This translates as ” seize the designer “…I would add ” and shake him violently ” but I never studied Latin. Perhaps a scholar amongst my readers may be able to complete this for me.
This is not just irritability -I would like someone in the planning and design department of a major camera manufacturer to make a new class of camera to suit me. See if you would like one of these too, and then we can go hold someone to ransom for it.
The chief thing I do is studio shooting on a tabletop. Controlled lighting, steady camera, multiple layer shots. I use a Fujifilm X-E2 or X100 for this work, and the end results are fine, but I would like something better in the ergonomics of the camera to do it.
When I used the Nikon D300 and tethered it to a Macbook Pro laptop it nearly did the business. The camera was large, the lenses were large, and the there was a lot of fighting to get an exact focus on tiny objects, but the system did let me see a big picture as I worked. A little bit think/klunk with the tethering but do-able.
Now I want that same big screen separate from the camera – and would prefer if it could be wirelessly done – and with the added facility of a real-time correction for colour temperature inside the computing program that lets me see it in the final result at a 5300º K rather than showing me the yellow of the modelling lights. If the camera could be fired from the computer and then a replay done without touching the camera this would be fine – the camera should not move between exposures. Even better if it could be refocused from the computer screen to eliminate that chance of disruption.
I should be infinitely grateful for a wireless transmitter to the studio flash that did not involve yet another adapter for the hot shoe or a wire into a PC socket. Canon can do it on their 5D MkIII for their 600 EX RT flash right now. Studio work is very short range so it could be quite low-power.
Do I need a zillion in-camera jpeg special looks? No, I do not. I do need a RAW file that can go into the standard PSE or Aperture programs rather than Silkypix.
Do I need a wide-aperture lens for bokeh? No – most studio workers need just the opposite – sharp lenses that have a wide depth of filed and that will not mush-out at small apertures. The corrective program that Fujifilm incorporates into their X100, X-E2 and X-T1 is just fine, as long as they can take advantage of it by giving even smaller apertures. The barrels of these lenses can also be smaller with no harm – it allows the central axis of the mens to be placed closer to the plane of the table top.
And finally – as the Arca-Swiss mount is becoming a standard with many tripod makers, why not have A/S mounts incorporated as part of the design of the camera’s shell – one on bottom and one on the left side.