Thinking more of my stomach than images, I threw my bag over my shoulder on the way out the door "just in case". Within 30 minutes, I was glad I did as the opportunities flowed effortlessly.
Most images EM5 with the 25mm, except two images taken with the 17mm.
Sleeping on trains. Closing out the world or catching up on lost down time? Either way, it is a knack learned since youth.
EM5 17mm
EM5 25mm
EM5 17mm
EM5 25mm
I know that living with snow can grow tiresome, but seeing it for just a day is exciting. Little things that most people would not look at twice become magical.
EM5 17mm
More traditional beauty has it's place as well, but small, mundane details are often over looked.
EM5 17mm
Minimalist, clean and strong images are most photographers creative foundation.
Some images however, seem to elicit a response when all the rules are broken.
Ok, I am back. seems like only a few minutes ago I posted my "anticipation" post about my expected work method (it was as I forgot to do it).
Thursday -2 degrees C and snowing, Friday, canned air in airports and planes, Saturday 35 degrees C at home (Tasmania has a reputation for being the cold state of Australia, but has managed to out strip a lot of hotter locations over the last couple of months).
I must admit, I miss the cold.
EM5 45mm
Off to Japan again. I really cannot call it a second home as I have made little effort to learn the language or really connect, but much like a migratory bird, we pass through every six months or so, seeing, absorbing, admiring.
This trip is very different photographically. It is mid winter. My time!
I am anticipating images that will work very well in mono as tone and texture dominate muted winter colours, but there are of course those "deep" images a little colour only adds to.
An example of an image crying out to be made mono-tonal
It struck me that finding some examples from my other trips might be a little difficult, but the images from just one day, exploring the Golden Temple in Kyoto, actually coughed up several mediocre images that worked better, or at least as well in black and white.
The image above does not work for me in it's original form. It attracts with colour, but ultimately fails in composition. The mono conversion is more satisfying as the images "shape" changes. The leaf brilliance and textural tree trunk are in balance and draw you in. Similar manipulations applied to the colour image only make things worse. The planar flattening, evenness and micro contrast of a mono image work together. The colour only distracts.
Again above. The clean lines and tonal richness of the mono image cleans up the messy and boring colour shot, giving it a chance at least of satisfying the viewer. Notice in particular, the stronger, less hazy rendering of the shaded building front and the glow of the front building tiles.
This one is a little tougher as the (heavily processed) colour image has good contrast, a subtle warm tone and scattered colour thats adds interest across the frame. The mono image shows similar strength, just differently. The highlight on the head of the fish, for example, is possibly stronger in the mono image and the translucent skin looks better?
Another tough one. The mono image "flattens" the perspective and opens shadows (as it usually does), the colour image creates a better feeling of depth drop and allows the eye to caught by small objects well placed (or not), but the colour distracts (as it usually does). The red car, muted clouds against blue, red cone, flatter white of the second car etc.
Colour can create mood, for better or worse, and mono does reduce clutter, but can make even a little clutter to bland or "sameish". Both have their strengths, but I feel that winter will favour the starkness of black and white better.
My work method will be to set the cameras to B&W jpeg, but to shoot in RAW, giving me a mono view finder, but a colour image to fall back on. This will achieve two things;
1) It will obviously help with mono composition and determining is tonal separation is strong enough.
2) It will help with composition overall. I feel that sometimes my compositions are dictated to by the very colours that I am drawn to. These images will show themselves in post and in pre shooting "composition in the head", but will not dominate the process. This is much the same as normal (shoot colour and find mono images), in reverse.
As an aside, I personally find black and white images more "serious" when it comes to printing. This brings up the issue I have with my printer which is capable, but not ideal for regular mono printing as it is an earlier model with only a single black tone ink (Pixma 9000 mk2).
OOPs! I forgot to post this before I left and now I am back.
We spent the weekend in one of the worlds great treasures, the east coast of Tasmania, specifically the area from.......well, all of it.
Just down the road from where we stay. EM5 25mm
There are lots of beaches, some rocky, most sandy, but all spectacular.
"Tigger" enjoying the afternoon light.
Sunrise taken from our bed! Tough life.
I think everyone has a lens "ground zero". It may be they know it already, or more likely don't realise, but on investigation would find that they gravitate towards the same focal range often. For me it is about 60-70mm on a full frame.
I have often said that I find the 40mm focal length to be the perfect all-rounder, but looking at the question as a "world coming to me", rather than "me going to the world" scenario, a slightly longer, than 50mm focal length feels perfect for what I like to do.
How do I know?
There are a couple of clear indicators.
1) It is roughly the middle of my comfortable range (35/50/*/90/150)
Canon 40mm on a crop frame 65mm equivalent.
2) I have used a couple in the past (Canon 40mm on a crop and Sigma 30mm on M43, 135mm on a Pentax 67) and they have felt the least "opinionated" of lenses to me.
3) As a portraitist, I like a little compression and tightness, probably more than the 50mm offers (one of my issues/challenges with the 50mm focal length is it's indecisive nature) , but as wide as I can get for versatility and naturalness.
Pleasantly separated, but with as little long lens compression as possible. Same lens as above.
I honestly feel I could work as a full time portraitist with just this focal length.
The perfect foil for it is the 40mm, offering probably the second least difficult focal length.
A neat pairing is the excellent 23/40mm (40/65) pancake pair from Canon, mounted on a crop body. Very compact, versatile and high quality.
I am still sporting and enjoying the OMD EM5's I have had for roughly 5 years.
They still surprise me sometimes to.
My last generation of Canon used the 18mp sensor that I felt lost highlights very easily, creating a solarising effect. The Olympus sensor was (is) a revelation, allowing me to recover some images that my Canon honed perceptions would normally write off. Earlier Canon's and full frames did not suffer so badly, but the 15/18mp sensors made me very over exposure shy.
First image of the day without checking my settings (f2 at ISO 800!)
This has only been recovered with Lightroom's exposure slider (the pole is out of focus, not smeared by over exposure).
After a "quick minute" of processing (some added brightness, and colour)
A much needed break and catch up with our god son and family, allowed me to get in some needed practice in before a wedding (scheduled for tomorrow but postponed due to illness).
Sporting the 75/25 combination, that I must admit felt good and safe, I grabbed those little moments that happen. For privacies sake, I won't show the more recognisable ones, but here is a good example of great colour, sharpness and bokeh from the 25mm at f2.
The pre-set is a new one I have been working on called "deep dreaming cool" (bit wanky, but the deep feels right, dreaming refers to the slightly softened approach and cool speaks for itself). There is also a "deep dreamer warm", both looking to give the rich and deep Canon like, when slightly pushed, colour.
The main setting is boosting the blue and red saturation in the camera calibration settings, some noise reduction for smoothing, even with the slight loss of sharpness, reduced highlights, increased whites for brilliance and a little vignetting. This is just a more aggressive set of my standard preferences these days (in colour any way).
Bit of a Thomas and Friends fan. Bokeh of this lens is rarely offensive.
I am trying to make a fist of it with the 25mm. It is the go to lens at the moment as I try to find a place for it, both as a focal length and as the preferred representative of that focal length.
Wide open sharpness is good (second only to the 75mm). A basic Lightroom pre-set applied, no localised brush work that would bring out even more detail.
And Bokeh is pleasant also
The focal length offers a true alternative to 35/90 as opposed to the 20mm (40mm) that would just make me unhappy, as I love the 17mm.
CA is an obvious but fixable issue wide open. F1.8 100% crop
After a Lightroom pre-set called "L2 25mm wide open" (go figure)
Close focus is also a boon. The above image was taken of our small, old dog Jack sitting on my lap.
F1.8 focussed on the eye, but without eye detection.
It is also shows very accurate focussing, even with the wider focus area box on a a non-firmware updated EM5 mk1.
Again nothing but the basic pre-set.
My wife and I have booked for Japan again. This time in winter which has been my desire since early on.
I find winter quieter, more intimate and often less touristy. There is a slight chance of snow and a high chance of seeing new things and also old things new.
Gear?
2 OMD EM5's, the Pen F and 4 primes with lots of batteries and cards.
I will be looking to my 25mm and 75mm rather than the shorter 17/45 combo because the distances in the cold will likely be longer or I will be able to compose tighter in less busy situations and I feel like a change. The light weight of the other primes will allow me to take them as spares as well, so no harm.
The 75-300, is probably too long and slow for the limited light to lug around but that much power for weight is hard to leave behind. Maybe in the travel pack, but probably not often in the bag. We will see.
Two or three cameras and attached lenses without changing makes sense in the cold and there is always a chance of cold weather static.
The bag was a little harder. I intended to take the Filson field bag as it has never been used in anger, but my lucky find of the Crumpler "Leaked Memorandum" has fixed the problems of insulation and secure access in the cold.
Nothing like we will see, but oh well.
Off soon again to Japan.
A winter trip this time (not skiing) and a chance to see old things a new way.
It is a bit odd packing forJapan's winter in 30 degree heat here, but a cold snap a week or two ago helped remind us to take it seriously.
Kamakura EM5 45mm. Not the weather we will be getting.
My one consideration is bags (what another one? No). My concern is really a lot of small things, but they are real enough to warrant a search.
1) Insulation. The bags that I usually buy are for comfortable "temperate" environments with little thought put into any other considerations other than rain. This makes for a cupboard full of thin walled canvas bags.
2) Secure access, closure with possibly gloves (no fiddly clasps) and weather proofing that is not dependant on a scrupulously closed bag. Thin flaps, buckles, poor rain proof flap designs are all things that will realistically be a problem if I am cold, wet and in a hurry.
3) Vanity knocking,. My winter clothing is generally well considered, modern and synthetic. My camera bags tend to be transitional season, jeans and a T shirt style, meaning I will have a trendy, rustic and faux worn or actually worn looking bag that looks out of place (because it is) over black nylon etc. As I said, pure vanity, but I am also keen as ever to blend in.
The answer (review coming) came in a chance encounter with a recently discontinued Crumpler bag, the "Leaked Memorandum". I will go into more detail later about my search for the perfect Crumpler, but for now a quick and dirty image of the new bag.
It is basically a "Flock of Horrors" style, fold over sleeve, lap top satchel (a favourite that I could never pull the trigger on for various reasons), without the annoying clasp strap and with two useful front pockets. Note the way the top flap folds forward (or backwards) for easy access, instant security and weather protection. And it was only $85 direct from Crumpler on clearance!
More to come.
The thing I find most useful when describing black and white images, especially when comparing them to colour, is the importance and relative ease with which they convey clean, clear messages.
The message may be obscure by nature, but the intent, the content, by it's very nature is simple, graphic and free of clutter. Honest.
I guess another way of looking at the difference is, mono images have one "emotion". That is to say, they they only offer one emotional opinion. It is somewhere between cold reality and stark certainty. The offered image has only one level of context and that is content.
If a little colour is added, through toning or if the images is in fact colour, just devoid of most colours, then there is, no matter how subtle (or even because of?), a shift in our pre conceptions. As humans we look for clues. Colour is a clue, tones are a clue and so is texture. Take one away and the others dominate, but add the smallest amount of the missing one and we tend to fixate on it's discovery, much as a lone figure in distant heat haze garners all the attention.
The original image in all if it's colour glory.
How does it make you feel? Is it more removed and distant, more interesting or less. Is the graphic nature diminished by the hint or colour "candy"? To me I think of Scandinavia. Can't tell you why, just a triggered memory I suppose.
Something I always feel with mono images is, they tend to look more evenly lit, more equitable in representation of depth and tonal range.
What if the image is manipulated, against it's true nature?
Does this feel warmer, or does it offer an untold story of sand storms or smoke filtered sunsets or even "old" styled sepia tone images?
I must admit to not being even close to familiar enough with the sensor in the Pen F.
It is better by some measures than the one in the OMD's I guess, but I just have not done the yards with it.
One of the great things about hanging on to older gear is the familiarity it blesses you with. Getting to know the functions of a new device seem to take a multi level path.
Early on, you feel functions become automatic, almost intuitive, but it is only after hundreds on hours with the same equipment that you forget to remember what you did not know intimately.
The Pen F still feels foreign, both inside and out. The grip is different, drawing attention to "odd" finger placement. The on/off dial action seems too deliberate. The list goes on.
I know I can rely on it with possibly fewer reservations than the OMD's, but how far can I push it? How far will it cover me when things are less than perfect?
Pen F 25mm f4 1/60th exposing for the lamp light.
A before and after test* image from the other day. Recovery is good, although the noise is a little "mushier" than the OMD's, softening the image a little when reduced. The OMD images recover well from noise reduction, becoming smoother, but still holding plenty of edge sharpness. Maybe the images are more sophisticated, or maybe less straight forward and defined?
First up the lens shows nice enough Bokeh, especially with the nearly impossible to render smoothly candle holder in the back. The jar is odd shaped, so there is no lens distortion and the new filter looks to be pretty flare resistant. I have only noticed one flare spot in a couple of dozen torture test images so far.
One area of concern is the stabiliser/shutter combination in the Pen. I just do not feel as confident with it. There seems to be a disconnect (with mine?) from 1/30th down, not an area I have been troubled by with the older cameras. It could be me. "Someone looking for trouble usually finds it" comes to mind, but the shutter is not as definite sounding or feeling, and the electronic option makes it hard to judge the point of release.
Maybe more time will tell. Pen F, Kamakura Japan 45mm
*The lens, the filter, the camera. You know... stuff.
I have a new filter on the 25mm. Not sure if it will change anything, but it feels good to try something.
Acceptable sharpness wide open.
What do Eagles, Bikes, Long board Surfing, 500 year old temples in rain forrest gardens and funky beach side boutiques have in common?
Kamakura Japan.
Seriously, they have signs out warning you to watch the eagles around small dogs!
OMD 45mm lens
One of the highlights for us each year is the small (but growing) Entally House Garden Festival. Squeezed between several other garden shows and the Deloraine Craft Fair, this one is small and has an "old school fair" feeling. The grounds are lovely and the stall holdings strike a fine balance between comprehensive and quaint.
We felt this year that it is on the verge of out growing itself, but we will see.
I also took the opportunity to try out an old friend. My first 45mm (silver) has come back to me after a few years on loan. I have a feeling that this one and the black one I own have slightly different character, especially in their bokeh, but only use will tell.
Detail of an old steam tractor. One of several in the grounds.
The potting shed door.
Limiting yourself to only one focal length, and a non standard one at that can be liberating (yes liberating, not frustrating or annoying! Well maybe a little). If anything, I missed a longer lens!
One of my favourite subjects to photograph is people in the act of simply living.
Oblivious, gentle, intimate.
The only thing I look for more is more than one person in the image. In fact, the more the better.
An intimate moment of quiet amidst the flow.
I love it when several stories collide in a way only the viewer gets to experience.
Reservoir Dogs crossed with the Usual Suspects?
Moments in time
I like the eye to wander around the image, seeing layers, contradictions.
Questions are asked.
Coincidence and chance are your friends, but not to the point of gimmickry.
The most satisfying images to me are multi faceted and complicated. Grabbing the "decisive moment" more than once, connected or not.
Filters. Can't live with them, can't live (with piece of mind) without them. I have always been a little sus concerning filters. The makers of lenses work hard to perfect their optical formula, then we whack a lump of glass in front and don't expect any degradation of quality.
On he other hand, plenty of tests have proven that they do little if any harm, even if they are cheap, even if they are stack a dozen at a time on the front of the lens*
The 25mm lens that I have been coming to terms with has always left me a little under whelmed. It has solid numbers, a great reputation and has produced for me some excellent images, but there is something un settling.
The link?
After a couple of images with strong sun in them coming out a bit halo-smeared, I thought to check the filter on the lens. Sure enough it was a bit dirty. I have cleaned it, but have not put it back on.
This troubles me as I have had a couple of issues with marks on the front of Olympus lenses from spots that would not move, cleaned firmly turning into shiny speck blemishes that look permanent.
Olympus used to be known for their soft lens coatings, but this was a bit of a surprise. All of my lenses promptly got the filter treatment, so taking one off is a bit unnerving.
The original shot with the 25mm at f2 with the filter on, darkened to control the highlight values.
"Glowacious" Bokeh or not? This file has had it's highlights recovered and there was some strong purple and green CA removed.
Unfortunately I did not think to do a test before cleaning the filter, so I tried to "stress" the lens, naked of protective glass this morning.
Again at F2.
Even with the sun in the shot, there is little flare and the leaf edge (top) is very sharp.
The issue, if there is one, looks to be from strong sun deflecting off surfaces and edges. Possibly ideal conditions for a polariser? The image below was taken with the suspect filter on, showing little compromise in quality if off angel to the sun.
OMD 25mm f4
This has had no added sharpening outside of Lightroom's basic setting (25). Focus is a little to the back in the contrasty silhouette, but the OMD's tend to do that.
Stupidly close, 550x480 pixels. No issue? Not sure.
The big question to me is focussing distance. I have had lenses that excel at one end of the focus range and fail at the other, but not in Olympus. The 25mm has performed well at close distances as a rule, but maybe the issue is with infinity focus? More testing required.