So a working year is coming to it’s head with the TCE students leaving for exams last week. There is more to the year, but the TCE’s leaving really sets the tone for the end of year countdown. The count for submitted images so far this year is about 15-20,000 with 3-4 times as many taken overall.
What has changed, what has gone out and what has grown?
I gave video a go.
Not claiming to have any skills with processing (yet), my focus has been on video and sound capture only. Things have been going ok, but sometimes the “two hats” needed for stills and video are a stretch. It is genuinely hard to think differently at the same time and Olympus cameras are not ideally set-up for video-stills changes on the fly. I may address that with a dedicated camera or simply carry an extra model as needed (my issue here is a lack of microphone supporting models outside the EM1’s).
I have enjoyed learning the ins and outs of sound/mics, the formats and benefits of my chosen brand over others (awesome stabilisers and AF), but do need to shoot more for my own processing, when I get the hang of a programme that is.
For mics, the Neewer CN-14 mic wins best bang by a mile, edging out the more expensive Rode video-mic micro as a boom mic and the Zoom H1n best overall sound and versatility (awesome pre amp), but I will admit to grudging respect for the little Rode video-mic, the one I did not intend to buy (and it has the best accessories).
High ISO processing and processing in general.
Well Adobe is gone. Never thought I would say that, much less actually do it, but no regrets on any level. Never much of a Photoshop user, Lightroom seemed rudimentary in the extreme compared to Capture 1 on so many levels. Anytime I got the jitters, a quick trip back to Adobe reassured me I had done the right thing.
ON1 RAW, DXO and a few others were contenders for a while also, but for base image quality, ease of processing for bulk jobs and features, Capture 1 won out with a little help from ON1 No Noise for more useable ISO 6400-12800 (!) files. I am being unkind here really. For “useable” read frikkin’ awesome, game-changing files.
Seriously, clean and sharp ISO 12,800 from M43 at decent sizes! After Adobe, I sometimes feel like I “upgraded” to full frame and forgot to tell myself.
Cameras and Lenses.
The EM1x continues to impress. I feel an almost empathic connection to this camera, but to their credit, the older EM1 mk2’s, especially with the firmware update are a hair behind. I always use these for long lenses and focus tracking. For shorter lenses I find flip-up touch screen focus more useful so the EM10/5’s are better.
My EM10’s, or my “shutter savers” are doing more work than you would expect. They have their limitations professionally, but when used with wider lenses and touch focus, they never miss a beat. For some reason, the silver EM10 seems to thrive as a studio camera, so it is always the first one asked “to the ball”.
The old EM5 mk1’s are flagging, two having fallen away (banding and shutter issues), but the other two are still trust-worthy and the original batteries are still good after 7-10 years each! If a job requires a second or third camera, especially one that may get damaged, I will always take one along. You will often find the “filler” 25mm on this.
The Pen F and Pen Mini are kept just for my own use.
For video, I am tempted to get a Panasonic (G100, G95 or G9 on clearance). This will give me more depth, better AF on the 8-18 and a video specialist (mostly set-up, not results). Optionally, another Oly with mic jack (EM5 mk3 or EM1 mk2 on clearance) or to replace the EM1 mk2 I have set up now as a stills camera (EM10 mk4, EM1 mk3).
The 300mm Pro leaves me speechless regularly. Anything I point it at takes on that premium tele look, usually reserved for lenses many times it’s price. I am not as impressed with the AF using the 1.4 TC, but IQ is still optimal. A recent shoot at a yr6 beach/water camp sometimes felt like a high end commercial shoot.
The 25, 45 and 75 primes are my go to portrait lenses. Each has it’s own qualities, making the actual focal length less important than the individual lens’s character. The 25 gets the most use as the “filler” between the 8-18 and 40-150 with lovely smooth separation at a practical focal length, the 45 is my bigger Bokeh lens with more crunchy character and the 75 adds a bit of that big lens feel, like the 300mm.
The 40-150 Pro seems brighter than it says on the barrel with excellent micro contrast, making it the poor light king even though I have faster glass. The Bokeh is iffy with busy backgrounds, but being aware of that, I use another lens when that is important (75). This lens loves the tele-converter. So much so, sometimes I forget it’s on for long periods.
The 12-40 is still a consistent giver and my favourite video lens unless cropping is an issue (the stronger stabiliser option crops heavily). I am switching more and more to tripod+dolly or gimbal for transitions to reduce stabiliser issues.
The 8-18 Leica has that special something and is a joy to use. It also turns out it is tough, surviving a drop the other day (saving the EM10 mk2 it was mounted on). I am surprised how often I use the wider end, but I try not to over do it as super wide distortion is no friend to people, just places. It also crops to a nice range in highly stabilised video.
The 17mm has become a capable close quarters shooter. A favourite combo is mounted to the little Pen mini on a long cross-body strap. It’s fire engine red and at a good height for kids so acts as both a distraction and capable snap shooter. This lens is ear marked for video also as its Bokeh and MF application are ideal.
Bags.
I am still struggling to find the perfect bag, but most of the time the Domke F802 wins out. It holds everything and does it with integrity after two plus years of solid use. The optional pockets are rarely needed, but the capacity they add is immense (and potentially back breaking).
Attempts to use a “nicer” looking bag have had mixed results. The Filson Camera Field Bag has a very annoying tendency to sag when over loaded, the regular Field Bag has poor external pockets for photography and the flap is a little big, but I still prefer it to the CFB. The CFB is now relegated to personal use or very light jobs. The CFB may benefit from a semi rigid insert like the Domke has.
The new little $50 au Crumpler is a winner, if small, carrying as much as the CFB in practical terms.
The big Neewer backpack is great at it’s designed purpose (massed haulage) and is now my video bag, the love-hate relationship I have with the Lowe Pro Pro Tactic 350 goes on. It never ceases to surprise me how often I use the PT 350. Recently I discovered how much better it is with the inserts from the Neewer!
The Think Tank Turnstyle 10 is the best long day sports bag as long as it holds everything needed.
Lighting.
One day I will find out just what these are capable of. So far, no job has needed more than 2-3 at most.
My Yongnuo mini studio has not yet been pushed to capacity. For a recent board of directors portrait I used three into a 72” brolly for a group of 12 (roughly 8-12 foot distance to subjects), but still ended up at ISO 400, f2.8 and 1/128th, so near bottomless grunt to tap there (one of the benefits of M43 depth of field). Eneloop pro batts have totally changed the way I look at my flash units. I cannot remember the last time I charged any.
The lithium powered Godox 860 has been my day bag work horse and has been a boon for bright light fill (high speed sync). The 685 is nearly as grunty with Eneloop batts, but is rarely needed. TTL is handy when moving fast.
Still struggling to come up with an ideal way to transport my studio rig in a single trip (long stands being the main issue). Golf bag trollies, tool chests on wheels and a few other ideas have been floated, but at this point a long Neewer bag strapped onto a utility trolly is working well enough. The reality is, portable and studio are not perfectly compatible ideas.
The LED lights have come into their own with video in the picture, although I am yet to use them regularly. They still get a go as rim lights. The reality is, strobes kill them for grunt, but they have their uses. Earlier this year I used one at the yr10 ball to help with warm fill and focus. A single flash and brolly did the main job, but the LED made it sooo much easier.
*
The low light safety/Bokeh king 75mm has dropped away lately, allowing me to mount the 25 on a body, but I sometimes throw in a 45mm just for the Bokeh. The sunglasses case is my emergency kit of cards, batteries etc. I have also dropped the optional end pocket off lately.
My daily working kit has evolved into the 8-18 on a “lesser” camera like an EM10, the 40-150 Pro on an EM1 and 25mm on another camera (EM5) or ready at hand. The switch to the 8-18 has freed up the 12-40 for video.
There is usually a flash or two (860/685 Godox or Oly kit), but these are being used less and less thanks to C1/No Noise, ironically just as I am getting the hang of them.
If shooting smaller kids, a little orange “pumpkin-cat“ from Electric Town in Japan called Shi Shi comes along. There are many long faces when I forget it.
Other bag fillers are my Rode video-mic micro, the 1.4 TC, a 60cm 5-in-1 diffuser/reflector panel and an off camera TTL controller for the Godox. Less often the little 176 LED for video or stills fill (yet to be used for video). This all goes in the F802.
My sports kit is the EM1x and an EM1 mk2 with the 300 and 40-150 Pro’s respectively, backed up by my third EM1 or something else with the 12-40 or 8-18 mounted. If the 300 is not needed, I will throw in the TC or for more sedate sunny day shoots, the 75-300 is more than enough. For very low light, the fast primes go in instead of the 300. If possible I only take the Turnstyle 10 or a small backpack if working from one spot.
For really light jobs I will sling an EM1 over my shoulder and a second camera and lens in the little Crumpler. I like those jobs.
What is rarely used professionally is the 75-300, 40-150 kit and 14-42 EZ (video contender, maybe Gimbal specialist). If I travel in the near future, these will get a go I am sure (travel/street kit 14-42 kit, 17, 45, 40-150 kit).
*
Overall, my processes have become more streamlined and practical, my self belief strengthened and my ability to function with any gear available has improved. I do however intend to continue to work on my shooting style/processes. I want to improve my image relevance for the school and avoid getting stale, while improving consistency, a tricky balance.
I know that setting up shots is still my weak area, being a life long candid shooter, so much ongoing effort will be focussed there, but I am happy to say, my employer is open to my style also, as long as I get the job done.