Hearing descending steps on the road below, I decided to react quickly: Dialling down the ISO, cramming in the slowest possible f-stop I estimated I should get a low shutter speed, slow enough to render the pedestrian in a blurry manner, avoiding the impression of a frozen moment and setting her in contrast to the static rectangles of the buildings. I managed, and internal stabilisation helped to keep the sensor steady.
Using the same camera always and everwhere seems to pay out. Of course sometimes I’d enjoy a small P&S, but I do fear the effect of being not completely in unison with the tool, the camera being quirky in the wrong moment. Juha Hataaja from Lightscrape does wonders with his LX-3, and besides his visual and creative powers he knows his tool after 125.000+ exposures. I could imagine that this really makes up the distinction from many of the interested hobby photographers: Doing it, excercising it, coming to a level where all the settings become self-evident and the tool becomes part of eye and hand. In the end it’s what Herrigel describes in “Zen In The Art Of Archery”. And it seems there’s no shortcut.