The Overcomplication of Modern Digital Cameras?

In the beginning?

a hasselblad 501cm
a hasselblad 501cm

Are digital cameras over complicated?

In the age of film photography, cameras were mechanical marvels—simple, intuitive, and designed with the photographer in mind. You could pick up an analogue camera, load a roll of film, and with a few simple adjustments, you were ready to capture the world. The focus was on composition, light, and the moment, not on navigating a labyrinth of menu options.

Fast forward to today, and digital cameras have become technological wonders, packed with features that promise to enhance the photographic experience. However, with all these advancements, we’ve lost something crucial: simplicity. Modern digital cameras, with their endless menus and obscure settings, often feel more like a puzzle to solve than a tool for creative expression.

The Beauty of Analogue Simplicity

Analog cameras were designed to be user-friendly. The most important controls—shutter speed, aperture, and ISO—were all at your fingertips, often in the form of tactile dials and levers. These cameras invited you to engage with them physically, to understand how each adjustment affected your image. The process was deliberate, and the learning curve, while steep, was rewarding. Every click of the shutter was a conscious decision, a moment of artistry.

In contrast, modern digital cameras often bury these essential controls under layers of menus and submenus. Want to change your ISO? You might need to scroll through three screens to find the setting. Need to switch from one autofocus mode to another? Be prepared to dive into a complex menu system that requires a manual to decipher. This shift from physical to digital controls has distanced photographers from the tactile experience that made photography so engaging in the first place.

The Hidden (and Obscure) Menus of Modern Cameras

One of the most frustrating aspects of modern digital cameras is the sheer number of menu options available. While some of these options can be useful, many are buried so deep in the menu system that even seasoned photographers struggle to find them. These hidden settings can make it difficult to customize your camera to your specific needs or to troubleshoot issues in the field.

top view of a Canon R series camera showing various buttons and functions as well as dials
top view of a Canon R series camera showing various buttons and functions as well as dials

For example, consider the various autofocus modes available on many digital cameras. On the surface, this seems like a great feature—until you realize that switching between modes requires navigating a series of nested menus. By the time you’ve found the right setting, the moment you wanted to capture has passed. The same can be said for features like white balance adjustments, custom function buttons, and even something as basic as formatting a memory card. The user interface has become a maze, where once it was a clear path.

Information Overload: Do We Really Need All These Features?

Another issue with modern digital cameras is the overwhelming number of features and settings. Do you need to choose between 15 different picture styles? Is it necessary to have three different ways to activate the shutter? While these options might be useful in specific situations, for most photographers, they add unnecessary complexity to the shooting process.

The more features a camera has, the more potential there is for something to go wrong. Accidentally set your camera to the wrong mode or turn on a feature without realizing it, and you could end up with a batch of unusable photos. This complexity can be especially daunting for beginners, who may find themselves overwhelmed by the number of choices they have to make before they can even take a picture.

a canon mirrorless body
a canon mirrorless body

The Price of Progress?

It’s easy to understand why camera manufacturers have packed so many features into their products. In a competitive market, they need to offer something new and exciting with each release. But in the pursuit of technological innovation, they have sacrificed usability.

As photographers, we should be able to focus on capturing the moment, not on navigating a complex menu system. There’s a reason why many professionals still prefer using older, analogue cameras, or why some opt for digital cameras with simplified controls. These tools allow them to engage with their subject, rather than with their gear.

Two canon mirrorless bodies
Two canon mirrorless bodies

A Call for Simplicity

It’s time for camera manufacturers to reconsider their approach. While technological advancements are important, they shouldn’t come at the expense of usability. We need cameras that empower us to create, not ones that hinder our process with unnecessary complexity.

Let’s bring back the simplicity that made photography accessible and enjoyable. Whether through more intuitive design, customizable interfaces, or a return to tactile controls, the goal should be to make cameras that are tools for creativity, not puzzles to solve.

In the end, the best camera is the one that allows you to capture the world around you without getting in your way. Let’s hope that future designs will reflect this simple truth.


About the author.

Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He has also nearly 40 years of silver gelatin printing under his belt. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs. And of course the act of making and taking photographs in the 21st century. Photobooks sit quite high on his radar too these days.
☛ Website | Flickr | Instagram| s2z digital garden | Tumblr | leave a tip, or buy a print

iPhone 14 Hardware & Software at night

Ever wondered how an  iPhone 14 Hardware & Software will perform at night?

My current iPhone, a 14 Pro, has been performing spectacularly since I bought it. This is an example of what it allows me to photograph. A situation where film would be almost impossible without a ton of pre-planning, and a healthy does of luck. And even with a DSLR some extra equipment. As it is, I stood in the one spot held the camera steady enough and the hardware and software took care of everything else. Three snaps later we moved on and got in the car to go home.

Moonee Ponnds 2024-06-14 20:46:07. How my iPhone 14 pro perorms at night? A hand held photo of a busy road in Moonee Ponds. I’m standnig by the side of the road on the nature strip as cars whizz past creating light trails. A trolley occupies the foreground, along with a pole for some utility, and a parked grey ute. Trees peter out in the distance and the sky is an incandescent blue.
Moonee Ponnds 2024-06-14 20:46:07

This images forms part of another project hosted on Tumblr

I couldn’t be happier with how my iPhone 14 Pro performs at night.


About the author.

Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He has also nearly 40 years of silver gelatin printing under his belt. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs. And of course the act of making and taking photographs in the 21st century. Photobooks sit quite high on his radar too these days.
☛ Website | Flickr | Instagram| s2z digital garden | Tumblr | leave a tip, or buy a print

Wordless Wednesday 2023-11-22 | 13:00:00

Aircraft apron at Tullamarine airport, with lines and markings across the picture plane, some oil spills Arte apparent and a ladder is position in the top right corner.
Tullamarine 2023-11-15 10:16:13

About the author.

Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He has also nearly 40 years of silver gelatin printing under his belt. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs. And of course the act of making and taking photographs in the 21st century. Photobooks sit quite high on his radar too these days.
☛ Website | Flickr | Instagram| s2z digital garden | Tumblr | Stuart’s Ko-fi page,leave a tip, or buy a print

How I Got Here Part Two?

So we’ve established in the beginning, I was interested in what I would call a fine print. Based on the concerns of other photographers who’ve gone before me. Such as Ansel Adam’s Technique, and later, feebly attempting to explore the surreal and philosophical underpinnings of Frederick Sommer’s ideas.

Frederick Sommer Petrified Forest National Monument, Arizona1940
Frederick Sommer, Petrified Forest National Monument, Arizona
1940, Gelatin silver print,  (20.4 × 25 cm)

The next and final question is how, do you make/get a fine print? When one starts to get serious about your prints, it easier to produce good prints from good negs, plenty of shadow detail, not too blown out in the highlights, with hopefully a long scale of tones, [all based on a well published list of characteristics of materials.]

Long scales of tone, then give you license to manipulate them, the tones. Grain was a no-no, and high contrast was considered bad form, unless you had a good reason for it. Remember this is based on the ideas that the f64 group had pioneered.

black and white print of Dynon Road circa 2015 before the infrastructure came into affect
Dynon Road circa 2015 gelatin silver gelatin print 19 x 19 cms

This necessitated knowing your materials intimately, both film and paper. [I still use the same film today as when I started exploring materials over 30 years ago, but not the same developer or paper.] It also often meant lugging a tripod EVERYWHERE, because like good ol’ Uncle Ansel, you shot at the smallest possible aperture to get the maximum amount of Depth of Field. Usually on Medium Format or Large Format Cameras to help keep grain to a minimum. To keep your images sharp, you not only ALWAYS used a tripod, but a lens hood as well. Depending on your film developer combination*, even on bright sunny days, the best you sometimes could get was 1/8 a second at f22. Being a ‘landscape’ photographer, I never practised hand holding at low speeds, and today I still feel a little weird shooting wide open.
As a consequence I rarely photographed on a whim, and unless I was lucky enough to have a boot full of gear with you at all times, making images required a level of preparation and planning that would make trips to the Himalayas look like a picnic in the park.

Pylons near the Westgate bridge circa 1994
Pylons near the Westgate bridge circa 1994 gelatin silver gelatin print 19 x 19 cms

So; given the effort required to get your gear to the spot and with hopefully good light, you also needed to get the best neg you could, you were always trying to make sure you exposed the negative correctly, and then developed it to it’s full potential, if you were developing your own black and white film. I think I’m pretty good at developing my own b&w, but when compared to the ‘masters’ I learnt from I’ve another 20 years of practice to go.
Bad negatives, and I have plenty of them, were the bane of my life, but often got fewer and further between, as I became more skilled at my craft. Ever wonder what to look for in a bad neg?
Here’s a list of ‘straight photography’ no-no’s unless the idea or the print is enhanced by it**.

  • Camera Shake, not to be confused with poor/incorrect focus
  • Flare
  • Dust and scratches on the Negative/Print
  • Poor/Incorrect focus, neg or print
  • Empty blacks with no detail in a print
  • Highlights with no detail, in your prints unless spectral like chrome
  • Flat or Muddy tonality in your prints
  • Poor tonal separation in your prints
  • Chromatic Aberrations or other lens defects, in your print

The one thing bad negatives taught me, and many other people was, “How to make a good print”.
So how many photographers on any of the social websites out there walk EVERYWHERE with a tripod, a medium or large format camera, have tested their materials and equipment extensively and know their place in the broader history of photography?

Well not me that’s for sure. That’s why I love my mobile phone and my desktop publishing software, and flickr and the web in general.In part three, I will elaborate.

*At one point in my experiments, I used a Developer called pyro, with a recipe for it, that lowered my favourite film down from 400 ISO, to 6 ISO, it gave beautiful long scale negatives, but was very tricky and messy to work with, in the end I settled for, my own hand made D25.  I’m now using a 2 bath developer solution, with a long PH buffer after the developer.
**Artists Like Joel Peter-Witkin and The Starn Twins, took this all to another level, as their work is the antithesis to these ideas, and I admire and respect these artist’s work immensely.

Part one  || Part three


About the author.

Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He has also nearly 40 years of silver gelatin printing under his belt. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs. And of course the act of making and taking photographs in the 21st century. Photobooks sit quite high on his radar too these days.
☛ Website | Flickr | Instagram| s2z digital garden | Tumblr | Stuart’s Ko-fi page,leave a tip, or buy a print

Testing a new(ish) file format

parliament station shot on an iPhone
parliament station shot on an iPhone

About the author.

Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He has also nearly 40 years of silver gelatin printing under his belt. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs. And of course the act of making and taking photographs in the 21st century. Photobooks sit quite high on his radar too these days.
☛ Website | Flickr | Instagram| s2z digital garden | Tumblr | Stuart’s Ko-fi page,leave a tip, or buy a print

Glass

screenshot of the glass.photo website
my page on the website glass.photo

About a year ago, an app surfaced that was attempting to usurp Instagram. It was using a paid model from the get go making it one of the more reasonable options. I was lucky to grab an account. A year later things are still a bit quiet in there, but that’s not a bad thing really. Some other tweaks that were recently brought to my attention are that there is now a web interface. The other changes have been, the ability to simply “appreciate” a photo, a bit like a like on Facebook or Instagram. Lastly they now have a broad range of categories to add your photo to to help its get found.
So its going to be another 12 months for me on this platform as yet again Instagram changed how it presents itself.

There is another free service called pixelfed.social, I of course have an account there as well [s2art]


About the author.
Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs.

☛ Website | Flickr | Instagram | Photography links | s2z digital garden | Tumblr

Throwback Thursday

abstract sculpture detail in avignon france
An abstract sculpture detail in Avignon France, on 23rd of June 2012.

About the author.

Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He has also nearly 40 years of silver gelatin printing under his belt. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs. And of course the act of making and taking photographs in the 21st century. Photobooks sit quite high on his radar too these days.
☛ Website | Flickr | Instagram| s2z digital garden | Tumblr | Stuart’s Ko-fi page,leave a tip, or buy a print

Moving Towards A Post Adobe World

In my never ending pursuit to escape the clutches of Adobe’s leasing model, I’m always on the lookout for alternative software to manage organise and process my digital files. This last few months I have been working exclusively without any Adobe products. Lightroom was my go to tool until I resurrected Aperture by Apple on an old Desktop. Now I’m using 2 apps to do all the heavy lifting.

Neofinder's interface, is like Adobe's Bridge, but creates a catalogue file or files,
Neofinder’s interface, is like Adobe’s Bridge, but creates a catalogue file or files,

NeoFinder is the first. It is now my digital asset tool of choice. Finding and using this software has potentially saved me from buying a new desktop computer. The software is stable, fast and flexible. If it had an ability to “ingest files” and process them as raw then I’m set.  As Neofinder does not, my workflow consists of using Apple’s Image Capture.app to ingest files, Neofinder to rate, sort and organise, and Affinity Photo to process the raw files.

Affinty Photo, is a powerfult digital editing tool with a similar feature set to Adobe's Photoshop with out the ongoing lease cost
Affinty Photo’s raw processor interface. It is a powerful digital editing tool with a similar feature set to Adobe’s Photoshop with out the ongoing lease costs.

About the author.

Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He has also nearly 40 years of silver gelatin printing under his belt. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs. And of course the act of making and taking photographs in the 21st century. Photobooks sit quite high on his radar too these days.
☛ Website | Flickr | Instagram| s2z digital garden | Tumblr | Stuart’s Ko-fi page,leave a tip, or buy a print

Wordless Wednesday #3 2022

Maribrynong river with EJ Whitten Bridge in the background
Maribrynong river with EJ Whitten Bridge in the background

About the author.

Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He has also nearly 40 years of silver gelatin printing under his belt. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs. And of course the act of making and taking photographs in the 21st century. Photobooks sit quite high on his radar too these days.
☛ Website | Flickr | Instagram| s2z digital garden | Tumblr | Stuart’s Ko-fi page,leave a tip, or buy a print

On the cusp

As we reach the end of summer here in Australia, I’ve been exploiting the effects of La Niña. With the Melbourne Art Book Fair approaching rapidly, I was hesitant to head out to make pictures but this Friday the weather was just right, so I exploited that and made pictures for a couple of hours.

google earth view of the are explored
google earth view of the are explored

I initially set out to make some pictures as teaching aids, but as I was on a bridge near the ring road, I decided to wander towards an aspect of the Maribrynong river that has always intrigued me.

I started under the EG Whitten bridge. A sad spot in so many ways. So much rubbish just dumped. I am unsure about the status of the land under the bridge as well. I know that the edges of rivers up to the high tide mark are considered crown land, but this land is well above that and also bordered by some private land. The western side of the river seems mostly private. This has been heavily impacted by trail bikes and other uses. This is the part I found most interesting. As the bike riders reshape the topography.

An early influence for me as a student of photography was Joe Deal’s work, The Fault Zone Portfolio, a group of 19 silver gelatin prints that documented suburban life along the San Andreas Fault Line in Southern California. This place reminds me of that except the forces at play are much more human in scale.

I only took digital equipment with me on this occasion. Given what I saw I’m sure a return visit is in order with at least my Hasselblad. It would be no mean feat to cary this equipment in, but more than worth it under the right lighting conditions.

Maribrynong River from the EJ Whitten Bridge
Maribrynong River from the EJ Whitten Bridge in 2019
Rubbish, and sticker art under the EJ Whitten Bridge
Rubbish, and sticker art under the EJ Whitten Bridge
Dirt Bike tracks litter the area
Dirt Bike tracks litter the area
Landfill to the left and natural landscape to the right
Landfill to the left and natural landscape to the right

About the author.

Stuart Murdoch is an Artist and Part time Photo Educator, with over 30 years of teaching experience. He has also nearly 40 years of silver gelatin printing under his belt. He contemplates many things photographic. His ruminations include his own work as well other’s and the aspects of technology that impact on the sharing and consumption of Photographs. And of course the act of making and taking photographs in the 21st century. Photobooks sit quite high on his radar too these days.
☛ Website | Flickr | Instagram| s2z digital garden | Tumblr | Stuart’s Ko-fi page,leave a tip, or buy a print