A PERSONAL DISCUSSION ABOUT ELECTRONIC VIEWFINDERS AND REAR SCREENS
I started out with the Sony NEX-5 and had no real problem with the fact that there was no EVF. Later I purchased a Sony A7R and loved using the EVF and never used the screen for photography. Eventually I decided that I would never get a camera that did not have a top class EVF. As soon as it became available I purchased a Sony FX30 and until it arrived I did not realise that it did not have an EVF. After using it for more than a year I have formed the view that Using an EVF and depending only on a back screen/back-panel encourages two different styles, equally valid, of photography.
Here’s a breakdown of how EVFs (Electronic Viewfinders) and back screens can influence different photographic approaches:
EVF Photography: The Immersive and Deliberate Approach
Isolation and Focus: Using an EVF blocks out ambient light and distractions. This allows for heightened focus on the composition within the viewfinder.
Pre-visualisation: EVFs show real-time exposure adjustments, effects, and focus peaking. This gives photographers a precise pre-shot view, facilitating meticulous adjustments before capturing the image.
Stability: Bringing the camera to your eye creates a more stable shooting platform, especially helpful in low light or when using longer lenses. This reduces camera shake and potential blur.
Manual Control Affinity: EVFs often pair well with cameras that emphasize manual controls (dials, etc.). This encourages a slower, more deliberate shooting pace focused on intentional adjustments.
Back Screen Photography: Flexibility and Spontaneity
Adaptable Angles: Back screens, especially fully articulating ones, allow for shooting from perspectives that would be difficult with an EVF. This includes high-angle, low-angle, and candid shots.
Street Photography: Screens can be less conspicuous than raising a camera to your eye, ideal for street photography where you want to blend into the surroundings.
Videography: For video work, back screens are often superior for framing and tracking moving subjects.
Touchscreen Functionality: Many cameras offer touchscreen controls like focus point selection or menu navigation, enhancing ease of use for those accustomed to smartphones.
It’s Not Just About The Tool: Photographer’s Intent
It’s crucial to remember that the presence or absence of an EVF doesn’t automatically dictate a photographer’s style. Here’s why:
Experienced EVF users can be spontaneous as well: A photographer familiar with their EVF camera can develop quick reflexes and anticipate interesting moments.
Back screen users can be deliberate: A back-screen photographer can employ techniques like a tripod for stability. They might also rely more heavily on elements like depth-of-field visualisation to compensate for the lack of a real-time exposure preview.
The Takeaway
EVFs and back screens cater to different preferences and offer advantages in specific situations. Understanding these strengths makes a photographer more versatile. Rather than being mutually exclusive, sometimes the best approach is having a camera that offers both options!
20.1 MP Exmor R APS-C (Super 35mm format) image sensor with wide dynamic range
S-CinetoneTM for a cinematic look straight out of the camera without grading
Flexible ISO, Cine EI Quick and Cine EI Log shooting modes for optimized image quality
User LUTs can be applied to the LCD display and HDMI output and embedded in clips
Dual Base ISO and a 14+ stop range for wide latitude and low-noise images
Last update on 2024-03-19 / Affiliate links / Images from Amazon Product Advertising API
The Sony FX30 is a budget-friendly cinema camera that packs a punch. Here are the key points:
Features and Design: The FX30 is a video-first camera but can also capture 26MP stills. It outperforms Sony’s aging A6000 series and even gives the FX3 a run for its money. Cinema Line LUTs, log modes, and 4K 120p (with a crop) make it a versatile choice. Premium build quality adds to its appeal.
Pros: Cinema camera features and design. Cinema Line LUTs and log modes. Affordable price point. 4K 120p (albeit with a crop).
Cons: No built-in EVF (electronic viewfinder).[this did disappoint me] 3-inch rear screen feels small. IBIS (in-body image stabilisation) isn’t very effective.
FX30 vs. FX3 vs. a7R V Sony FX3: Essentially a reskinned A7S III for cinema users. Internal tech in the FX30 is all new. 26MP back-illuminated CMOS sensor.
Sony a7R V: 61MP sensor, more focus points, and higher resolution. Better for photography.
Why Choose FX30: Affordability: Full-on cinema camera at a mirrorless price. Stabilisation and AF technologies. Unlimited recording times and 4K up to 120p. New 26MP sensor matched with a fast BIONZ XR processor.
Lenses for Sony FX30 Wide-Angle Zoom: Sony E 10-20mm f/4 PZ G Lens or Tamron 11-20mm f/2.8 Di III-A RXD Lens. Wide-Angle Prime: Sony E 15mm f/1.4 G Lens or Sony E 11mm f/1.8 Lens. Standard Zoom: Sigma 18-50mm f/2.8 DC DN Contemporary Lens or Tamron 17-70mm f/2.8 Di III-A VC RXD Lens. Portrait:Sigma 56mm f/1.4 DC DN Contemporary Lens or Sony E 50mm f/1.8 OSS Lens. All-In-One: Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD Lens or Sony E 18-135mm f/3.5-5.6 OSS Lens. Telephoto Zoom: Sony E 70-350mm f/4.5-6.3 G OSS Lens or Tamron 70-180mm f/2.8 Di III VXD Lens.
Full Frame Lenses: If you’re already using full-frame lenses, consider the Sony 20mm f/1.8 or Samyang 18mm f/2.8.
It should be noted that I have included, in this series of photographs, images of a narrow lane that connects North Princes Street to Middle Abbey Street as well as the GPO Arcade. The laneway is named William’s Lane and while many accounts claim that it is no longer shown on maps I checked Google Maps and it is identified. And while no one appears to know why it is named William’s Lane I am suggesting the following – the name William’s Lane may well be linked to a son of King George, potentially William IV who also served as Duke of Clarence. This would align with the naming of Princes Street (discussed below). I had to visit the area a second time as some images were unusable because they showed homeless people who could be identified and that would have impacted on their right to privacy.
Princes Street North, a historic gem off O’Connell Street, offers a fascinating blend of past and present for locals and visitors alike.
Its roots trace back to Henry Moore, 3rd Earl of Drogheda, who initiated development in the northeastern part of the former St. Mary’s Abbey lands. Moore’s influence is still evident today in the names of nearby streets: Henry Street, Moore Street, and (North) Earl Street.
Originally, the street we now know as Upper O’Connell Street was called Drogheda Street. Unlike today’s bustling O’Connell Street, this street was narrower and primarily residential. The section of O’Connell Street extending to the present-day location of the Spire was part of Drogheda Street.
Luke Gardiner’s Transformation:
In the mid-18th century, Luke Gardiner acquired much of the old Moore estates in northern Dublin. Gardiner, known for developing Dublin’s first Georgian street (Henrietta Street), turned his attention to Drogheda Street. He demolished existing housing and replaced it with elegant Georgian townhouses. The street was widened to its current size, allowing for a central mall where affluent residents could promenade and display their finery.
The name changed from Drogheda Street to Sackville Mall or Sackville Street, honouring Lionel Sackville, the Duke of Dorset, who served as Lord Lieutenant of Ireland.
Princes Street North Origins
Princes Street North, situated just off O’Connell Street, has a fascinating history. It is believed to have been developed in part by the Dominick family, who played a significant role in shaping the area. [I have had difficulty confirming the Dominick family’s role] Princes Street North derives its name from the sons of King George III. Specifically, it honours the Duke of Rothesay (the title given to the heir apparent to the British throne) and the Duke of York. These royal titles were bestowed upon the sons of King George III during the late 18th century.
Freemans Journal
The office of the Freeman’s Journal was located on Princes Street North in Dublin’s city centre. During the 1916 Easter Rising, the building was heavily damaged.
Today, only one original property on Princes Street remains, preserving its historical significance
Metropole Cinema and Capitol Theatre
Metropole Cinema: Located on O’Connell Street, the Metropole Cinema opened in 1922. It was once a vibrant venue, hosting films and events. The Metropole was taken over by the Rank Organisation in the 1950s and screened popular movies like “Doctor Zhivago” and “Mary Poppins.” Unfortunately, it closed its doors in 1972.
Capitol Theatre: Originally known as the La Scala Theatre and Opera House, the Capitol Theatre stood on Prince’s Street, adjacent to the Metropole Cinema. Designed by architect T. F. McNamara, it featured a 1,900-seat auditorium with two balconies and 32 private boxes. Despite its name, La Scala was primarily a cinema. In 1927, Paramount Pictures took over the lease and renamed it the Capitol. The Capitol hosted live shows alongside film screenings. Notable Irish acts graced its stage. The last stage show occurred in 1953, and it continued as a cinema until 1972.
Demolition and Transformation: Both the Metropole Cinema and the Capitol Theatre were demolished. In their place, the British Home Stores (now occupied by Penneys) was constructed.
The GPO Arcade Is Off Princes Street North
The General Post Office was most famously the rebel stronghold in the 1916 Easter Rising. It, along with much of O’Connell Street Lower, was reduced to a burnt-out shell. The building was only cleared of debris in 1924 when the Free State government approved reconstruction plans, carried out principally by T.J. Byrne and J. Fairweather and reopened in 1929.
The GPO Arcade is an Art Deco-style shopping arcade situated at the rear of the General Post Office (GPO) complex. Accessible from both Henry Street and Princes Street North, this arcade has a unique charm that draws visitors and shoppers. The arcade was built by the Office of Public Works following the 1916 Easter Rising. Its construction aimed to enhance the GPO area and provide a covered shopping space for Dubliners. The GPO Arcade boasts an elegant design with polygonal glazed roofing. Its architecture reflects the Art Deco style prevalent during the early 20th century.
The Nikon-RED acquisition has potential to significantly impact Sony’s position in the professional cinema camera market. Here’s why:
Increased competition: Sony has enjoyed a strong position in the cinema camera market with its successful VENICE line of cameras. Nikon, now armed with RED’s technology and expertise, becomes a serious competitor. For Sony, this means more pressure to innovate and remain ahead in terms of features and performance.
Potential loss of market share: Filmmakers and production houses always look for the best tools for their projects. If Nikon and RED produce compelling new cinema cameras, they could attract cinematographers who might have previously chosen Sony.
Pricing wars: Increased competition can potentially lead to price adjustments. If Nikon and RED offer competitive pricing for its new camera line, Sony might have to adjust to stay relevant.
Stimulated innovation: Competition is good for the industry. Sony might accelerate its research and development efforts to counter the new Nikon-RED powerhouse, ultimately benefiting filmmakers with new and improved technology across the board.
How significant the impact will be depends on several factors:
The quality and capabilities of Nikon/RED cameras: If they outperform Sony, there could be a marked shift in market dynamics. Market reception: How filmmakers, studios, and rental houses respond to the new products will be crucial. Sony’s response: How quickly and effectively Sony can counter the competition with innovations of its own.
Overall: It’s too early to predict the exact scale, but Nikon’s acquisition of RED is likely to shake up the professional cinema camera landscape. Sony will have to adapt and keep pushing boundaries to maintain its dominance.
DID YOU KNOW THAT YOU CAN VISIT THE SAINT HERE IN DUBLIN
Throughout the centuries since Valentine received martyrdom there have been various basilicas, churches and monasteries built over the site of his grave. Therefore, over the years, many restorations and reconstructions took place at the site. In the early 1800’s, such work was taking place and the remains of Valentine were discovered along with a small vessel tinged with his blood and some other artefacts.
In 1835 an Irish Carmelite by the name of John Spratt was visiting Rome. Apparently his fame as a preacher had gone before him, no doubt brought by some Jesuits who had been in Dublin. The elite of Rome flocked to hear him and he received many tokens of esteem from the doyens of the Church. One such token came from Pope Gregory XVI (1831-1846) and were the remains of Saint Valentine.
On November 10, 1836, the Reliquary containing the remains arrived in Dublin and were brought in solemn procession to Whitefriar Street Church where they were received by Archbishop Murray of Dublin. With the death of Fr Spratt interest in the relics died away and they went into storage. During a major renovation in the church in the 1950s/60s they were returned to prominence with an altar and shrine being constructed to house them and enable them to be venerated. The statue was carved by Irene Broe and depicts the saint in the red vestments of a martyr and holding a crocus in his hand. Hand-painted replicas of this statue are available in our Church Shop.
Today, the Shrine is visited throughout the year by couples who come to pray to Valentine and to ask him to watch over them in their lives together. The feast-day of the saint, February 14, is a very popular one.
Throughout the centuries since Valentine received martyrdom there have been various basilicas, churches and monasteries built over the site of his grave
Leaca, leacain or leacan in Irish means the side of a hill.
The Lacken Walk, which forms part of the River Nore Linear Park, follows the east bank of the River Nore as it flows south for Bennetsbridge. Access from either the ring road at Ossory bridge or from the “Lacken Steps” at the end of Maudlin Street/Dublin Road (near the viewing area). The Lacken Walk comprises a mix of old pathway dating back to the 1950’s which travels to the rear of the old Health Board grounds at St. Canice’s. As the path opens out into the flood plain a board walk is provided to take walkers across the often wet and flooded ground. This in turn leads to a new pedestrian bridge which crosses over the Nore and links to the Canal Walk on the western bank of the river. From here one can walk back towards the city centre and access the Castle gardens when the pedestrian door in the Castle is open during opening hours.
The medieval origins of Lacken Mill, which stands across the River Nore, opposite Ormode Mill, remain visible today. Discoveries made in the 1980s revealed a medieval stone arch as well as a stone slab bearing an incised carving of a man in 16th century costume, part of the Archer’s coat of arms. The mill’s brick façade is also built on a 15th/16th century structure. In the 19th century, the Sullivan family, who lived in Lacken Hall and owned the Brewery on James’ Street, renovated the mill, bringing it up to 19th century standards.
A well-composed large-scale building forming an important element of the long-standing industrial legacy of Kilkenny occupying a site that has had associations with milling for many centuries: a mill is identified as having operated on site as early as the fourteenth century. Although having fallen into ruins the composition survives substantially intact as identified by the regular pattern of openings across each elevation with the mill presenting a picturesque feature of some Romantic quality overlooking the River Nore.