CANON IS BUILDING A 120 MEGAPIXEL DSLR AND I DON'T CARE

The pixel packing race continues, as it always will. Nikon stunned us with the D800. Sony left us drooling with the a7R, and Canon upped the ante with the 5DS and the 5DS R. And now Canon has decided that just wasn't good enough. They've announced they are building a monstrous 120 megapixel CMOS sensor. Are you drooling yet? I'm not.

Canon also announced a 250 megapixel sensor that will be smaller than full frame, but larger than APS-C. While this sounds ridiculous, the camera is largely being geared towards industrial applications such as surveillance. Even though I can somewhat understand the reasoning behind this camera's development, I still scratch my head. At some point, it's just overkill. Why do we need all those megapixels? Are they really making our images better?

I've been on a less is more kick recently, and while I've always understood that ideal, I don't think it really ever sunk. I now find myself taking a hard look at my gear and questioning whether or not I really need it. More often than not, I don't. I have tons of modifiers that I don't use. I now have a DSLR that just sits, collecting dust, because I made the switch to mirrorless, and to be honest, I just haven't gotten around to putting it up on eBay yet. I'm a slacker, but that's a different story for a different time.

The American architect, Louis Sullivan coined the phrase, "form follows function". Do we really need all those megapixels packed inside a sensor? I feel the majority of the photographers and cinematographers would answer with a resounding, "YES!" Their reasoning being that the higher resolution will make better pictures or some such crap. My feelings on the subject have changed over the years. I really don't think it matters. Actually, it really doesn't. The images and video coming from iPhones and other comparable models, are really stunning. But they're packed with fewer pixels and a smaller sensor? Wait, that can't be! Oh, but it is.

Fuji hasn't changed their 16 megapixel sensor for some time and it's interesting to note that it out performed Canon's 5DIII in many areas. Again, smaller sensor and fewer pixels. Is there some kind of Fuji magic going on in there or is it just good old fashion science and engineering? It's probably the notion of, "fix the pixels you have instead of packing more in".

Time and time again we've seen artists in all mediums that have proven to us that it's not about the "gear" that makes the work, it's the person behind it. Or as my friend says, "It's not about the arrow. It's about the archer." So, while the world will wait, and sweat a little, for the announcement of  this monster pixel camera, I couldn't care less. I say get out there and make pictures with whatever you have. Tell a story. That's the most important thing. And to illustrate this perfectly, take a look at this video. You're welcome.

SPIELBERG AND THE DEATH OF THE SUPERHERO MOVIE

Superhero movies are all the rage. They're hip, they're cool, they're trendy. Hollywood is swimming in a sea of gold because we love them so much. But will they last? Steven Spielberg seems to think they will go the way of the western.

"There will come a day when the mythological stories are supplanted by some other genre that possibly some young filmmaker is just thinking about discovering for all of us"

About two years ago Steven Spielberg spoke about his belief that the mega-budgeted films of Hollywood would breathe their last. They would soon collapse like a flan in a cupboard. He's not the one either. Many people, filmmakers, critics and the like, have backed the same notion. It makes sense, too. In general, the cost of making and marketing a film are astronomical in comparison to the return. So why continue to make a product at that price point if you're not making a profit? That is precisely what most people are arguing.

Spielberg says: "I still feel that way. We were around when the Western died and there will be a time when the superhero movie goes the way of the Western." Like anything else, once it is overplayed, it's outdated. But I'm not entirely certain that's true for the superhero genre of films. There is something about the genre that seems to reach a larger audience. Westerns died out because they didn't seem to have a relevance in the current day. Mind you, I love westerns, but many of them do have an antiquated feel. Superhero movies, and the comics they're based on, seem to have somewhat of a timeless appeal. The genre is more easily adaptable. They Western does not. It's locked in a specific time.

I do agree with Spielberg, though. I think these bloated budget films will eventually die. The tech and the means to produce high quality films is becoming easier to do. Not to mention at lower costs. Spielberg offers up this: "These cycles have a finite time in popular culture. There will come a day when the mythological stories are supplanted by some other genre that possibly some young filmmaker is just thinking about discovering for all of us."

So who what is this new possible genre and where the hell is this new creative? Only time will tell. Until then I'm perfectly happy with my superhero movies. Some are better than others, which is true of most movies in any genre.

I'd like to leave you with an interesting twist to the discussion. Many of the westerns deal with a hero battling some kind of evil. A lone sheriff stepping up to save the townsfolk. That sort of thing. Granted, they're not all that type of story. Is that not any different than the superhero movie? What if the superhero movie is just an evolution of the western?

AMERICAN ULTRA IS ULTRA...MEH

Last night was $5 movie night and I just couldn't say no. We'd had a bad run recently on our movie selection. Well, not bad, really. Just not great. I still enjoyed the films that we saw. I just wasn't excited about them. Anyway, I had seen the trailers for American Ultra and had such high hopes. I thought it had the potential for something really fun. And it was. Well, sort of. The good news is that I didn't get bored in the same way I did with Rogue Nation and The Gift.

I thought this film was going to have a live action, graphic novel sort of feel. Sort of like Kick Ass. I loved Kick Ass! Who didn't? I mean, it was kick ass. There were parts of this film though that seemed as though the filmmakers wanted to head in that direction, but they just couldn't commit. They tried to take it seriously, or rather it seemed as though they wanted some fun, outrageous comic book-ie type action, but still wanted a serious action film feel. To be honest, that confused the hell out of me. I think, as an audience member, you can feel when something is off even if you can't quite put your finger on it.

I didn't really buy into Kristen Stewart as a CIA agent. That was really tough. First of all, she looks really young. She still has that baby face, and I'm sure she will for some time. Not a bad thing. Hold on to it for as long as you can, girl. Secondly, even though this was somewhat of different kind of role for her, she was still the "stoner girl". She's always seemed that way to me. A moody, mopey stoner girl. Nothing wrong with that either, but as a CIA agent, well, I just don't buy it. I'd sooner see Robin William's character in Mrs. Doubtfire as an agent before her.

There was some really great character work though. I think I would have liked the relationship between Kristen and Jesse's characters more if the CIA agent backstory was thrown in. It would have been a wee bit stronger if they had to deal with the realization of who Jesse is with sorting out their relationship, if that makes any sense. Two "regular" people in an extra-ordinary situation. That has more opportunity for better humor and is just plain more intriguing to me. 

The other thing that sort of bummed me out was that Jesse's character was that I felt he wasn't as badass I thought he should be. After being "activated" in hopes of saving his life, Jesse finds himself with incredible abilities that he can't explain. He has knowledge about things he knew nothing about. He's an incredible fighter. Things like that. Some of the humor in what happens is Jesse's ability to pull off this amazement and confusion with these abilities while still performing killer actions. I just really felt that he could have been a little more badass. At least added some sequences that showcased that. There were plenty of situations in which he played the "lucky" badass moments, and that's not how the story sets up this secret weapon that he is that the CIA created. 

Overall, I thought the film wasn't bad. It was good. It's worth seeing in the theaters if you have time. I wouldn't dash out the door right now to see it though. 

Look Out Model Mayhem - Here's PORTBOX!

So you want to be a fashion photographer? Great! Let's see your portfolio. Oh, wait. You don't have one. Crap! Now what? How do you put together a team when you're first starting out and have nothing to go on? Navigating the waters of uncertainty can be a pain in the "you know where".

Finding the resources and tools to organize the seemingly daunting task of putting a shoot together when you're green is overwhelming. Wouldn't it be great if there was database of like-minded creatives that are looking to do the very same thing that you are spending hours researching? That's not just brilliant, it's ingenious. Here's the catch, the go to source is, well, less than brilliant. Model Mayhem is like an ex-girlfriend. We love you and hate you. MM requires a portfolio before you can get started and then the vetting process is like bleu cheese. It's soft and smells like feet - it stinks! Don't get me wrong, I love bleu cheese, but it's mostly old and moldy. You see where I'm going with this. Fortunately, there is now PORTBOX!

Portbox Home Page

Finding talent through MM is tough. There's lot's to look at and choose from, but finding solid, reliable talent is next to impossible. Fear not, models and photographers alike, there may yet be an option that might make you sleep better at night. Unless, of course, you don't sleep at night anyway. In which case, you're either dealing with a base case of insomnia or you're a vampire. But I digress.

The process of finding talent and organizing a shoot can be so complex and convoluted that by the time you actually book the talent a month or so could passed. Calling, texting, emailing back and forth only to find that more and more scheduling issues are popping up as time goes by can be very discouraging for someone just starting out. One company is trying to change that. Portbox might just be a game changer.

What Portbox aims to do is put professional models in front of professional photographers. It's more than just a place to spend hours looking at portfolios. It's an interactive booking site that allows you to privately see the calendars of those on the site. You can offer jobs based on availability. And guess what models? There's no inbox. Photographers actually have to send an offer for a job in order to communicate. No more creepers. No more, "Damn, girl! You sexy!".

Will Portbox last? I have no idea, but what they are putting out there looks fantastic. The website is clean and modern looking. There's an exciting vibe there. One that makes you want to sign up. Here's hoping. I've submitted my request. Will you?

Light Is Time - Tsuyoshi Tane and CITIZEN

Inspiration is a warm fuzzy. It is that tingling sensation felt that starts in your grey matter and shoots all the way down to your toes. Inspiration is exciting and thrilling. It's motivating. 

This morning, while surfing the interwebs, I happened on an article on architect, Tsuyoshi Tane and his collaboration with CITIZEN watch company on an art exhibit. This struck me as interesting. What kind of art exhibit could an architect and a watch company create? This is how it played out in my head, "So an architect and a watch company walk into a bar...". I couldn't be further from the truth.

"TIME IS LIGHT AND LIGHT IS TIME"

The image above caught my eye instantly and I felt the warm fuzzy beginning to spread. What could this possibly be? And at the same time, I wanted to create something with this kind of imagination. As is common with surfing the web, I had to dig deeper.

Tsuyoshi Tane is a Paris-based architect that worked in collaboration with CITIZEN watch company to create a magical space comprised of 80,000 plates, the basic component of a watch. Based on these images, the result is nothing short of stunning.

The exhibit first appeared in Milan - Design Week, but is now located at SPIRAL in Tokyo. It will be there until November 28th.

The ethereal quality seems otherworldly. It's a brilliant, inspiring look at time. I'm sharing this with you in hopes this will give you a warm fuzzy as well. I wonder what I will create...