My new-old mixed kit is a blessing in disguise.
Early on in my time with the paper, I was in need of some clarity of process. Suffering a little from “imposter syndrome”, I was aware of having to champion my strengths, develop new ones and try to mitigate frustrating errors as I worked.
Shifting to an all Olympus kit was the quick answer, easily done when the paper’s promise of using video turned into a bit of a paper Tiger. Secretly relieved, as I am happy enough with my video and sound recording quality, but not my relatively untried, quick-fire editing skills, the all Oly stills kit was clean and easy to get my head around as I dealt with other things.
A trip to melbourne reminded me of the bright light loving Olympus kit’s strength.
Also, jugging stills and video is not as easy as some would think.
Well, video is back and I am dealing with the dual dynamic.
Much happier now with the prospect of a dual brand kit, having settled into a good all-Olympus work flow and having time to appreciate the missing benefits the G9 offered*, it has become a good, versatile system.
The G9 is teamed up with the 9, and 15mm Leicas. The natural look of this kit is like the Oly with fill flash applied.
The EM1 Mk2 has the bigger load of the 25, 45, 40-150 f4 (or 75).
Sure footed in the extreme, the Em1 Mk2, which is a few generations behind the latest Olympus/OM systems offerings still has plenty of legs for most work (I often use the other one as my second sports camera). I use EM1x’s for sport and the G9’s for hybrid video, but for long lens work, these work.
When I first blended the kit, the Panasonic was matched to the Olympus 12-40 and 17mm lenses, their quick manual focus switching seen as a good thing**. This hampered the camera a little, so an all Panasonic grouping is better.
I did try the 8-18, but at the time it was a poor physical fit for my bag and a little too wide-short and slow in low light (f4 at the commonly used end).
If I want to tame strong light, the Olympus gear is best and for dull light, the Panasonic kit adds glow.
This all Olympus file has a glow about it, but the reality was, the light was blinding. I love the film like look of files like this.
The secret though is in the inconsistencies.
Lacking a wide Oly lens, the EM1 can deliberately mute the delicate and bright 9 and 15mm’s a little. Conversely, the longer lenses on the Panasonic camera are given a little brightness, a little punch in poor lighting.
A harmonious combination of the G9 and Olympus 45mm. The colour from all Panasonic kit tends to look like the love child of Canon and Fuji colour. Light, brilliant with a warm/cool tension, but delicate, almost thin. Adding in the Oly 45 or 17mm’s with their warmer coatings and organic colour tends to ground the sometimes “flighty” files.
Then on the other end an EM10 Mk2 and 15mm Panasonic. This is a favourite combo, the 15mm cooling off the often too-warm EM10 files and adding a delicateness. The camera on the other hand gives the delicate 15mm some depth.
The big thing is the handling mess that was working fast with two different cameras seems to have settled into the rhythm of my life, which is Apple to Windows, Capture 1 to Lightroom, stills to video, Samsung to Iphone, Hyundai to VW on a daily basis.
Maybe this all helps keep this old brain nimble?
*Nicer handling for fast ISO selection, better wide area people acquisition in close, quick video switching, faster switching between AF points and silent to enabled mechanical shutter. I also prefer the low light performance with its own lenses and the quick electronic/mechanical shutter switch is handy also.
**I usually use MF for video. It always works and when I miss, I miss naturally and control the recovery. If the subject is semi static or I want a smooth transition, I use single shot AF and the touch screen.