It's time to debunk some of the misconceptions that might be holding you back from exploring your full creative potential.
Coming to you from Jason Vong, this straightforward video tackles some of the biggest lies in the photography community. Vong starts by challenging the belief that dedicated cameras always produce better photos than smartphones. He argues that in many cases, particularly for casual snapshots, smartphones outperform DSLRs or mirrorless cameras. This is because smartphones come with advanced software that automatically enhances colors, balances exposure, and processes images on the fly. However, dedicated cameras still have their place, especially if you enjoy the process of photo editing and want more control over the final image. The larger sensors in these cameras offer greater dynamic range and better performance in low light, making them essential for those who want to push their images further in post-production.
Another significant misconception Vong addresses is the idea that full frame cameras are inherently superior to other sensor sizes. He emphasizes that it's not the sensor size but how you use it that matters. Many professionals opt for APS-C or even smaller sensors because these cameras suit their specific needs, such as portability or cost-effectiveness. Vong points out that brands like Fujifilm, which don't produce full frame cameras, have built a strong following due to their excellent color science and film simulations. These features provide a quick and effective way to achieve a vintage look without the need for extensive editing.
Vong also discusses the myth that you should always shoot with your lens wide open to take advantage of the background blur that fast lenses offer. While it's true that wide apertures can create beautiful bokeh, Vong explains that this approach can sometimes blur important context out of the image. Instead, he suggests using aperture settings as tools to enhance your composition, depending on the story you want to tell with your photo. For example, stopping down can bring more elements into focus, providing greater context and depth to your images.
The video continues to explore other common myths, such as the idea that negative space is always a bad thing in composition and that on-camera flash should be avoided at all costs. Vong encourages viewers to rethink these "rules" and consider how these elements can be used creatively. Negative space can be useful, especially in graphic design or when you want to leave room for text in your image. Similarly, on-camera flash, often dismissed as amateurish, can be used to create unique and interesting effects when applied thoughtfully. Check out the video above for the full rundown from Vong.
The biggest lie I've been told is that photography is about telling a story, or that a great photo tells a story. Photos do not tell stories. They show things. Telling is verbal; it uses words. Showing is visual. Photos are visual, not verbal; hence, they show things, and do not tell things. Yet, this great lie persists and is more widespread than ever today.
The biggest lie I’ve been told is that composition is the one thing you want to concentrate on. The biggest thing that you can learn is how light is used and manipulated, without light there would be no photography. The word itself comes from the Greek word phos (Light) and graphe (Drawing.) I say this as a 20+ years as a professional photography and life long Educator.....
I agree with some of these but the one thing that never looks good is on camera flash outdoors in bright sunlight. I'm a member of this Sony A9iii facebook group and they post images like that all the time. I think it's because that camera can sync up to super high shutter speeds and they then think using an on camera flash suddenly looks great.
I agree, if you use it for fashion or to give that snap shot look, it can work well. But 9 times out of 10 the pop up or on camera flash will never look very good.
Way back in my film days, with my Pentax K1000, I had a Sunpak 555 flashgun, and would take that thing to every outdoor shoot, including the beach. Once one has passed the golden hour, harsh shadows come into play.
Using that flashgun on a camera bracket was a life saver to kill, or soften those shadows, and keep the shoot going. My leather film days, I had an SF1 with a built-in, OTF TTL flash, and that also did a great job. I eventually got the dedicated TTL adapter for Pentax to use my Sunpak in other than manual and automatic modes on the SF1. (It did have a thyristor on it).
But you are correct in that haphazard on-camera flash can ruin an otherwise good picture. Learning to use an on-camera flash is a totally different ballgame.
(Not that anyone asked, but that 555 is still in my drawer today.)