameras (mostly those targeted at vlogging) have recognized this and implemented clever auto mic modes, and while the results are better, they too run the risk of clipping, and the overall sound quality pales compared to properly monitored audio captured off-camera.
I think this is where 32-bit float audio may help. Unlike 16-bit (what our CDs use) or 24-bit audio (what most professionals use), 32-bit float audio uses scientific notation to capture a much wider range of distinct levels of sound. To better understand what this means, let's look at what each format is capable of: 16-bit files can capture a dynamic range of 96.3 decibels, 24-bit files top out at 144.5 decibels and 32-bit float goes up to 1,528 decibels.
This means 32-bit float files can capture a wider range of loud sounds before clipping, which means on a video shoot, bad sound can be one less thing to worry about. That's particularly helpful for solo productions where you're already consumed with lighting, framing, direction, camera operation and often racing against time. Who doesn't want one less thing to worry about, and why not let that be a thing that's crucial to the final result?
A quick caveat: 32-bit float audio is not a magic bullet. You still have to be in the ballpark on your initial capture settings, but that ballpark is now an astronomically larger field so it is easier not to mess it up.
What is a photograph? Is a photograph a document, art or something else entirely? Do photographs have to be real, or is the word 'photos' just another way to refer to all visuals that can pass for photorealism? The word photo means 'light,' so do photons need to be involved somewhere?
We may say that, in essence, a photo is a natural light captured and preserved as a visual representation of a moment in time. But then, what of the photos coming from our smartphones? Our phones do not capture a single moment the same way our still cameras do, but rather as a burst of images that is computationally combined into an amalgamation of no actual moment in time. Is this still a photograph? Does it matter that a smartphone has taken 16 images and combined elements of each to make one image? Does a photo always have to be truthful?
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