Editing, Culling And Fresh Eyes
There is such a thing as being too close to something to be able to see it clearly.
I have started one of those tasks that is very much a punishment for being lay last holiday break. I an gonf through 2500+ images that have stacked up in my catalogue, that should really have been looked at before now, but to be honest, in some cases I am happy I have had to go back with fresh eyes.
One of the first things I noticed was the base quality of the files. The 17mm f1.8 lens took pretty much every single shot on a trip to Melbourne recently. This lens came out early in M43’s relatively short lifespan and reviews “back then” (several years ago) tended to be very math based. Charts for resolution, chromatic aberration, vignetting and contrast can often hide the true nature of a lens. I have noticed that lately, this lens more often than not comes up on M43 top ten lens lists, even making the top spot of one.
As a street lens, I feel the combination of the format, the characteristics of this lens and a choice of camera form factors, make this as good as it gets. There are specialist street cameras out there, but to be honest, I can match any of them, and have the versatility of drawing from a full system.
Next, cropping changes. Small, niggling suspicions that files are not strong enough, are addressed.
While culling three quarters of the files (the tough bit, but necessary), colour also gets re-assessed.
Often an overlooked file can re-surface, or a favourite re-processed with fresh eyes.
This one was lightened and brightened.
Some just reinforce their appeal.
The unique perspective and character of the 17mm.
The 17mm f1.8 was the only lens for this kit I bought semi-reluctantly. Basically, in the early days of M43, the options were few. This one was the only workable choice, but even then, it felt like a filler until something “better” came along. Well others did come, but I will not part with it now. Almost every image taken on the Melbourne trip was shot with this lens at f2.8.