Interesting, but at the moment I can only put it on the read queue, as per most videos, until I'm back from my vacations (I fear that videos might consume my gigabytes for the month). Also because I'd like to watch them at the best quality.
So I can comment in general, without referring to the specific case. First, every time I read an analysis on an artist (not necessarily a photographer) that refers to some kind of schema I wonder whether:
- the artist was aware of the schema, I mean, whether he was explicitly using it
- the schema actually exists, or it's a projection of a reviewer (maybe even extreme, see one of the comments to that post: "Two words: Intellectual Masturbation").
For instance, some people analysing the Divina Commedia by Dante have found an incredible number of numeric schemata (BTW, schemata when analyzing a written text are more solid than those in a photo, where an intersection of two lines might be there, or even a bit more to the left, or the right, and maybe a different schema might apply as well). Some of the Commedia's numeric schemata have been clearly used by Dante, because they was part of the mentality of an author of the Middle Age - they were considered an effective tool such as metrics or rhyme. Others are so sophisticated that I find unbelievable they were purportedly used by Dante.
As a conclusion, I think that schemata - in this case grids - are mostly effective "after the fact", to study the work of a photographer, even though the grid wasn't actually used by the artist. I doubt that they can be useful to us "before the fact", that is taking the shot. I've been using grids in the VF for several years, but in the past two years - realising I've at least reached some consistency in my composition - I've removed them. I even find useful the capability of reprogramming a custom button to completely remove anything from the EVF and leave me alone with the image.
In my perspective, grids are more like swimming armrests: you need them to practice swimming at the beginning, but at some point they become an obstacle.
I'm really interested in others' perspective on the point.
Sony a6300, Sony a6000, Sony NEX-6, Sony E 10-18mm F4 OSS, Sony Zeiss Vario-Tessar T* E 16-70mm F4 ZA OSS, Sony FE 70-200mm F4 G OSS, Sigma 150-600mm ƒ/5-6.3 DG OS HSM Contemporary, Samyang 12mm ƒ/2, Sigma 30mm F2.8 DN | A, Meyer Gorlitz Trioplan 100mm ƒ/2.8, Samyang 8mm ƒ/3.5 fish-eye II | Zenit Helios 44-2 58mm ƒ/2
Plus some legacy Nikkor lenses.