Actually, I was meaning being inspired by looking AT the scene directly, with ones eyes, not via a viewscreen or viewfinder or whatever. Just looking. And composing can be done with a screen (some people have no problem) or an EVF, not just through a lump of glass/collection of mirrors.

Apart from some earlier models, which we'd rather forget, that used pentamirrors.

There's also
[quote="Shigeru Wakashiro"]We’re also paying special attention to the optical viewfinder. We want to provide a view that inspires the photographer’s imagination, and also to make it easy and simple for photographers to compose an image, so they can fully enjoy and totally devote themselves to the picture-taking process.[/quote]Because photographers can't be inspired by a view unless it's through a viewfinder? And, of course, we all know it's impossible to compose a pic through any other kind of viewfinder.

Sorry, not impressed, it's just a semi-technical puff-piece.

Twice, in fact.

Third time lucky?

Actually, it put me in mind of the 100 Years of Olympus stuff from last year.

And we know what's happened to Olympus...

Before SWMBO finds out?

Got myself a copy of the August issue (the one with "THE FINAL EDITION / 1950-2020" just under the title) this morning for my collection of final issues -though they are mainly magazines I seem to have killed by buying them regularly. Not a bad read, though a bit too much Landscape related stuff in it - not my scene.

They also have a "Top 10 Best Cameras we've ever reviewed" article. Doesn't mention Pentax. Have they never reviewed any Pentax kit?

Also got myself the latest issue of Rail - one of the better railway mags - but that probably doesn't interest you.

If you want to be pedantic, and I've nothing better to do at the moment , both are acceptable.
It is a bundle of things. And the things? They are whatever they are.

According to his web-site, he is a FRPS, edits Photography News and does lectures.

Well, there is a Will Cheung like that...

Thanks.

It's based on something I read in an interview with an American pro years ago. He ran photo-walks (or whatever they call them these days) and he always advised his students(?) that when they took a picture in one format (portrait/landscape) they should also see what the effect of the other format was, whether it revealed something they may have missed with the 'obvious' approach, to consider both possibilities.

It has proved useful with some of my own pics - when I remember to follow that advice...

I take it that mean you want to see my effort? OK...



I've also cloned out a bit of leaf from the top right which was a bit of a distraction.