Microphones.....Geez.

So if I wrote a book on ways you can melt your brain right out your ears, I think microphone comparisons might be at the top.

Token image of one who could care less. Jealous much?

I have ordered the Zoom H1n and I am happy with that purchase. Universally respected and incredibly versatile, this is a good recommendation for any sound recordist in any field. At a pinch it can be any mic I need, but one feature that is begging to be used more, is that it can make another mic even better.

I have also, mistakenly, ordered the Rode Video Mic Micro, as it seems specifically googling the Movo VXR 10 pro, does not exclude a local retailer’s paid commercial for the Rode coming up in the first couple of entries. Looking identical and possibly fatigued from looking at too many reviews, I pushed go, paypal shot the order directly through and only when I got my email confirmation did I see my mistake.

Annoyed?

Yes.

End of the world?

Probably not.

After another day of listening to comparisons has led me to this conclusion (bared out by many good reviewers), that this field, much like imaging comparisons, has far too many variables, post production controls and listener subjectivity to make internet comparisons matter past a realistic point.

Just like image comparisons, comparing sound devices, without addressing every variable applicable to you and your circumstances specifically, is usually only a rough guide at best. Most cameras can produce nearly identical images with enough processing applied. Total pixels, lens quality, processing, handling and the subject all contribute as much to image quality as the camera and the same is the case for sound and mics.

If the mic is not totally crap, then something usable will come of it, especially if used well and appropriately.

Tammy Sypniewski points this out clearly in her excellent review comparisons, but another clue was the lack of commitment from most reviewers. They are keen to let you make up your own mind, not as keen to be too overtly opinionated, because they know it to. I appreciate this, but it took a while for me to get it.

If the retailer cancels my order (they did not), then I will get some of the options on my wish list below. The H1n will likely improve their already excellent sound and noise floor and give me long range control.

If the order is not cancelled, I will likely stick with the Rode, as the mount, dead cat and cable are very good and the mic is an industry standard, with plenty of people using it and the H1n together successfully. No harm, no foul and I can still stretch to the Takstar and probably the Neewer anyway, just out of curiosity (another thing taken from above is that all decent mics have their relative strengths and weaknesses).

Got the mic and it’s fine for the job it has to do.

Is the mic deep and resonant enough?

That can be added in and all reasonable mics sound great if used close to the subject and equally all tend to sound poor at a distance, but some are a little better (like with image noise, some cameras are better, but avoiding it is best). I tend to like deeper sounding mics, which it turns out is more about subject to mic distance, environment and processing. Excessive depth at the mic end may hide other problems.

Is the mic crisp and clear enough?

That is a tougher one to fix if lacking, but improving the pre amp (H1n) or “boosting” the mic to turn down often mediocre camera pre amp noise can help (this last needs a powered mic). Rode’s tend to sound deep and rich, but this can also hide an excessive noise floor under that depth, which is harder to clean up than just adding bass. Sennheissers on the other hand can sound higher pitched or thinner/crisper. Extra bass can be added easily enough and their base noise floor is lower, which is better.

The H1n fixes many feature deficiencies in cheaper mics, such as low noise filtering, improving pre amp quality, which reduces the noise floor (especially when compared to in camera amps) and other features like effects, so the base mic is all that is important. From that perspective, the best of the cheap ones seem to be the ones to go with for now.

The only things that actually matter it turns out are the practical things like price, accessories and fittings. Is the mic properly stabilised (for example the otherwise excellent Deity D4 has a poor shock mount, the Neewer CM14 and Takstar effectively lack a real one), is it powered or not, effecting features onboard or, is it sold without the needed extras like a dead cat (the Takstar does not even have one available).

Something that also became evident is the pricing. Most super cheap mics in the U.S. are actually not that cheap here. The Movo is meant to be 20-30% cheaper than the Rode, but in Australia it is comparable ($79 au Amazon), which is part of the reason I thought the cheaper Rode was a Movo. Most mics that are 30-70% cheaper that the Rode in the U.S. and Canada end up being only 10-30% cheaper or the same price here, making the Rode less odious to get (the one I ordered was actually $1.95 cheaper than the only Movo I came across). The exchange rate looks about right for all except Rode, who are comparatively cheaper here.

Short list;

Neewer CM14 mini shotgun ($25au). Excellent sound, poor accessories. If I end up with the Rode, then I will have two ways of tackling the same situations, with the accessories from the Rode used with both.

Takstar SGC 600 is very good ($50au), compared, in several accredited blind tests, favourably with the seven times more expensive Rode NGT in sound (not build or features), but like the Neewer it lacks needed accessories like a true dead cat option and real shock proofing. It is a powered mic with good range, so a good camera mount option. I am also struggling to find a legit one for a decent price.

Neewer CM15 which looks excellent ($?), but is hard to get at the moment. This mic fixes most of the accessory issues I have with both the above.

Some type of cheap LAV mic, but I have not tackled that monster yet.

Less likely;

Sennheisser MKE 200 ($150au), which is as dear as all of the above together, but has excellent form factor and the best wind proofing and handling.

Sennheisser MKE 400 ($300au) is probably the premium mic I would go for, offering better form factor than equivalent competitors.

Rode NT5 pencil mics ($500+/pair). These would be ideal for studio and music/event work, if that becomes a thing. Not realistic, but hey, a bloke can dream.

Another H1n maybe?

The Rode VM Micro ($75au) which I may be getting, has build, sound, mount, dead cat and cable quality on it’s side with good support, so it will be perfectly fine. If this comes, the MKE’s will not, but I will likely pick up the top two. The Movo VXR 10 pro was my preferred option here, but steep pricing in Australia and mixed feelings about the real sound benefits (subjectivity at play) compared to the Rode have pushed it back. My only real issue with the Rode is price compared to other options. It will not be a bad mic, just dearer than needed.

The Elephant In The Next Room Is Invited Over.

Video…….

Not interested!

Some things can only be told with a frozen moment, some not.

Or should I be……?

Not sure where this came from, but the other day, I was photographing the school production of Shrek and it just felt right that I try some video.

When covering these events, I often find myself repeating similar images because I am there and do not want to waste the school’s time and money, but sometimes I get bored with the repetition required to stay busy (move around you say, try new angles you say-true but not always possible). I always want that better shot, but sometimes you just know you have it and the third time the scene is repeated does not need to be covered as well as the previous two.

I gave it a go and managed five decent short clips with C4k, but I forgot to turn the sound on, because I set up the camera intending to just shoot “stock” footage with voice over or music added later (turns out we do not have the ability to broadcast sound anyway with our license, so I lucked my way out of that one). The recoding levels still show even with sound disabled. First lesson learned.

The EM1x is a decent video rig and I use the term “rig” deliberately, because it is more than just a decent video camera. The EM1x is likely the best “free hand” mirrorless video camera available as of this time (maybe the EM1 mk3 matches it), because it has awesome stabilisation and unlike the EM1 mk2, good face detect auto focus for focussing on approaching and receding subjects. So, a decent foundation, fixing two of the four things that need addressing, which are video quality, stabilisation, sound (see below) and lighting.

The reality is, after you get all excited about lighting, story boarding and capture rates, sound is actually more important than footage captured.

Mediocre video can survive if good sound supports it.

Poor sound kills otherwise excellent video.

I did the three day crash course similar to my lighting explorations, which consists of countless videos and reviews of X vs Y, then spoke with some friends who are more experienced at this than I. This led down ever more divergent paths until I felt I had some sort of handle on it.

Super Cardioid, WAV, recording floor and high pass filter are all old friends now.

Close to pulling the trigger several times*, I have finally settled on the core of my “beginners” kit.

The ubiquitous Zoom H1n ($170au, $220 with most needed accessories) seems to be the most versatile item available. It and can open up doorways that to be honest I do not fully understand yet. I have to buy a stabiliser for it at some point, but basically, I am ready to go.

1. It can be a clean pre amp and power source for another mic (Modo XVR 10, Rode or LAV).

2. It can act as a direct to camera, or computer mic.

3. It can act as a free form satellite mic for hand held work.

4. It can be a good enough on camera mic (better than say the Rode VM Go or micro).

5. It captures a wider area than a true Super Cardioid shotgun mic, which is good for some subjects (but can be made more focussed using another mic or by getting closer).

6. It can be the independent mic that several cameras sync to or to allow you to use a longer lens.

7. It can dual record with the camera giving you a backup track.

All this with decent 96khz 24 bit WAV sound. This means you can get cordless options of boom or LAV mics cheaper than buying a cordless option of either (just needs synching-which looks easier than I imagined) and run them at the ideal distance to subject, not the camera (closer = better quality). If I upgrade my shotgun option, then it is still a useful “B” mic or power source/pre amp.

The Movo VXR 10 Pro ($80au) looks to be the best “bang for your buck”, cheap-end shotgun/boom mic available (with some optional versatility and help from the H1n). It looks to be superior in most reviews to the Rode VM Go and VM Micro and equal in some situations to their dearer options**. It is also cheaper than any of these and comes with the most accessories. It helps also that this little mic can boom off of a very light weight pole, mono pod or clamp. The Diety D4 Duo is also an option and the Sennheisser MKE 200 with it’s awesome wind buffering but I will see how the H1n performs first.

As of this writing I have ordered a Rode VM Micro by mistake (stupid google search ad priority and my not double checking the order), which I may keep or return. Decent enough option I suppose and one vlogger has a good sample of the H1n pre-amping for one, which sounds great.

This will would fit in a small organiser bag (supplied with the XVR), then slot into a lens sized space in any bag I use, or it’s own bag with lights etc.

I may add the Rode LAV Go later, but maybe not as the boom option for the XVR offers deep and warm sound.

Lighting is already sorted (Neewer LED 660 bi colour as main, 480 rgb as fill and 176 as hair light), but I may add a 30w 10.6 or 45w rectangular “soft” panel later and the EM1x effectively negates the need for a gimbal (for my needs).

*I bounced off the cute little Sennheiser MKE 200/400 (best wind proofing and form factor), Rode VM Pro, Pro+ and NTG (the industry standards) and various other Tascam, Zoom and Movo options, but these two kept floating to the top.

**In a couple of blind tests, the XVR had the same raw sound quality as the Rode NTG in ideal circumstances (indoor boomed). The Rode and several other models below it blow the XVR away for features, but the H1n can help here adding filters and effects and for $80au it’s a steal.

Japan POTD #11

Filtered light. So very Japanese

Unexpected Problem

I have written often about my deep respect, love even, for my 75mm f1.8.

My Bokeh king, low light champion and portrait master, this lens is one of the core 4 lenses* I use daily.

But……

This winter I am having regular and annoying issues mounting the often cold lens onto a warm camera body. My day usually consists of moving from a warm space, through a cold one, then back to a warm one, and sometimes, such as a recent shoot of the school production, a humid one.

Hard to convey in a blog file, but this file will max out my A3+ printer resolution with plenty to spare. It was shot near wide open.

The 75mm invariably stays colder than the other lenses, being all metal, and lacking weather proofing, it fogs up on the rear element more often than not. I dismount it, let it clear, remount it and within seconds, fogged up again. It is quite nice “70’s” style soft focus, but not practical.

The pro lenses are sealed and most of my other primes are either plastic bodied or not employed in these situations, so no issue. I have started replacing it with a 45mm in the winter months. The plastic barrelled lenses do not seem to suffer as much from this issue.

If I do need to use the 75mm, I will endeavour to temperature stabilise it, but that is not always possible.

*Core kit is the 12-40 and 40-150 Pro with 25 and 75 “fast” lenses. Sometimes the 12-40 is replaced by the 8-18, but only if the light is predictable or the space restricted. In bright light, I may also switch to the 75-300 kit over the pro lens to save weight.

Japan POTD #10

Japan POTD #9

One of the many ceremonies or festivals to be found in Japan. Apparently there is one slated for every day of the year somewhere in the country.

Another of many images taken with the 40-150 kit.

Japan POTD #8

Old wood and good light.

Japan POTD #7

Hedgehogs, always popular in Japan, come in many sizes. These are 3-4ft tall. Perfect for the tiny doorways they have there!

A Good Lens

I hate buying new gear.

I especially hate buying expensive gear. I have been in this field for far too long and it has given me a jaded view of manufacturing consistency, unrealistic expectations and general gear satisfaction. This is mostly unfair, as Canon, Fuji, Olympus and Panasonic have rarely if ever let me down, but too much knowledge……

I especially, especially hate buying lenses. Cameras are fine. They work or they don’t, but lenses are one of those things I am suspicious of, usually for too long and usually my suspicions are proven to be unfounded.

My 300mm is a case in point. I bought it at the beginning of the year from the shop I worked at for 10+ years. I know for a fact it had been there since release, being the first we ordered when they came out. It sat and sat, suffering the fate of many top end lenses in a small shop in a small city, weathering price drops and rises until one day I had money and a need (but no longer worked there).

It offered me the one thing I demand of a lens, the ability to try before I buy.

I knew I would likely stay with the supplied firmware (really do not enjoy the Olympus process). I also knew that the lens was an early production model, often cursed with first batch gremlins until things settle down (like the 12mm f2). I used it, it worked well enough and I bit the bullet. Annoyingly, the shop got a new one in to replace it, which I would have liked to have had the chance to purchase, but honestly I did not think they would go for one again.

Months have passed (so fast), leaving me busy enough to just use it and not think too much about it.

ISO 1600 bite, hand held in a gloomy auditorium.

ISO 3200 at a notoriously gloomy swimming pool

Nothing is more satisfying than an image that surprises even you, the taker, for it’s sheer quality in trying circumstances.

That super crisp, contrasty snap that is the province of top tier telephoto lenses.

Focus is excellent giving me as many if not more keepers than the 40-150 pro. I often hold on too long, chasing subjects that are almost on top of me, rather than change to a smaller lens, sometimes with surprising results.

Stability, with or without the in-lens option is excellent. I often disengage all stabilisation when shooting fast sports (one less thing for the camera to deal with and irrelevant at 1/500th+ anyway), and just as often I forget to turn it back on for snap shots during and after the game. Rarely have I had a major problem down to 1/100th hand held, no help. This was something I also found with my old 400mm F5.6L Canon. Sometimes a lens is just well balanced.

To set the scene. I had walked from home down “Heart Break Hill”, a couple of hundred 40 degree meters to the school sports grounds, then had to go back home quickly, gear in tow, to fix a shoe blow-out (teach me to kick a soccer ball around at my age), return quickly to shoot two games of soccer (at the same time), then on my way back up said hill, I took this hand held snap. Imagine what a not tuckered out photographer, with a solid tripod supported, teleconverter matched lens, in high res mode could do!

Sharpness is deceiving. The lens looks less crisp or brilliant on the surface image when compared to the 40-150 pro, enough so that I can usually pick their respective images by eye easily enough. Look inside the image though, down to shirt texture or ball stitch level and you will see much more than you expected. I believe it is sharper than the pro zoom, but less overtly contrasty. This is likely the effect of greater micro contrast vs higher contrast. The files process very easily and handle strong light well.

The 300mm is better in strong light, the 40-150 better in poor, low contrast light. Perfect really.

The shot below was are cropped to 440x330 pixels (the original is of 2-3 players, taller than head to foot, much like the one above, but school rules do not allow a before and after with faces). This level of quality gives you lots of cropping options.

Weatherproofing has also proven itself several times.

Is it perfect?

Nearly, but there is a niggle.

The Bokeh is plentiful, but like I have found with so many other high sharpness, high micro contrast Olympus lenses, it is a little jittery in the background highlights. It actually looks less smooth than my 75-300 kit lens, which is a stop and a half slower.

So, where does it fit in with my over abundance of good tele options?

Number one choice for anything involving distance unless outright shutter speeds are an issue, then I will switch to the 40-150 and then the 75 f1.8 as needed. I have successfully used it indoors at pools and under lights, but at some point, around ISO 6400, I trade reach for speed.

Number one choice if reach with low speed hand holding are needed with a semi static subject as the lens stabiliser and overall balance do make a difference.

Last choice for light travel. The 40-150 and 75-300 kit lenses are much, much lighter, more versatile and surprisingly sharp.

The other win, uncharacteristically bought sight unseen at the same time, was the Leica 8-18, which is a little cracker. Not as worried about a wide angle or a lens bought solely for work, I think this one will change how I see wide angle lenses.

Japan POTD #6

Family and friends are very important to most Japanese. A common sight while visiting popular spots are locals doing exactly the same thing.

Japan POTD #5

This image is a favourite. Such a simple, perfect space.

Simple elegance of form

Japan POTD #4

A day out on the weekend, no effort spared. The Japanese always make the most of their spare time and like to connect with their past.

Japan POTD #3

The contrast of old and new is a common theme in Japan, not because of it’s irony or rarity, but because of it’s commonality.

Japan POTD #2

Oops. Already behind.

It is hard to express, from an arachnophobes perspective how big these are. Try size of your palm, assuming you are a full grown adult. Beautiful, placid, generally left alone, but big.

Shot with the amazing little 40-150 “anti-pro” kit lens.

Japan. POTD #1

In light of my last post and the reality of our travel situation, I have started the book/print project.

A side effect, or maybe benefit of this is a rediscovery of many files that will never make paper of any sort (or maybe the odd one will), but still have something about them, maybe nostalgia, maybe longing.

So, lets start a little project “photo of the day” or “postcards from Japan”. Something like that anyway.

No guarantee it will be reliable, but a pretty solid guarantee the images will only have one thing in common.

Greeting from Japan.

Don't Forget Yourself

It occurs to me, with little recent travel and an grim immediate travel future, that I have forgotten the habit of photographing for myself.

Dangerous stuff.

I feel strongly that neglecting to take images for yourself leads to a real loss of personal vision, style and creative drive. Getting good at one thing only or many things from only one perspective blinkers your skill set.

This quiet winter, I will have to take things in hand.

There are personal projects from existing work like the long neglected coffee table book on Japan, some prints of the same and more general subjects and there is always the eternal quest to perfect techniques, especially lighting.

My best route to creative balance would be to do some landscape sets, fungi photos (lots around at the moment), portraits of friends and family and some sports as able.

Candid snaps are fine, but limiting myself to shots connected to jobs only is not.

On one hand, I would love it if work kept me so busy, things like this did not come to mind, but on the other hand maybe this is a good thing. Maybe I need to balance my creative life better. I consider myself on call, but long distance travel is not an issue (where I live is 45 mins from the coast, 10 mins from primeval rain forrest or marshlands and 1 hr from rocky mountain landscape).

The other point, no less important, is that I cannot post 95% of what I take for the school, so I risk starving my posts of supporting pictures. Can’t have that.

Effort required, desire re-kindled, result guaranteed.

Lighting Kit Revisited

After a recent school ball shoot, I came to a few conclusions that freed up how I look at my flash kit.

1) My super light weight kit is brilliant, but for events with teens and adults, taller stands are needed.

2) Less is needed as a rule, so I can pack in a more focussed way, a bit less “boy scout”.

3) Not every little bit of gear I have has to have a place, concentrate on the winners, shelves the losers.

4) Expect to change as needed as some things fall away and others float to the surface.

*

In my camera bag there is always;

• Godox TTL flash with High Speed Sync (860 or 685).

• TX1 off camera controller.

• 60cm 5-in-1.

• Mini tripod and flash foot.

• Several black flagging foams (some double width to make snoots) and hair bands to hold them.

Optional extras;

• 16” mini circular soft box.

• 176 LED (a little hair light can make a snap look like a studio shot).

• 200cm light weight stand with reflector clamp in it’s own bag. This holds a flash, LED or reflector easily enough.

This little rig fixes most small scale problems and can at a pinch be promoted to “very tiny studio” status.

*

If something more formal is a real possibility, I have my Neewer shoulder bag kit handy;

• The other Godox (or for more grunt swap both Godox out for the YN kit below).

• 480 RGB LED background light. Adds colour control or can be a fill/focus aid.

• 32” Deep soft box for background control-feathering.

• 43” soft box umbrella (just because I have it). Good for overheads.

• 2x 42” shoot through or reflector (preferred) brollies for group coverage.

• 2x Bowens S-clamps.

• 1 reflector clamp.

• Tape for indoor and tent pegs for outdoor stand stability.

• 2x 200cm super light weight stands.

• 1x 220cm key light stand.

• (optional) 2x 1kg weights for the stands.

Separate;

• (optional) 150x200cm or 110cm 5-in-1 backdrop/reflector/diffuser/flag.

This kit drastically increases my capabilities, but comes in at only 3-4kg (without the weights). Four lights, even if one is the little 176 LED offers a lot of options and the modifiers are plenty for most smaller jobs. To be honest, this little outfit would likely handle most jobs. The little stands have their limits, such as a decent sized shoot through mod hanging off them at an angle, but if the load is centred (brollies-brolly reflector/ soft boxes), then they perform well.

Crappy photo. The black one (3 of) is the super light fold down (I could likely carry 40 of these if needed, they weigh nothing). These are limited to 2m, but hold 4kg or so and the legs can spread flat for maximum stability. The 2.2m middle sized ones (2 of) are quickly becoming my favourites. They take plenty of strain, but fit into my smaller lighting bag and the big one to the right (4 of) is the work horse, 2.6m heavy duty.

In-situ family snap of the “armoury”. It is hard to believe that all 10 stands, boom arm and 2x 72” brollies came in at about $450au total. The two poles to the left are K-Mart short curtain rails, each extending to 1.5m and joinable.

*

For even bigger groups and events, like the other day;

Neewer Strobe bag;

• 4x YN560’s (A/A/B/C).

• YN controller.

• YN560 III as spare (A or D) unit.

• Torch, spanner tool, hi-vis and utility tape.

• Gels.

Long Neewer bag with a trolley and a 40L roller case (as suits);

• 2x 48” soft boxes (these can also be used as deep, silver reflectors).

• 26” double baffle deep soft box.

• 2x 7” reflectors with grids and diffusers for maximum control.

• 6x12’ diffusion cloth. Allows me to “scrim” off windows, double or triple baffle brollies etc.

• 5x7’ black/white background cloth/flag (portable V-Flat).

• 2x 260cm stainless steel key light stands.

• 1x 220cm stainless steel stand

• 1x 200cm super light weight stand for rear light (it goes really low, which can be handy).

• 2x Bowens S-Clamps.

• 3x standard/multi brolly clamps.

• 2x Smallrig super clamps for the bars.

• 6x heavy duty muscle clamps (for the cloth or reflector options).

• Heavy duty reflector/muscle clamp.

• (optional) 2x Multi segment bars (1.5-3m total). For scrims, backgrounds etc.

• (optional) 660 LED. This acts as fill and focus aid or rim light.

• (optional) 2x 2kg weights for the C-Stand.

Options strapped to the trolley bag;

• 72” silver brolly.

• 72” shoot through white brolly.

• C Stand and boom arm for big brollies, overheads or outdoors in the wind.

• 110cm 5-in-1.

• 1.5x2m 5-in-1.

This kit can handle large school balls, creative formal portraits and larger groups easily. There are plenty of creative options, lots of grunt with the possibility of up to 6 discreet lights, although that would rarely be a good idea. The two sleeping giants are the flag/diffuser/reflector/backdrop cloth options that are the cheapest of the lot ($30 total) that are so very useful.

Pairing the 4’ soft boxes or using the 72” brollies makes an enormous Joel Grimes style “wall of light”, almost Liebovitz style. Soft, broad, wrap around light teamed with tightly focussed support light is the look here.

I picked this monster up recently for a very sweet $58.00au. It’s job is to handle off centre weight like a 72” brolly above the subject. Even at the usual price of $100 or so they are a frikkin bargain. It is hard to tell here, but the thing weighs a ton (near 10kg which feels like a ton when you lug it a ways) and goes 3m+. The central column is as thick as the barrel of my 45mm Oly lens!

This kit relies on gelled flash units for colour. I have found these to be stronger and more vibrant than LED’s so the extra effort is worth it. A trick I learned recently from The Slanted Lens blog is to gel strobes inside soft boxes to “crush” the shadows with deep, subtle colour.

*

And finally, if a supplied backdrop is required**, which I try to avoid, but you never know (again a studio would be nice);

• 2x 260 stainless steel stands with Smallrig bar clamps.

• Multi segment bar* (that can be added to the other section above for 3m’s total).

• 6-12 tension clamps.

• Various backdrops 5-9 feet wide, plain or mottle.

*the “multi segment bars” are collapsible curtain rails that can fit inside one another effectively infinitely. These are cheaper and thicker/stronger than the backdrop bars I have found (for reasonable money) and are attached using 2 Smallrig super clamps.

**I can provide most colours and shades simply through controlling light levels, angles and using gel or LED colour controls (even Photoshop), with any clean wall space, but sometimes provided backgrounds are needed for consistency. Personally, I prefer locations for relevance. I recently switched to shooting into the room, not against a wall, but that is sometimes not practical.

*

Finally;

There are a few of mods and stands that are cheap or damaged or too much trouble to bother with in the field, making up a decent little kit in my “test” studio.

All very self indulgent, but hopefully of use to anyone looking at setting up a little flash kit.

Travel well.

Mixed Feelings

I have started the mammoth task of shifting all of my Japan images (15-20,000) into better organised files (required because of my previous work flow), with multiple backups.

All the i mages for this post are from one of the Tokyo files, found while waiting for the system to do it’s thing. Kind of a last hurrah.

My poor old computer is struggling, but it will be worth it.

The ultimate goal;

Get rid of Lightroom and Photoshop.

I let Lightroom be my library when I switched to Mac and have never really had a handle on my filing outside of that, so I am using it as an export control for older files, then when I know I have not missed anything, I will cut it out.

Begone foul beast! Well not really, but it will require some stoicism.

My entire digital life photographically, for better or worse, has been Lightroom based. The programme (from version 2 on) gave me a way of entering the world of digital photo manipulation that would have been so much harder for a computer dunce like me. I owe it a lot.

What I cannot accept though is it’s sub-standard (or is it the standard?) handling of file noise when compared to several competitors.

This was a big move for me, but ironically forced on me by Adobe.

I purchased the EM1x for a one stop improvement in ISO performance after a very unsatisfying shoot late last year. I then found it was not supported by my LR, which would not update to my older Mac, so was forced to look for an alternative, eventually gaining another ISO step of performance through C1! LR can reduce noise, but it reduces sharpness and clarity equally, where C1 holds more detail and the noise is reduced, not smeared.

I feel Lightroom is now aimed at being the pleasing to the eye, fast fix pro-am system, for an assumed to be captured audience, with PS as the tighter, more graphic design oriented control. I will miss it’s relative simplicity and some specific controls (easy right click straightening, nice if limited brush tool and blue channel punch), but on closer inspection there are nasties lurking.

As a M43 user, this is a problem. Already having to concede some high ISO ground to the bigger sensors out there (only some, let’s not get too carried away), it was a revelation to discover there are better processing pathways available. Lots.

There is an undeniable quality to LR files, something I felt I had a real handle on. The blue channel saturation trick, making early Olympus files look like Canon ones (a small victory for me), has been supplanted by more pleasing new camera files and a more realistic appreciation of colour.

Capture 1 is my chosen path, but DXO Prolab 4 Elite or DXO Pure RAW to Lightroom were other options. The DXO pathway would have potentially been cheaper with some preferred processing techniques, but added in a second processing step. One thing I would have been ok with, especially with a DXO pathway would be the simpler file to file library. All of the other options in C1/LR are wasted on me. I just need a way of finding, flagging and exporting (I keep masters of my work files off board, but otherwise delete 90-100% of my working files after creating a jpeg file for work, which is all the school needs).

Fine for most applications, but the C1 file is noticeably better up close. Not too much to ask?

I decided to stick with C1 for now which is a better overall programme which (with the exception of an extreme noise reduction edge to DXO) seems to match or better either in most other cases.

The toughest part is losing the “Hollywood” look of Lightroom. Out of the can with a good file, it has a vibrance and smoothness that is pleasing, if a little false. On closer inspection, even at low ISO’s there is a lot of “marbling” noise, which in many cases is irrelevant, but still annoying and it turns out, avoidable.

At ISO 1600+ when pushed, I have found it near unusable. Lets be clear, I have based most of my gear and processing decisions on LR, so it is the “bar”, but discovering the bar was lower than I thought it needed to be, has allowed me to appreciate my chosen brand for what it always potentially could have been. It is a testament to the quality of M43 that it still has it’s followers with Adobe dominant in the editing and reviewing world.

ISO 1600 is now in my “normal” working range of ISO settings. Now seen as only a minor compromise and with the right lens (high micro contrast), good exposure and a suitable subject, does not restrict quality in any real sense. I will use 6400 if needed, with 3200 sitting in a middle space, trusted within reason as a B+ option.

Super sharp 600mm F4, hand held at 1/30th, ISO 1600 anyone? With LR I would have used 1/15th to keep the ISO down. Still possible but not as likely. The advantages of M43 are real as long as other factors do not reduce them.

This is effectively a real sensor size promotion. Probably now, much as life is for a full frame user (it’s been a while), I occasionally notice some noise in my workable range, but nothing I find image affecting. With Adobe it was my number one consideration.

DXO does have the better very high ISO noise reduction with a couple of catches. It (Prime) from what I can understand is only available in the Elite version, but DeepPrime is in Pure RAW and ProLab4 essential (?). Prime looks to be better and more natural, but both it and DeepPrime are head and shoulders above others.
Matching it with LR was tempting, even using it as is maybe. I have the trial version loaded so we will see.

The Power Of Micro Four Thirds

The other day I photographed the late Autumn concert at the school I work for.

The scenario included all of the gems of problem solving photography.

• No noise (from me) preferred.

• Long working distances and limited angles (limited movement).

• Poor light (reasonable levels but mixed colour).

• No clear idea of what to expect.

In other words, the usual.

A year or two ago, this would have scared me a little more than I would like to have admitted.

Not sure what to expect, but with one huge plus, the ability to pack what ever I need and work out of a big bag, I literally did just that.

The Neewer back pack got 4 cameras with everything from my 8-18 through to the big 300mm. My very fast 75 (150e), fast 40-150 (300e), less fast but good 300 (600e) allow me to start short and safe, then go longer as needed and when able. I am surprised how often I can pull off longer.

A quick test/filler shot, the sort used on the front of yearly reports or programmes etc. Hand held 300 f4 wide open (600mm equivalent), 1/30th sec, ISO 1600, EM1x, processed in Capture 1. Pretty much every part of that sentence was not possible last year.

Same stats, real life subject (guest performer and an adult so ok to use). Yes she has skin like alabaster.

I cannot imaging getting anything like this last year.

Lightroom, with an EM1 mk2 (which is a much less exciting prospect in LR*), with my 150 f2.8 heavily cropped or 300 f6.7 kit zoom (less sharp at 300, more than a stop slower and no stabiliser in lens).

I would never really have been able to get this shot. I got lucky some times, but I feel now that luck is not the key.

I am getting used to eyelash sharp, clean higher ISO shots with noise that rarely intrudes and the reliability of the newer cameras to just get the shot.

Oh, and the DoF of M43 can still be too shallow :).

Ironically, my big issue at the moment is choice when editing. I am getting a high hit rate to pick from, which is making me harden up as an editor. The shot above was one of half a dozen or so, all sharp.

*I obsessed about the relative quality difference between the EM1 mk2 and the G9 Pana or EM1x, which it turns out is more of an Adobe issue. In C1, I barely ever register any difference.

The Mindset Of Two Different Photographers

Working professionally and consistently has given me a new mind set.

Some thought processes are noticeably better, some need addressing, but overall most have changed to some degree.

Gear

Old me used to obsess about gear, but for all the wrong reasons. M43 settled me a lot, stopping the Canon merry-go-round, but still, I have spent far too much time stressing over gear.

This stress comes from three sources.

• Lack of use, in a real working environment, denying me the chance to like or not the results of various combinations of camera and lens. Instead too much time has been on my bag presence or mind games like “how does this kit look compared to….”. Shooting for you only tends to create a state of use what you want when you want. This was only exaggerated to some degree working in a camera shop. Problem solving (definition of my job), forces you to try new things, but stop when the answer is found.

• Frustration stemming from above leading to being too pedantic about “theoretical” needs, rather than just grabbing what works. Things bought for “just in case” scenarios has been an issue for me for most of my life. Just look at my hobby page. I went in and out of flash gear several times, bought multiple macro lenses and bags galore, usually from some need created in my own head. In each case, perceived need far outstripped actual need.

• Guilt at having more than I need, stemming from the above. This has led to me selling lenses I should have kept and generally the inability to switch my second guessing off. My cheaply off loaded 12-100 f4, 2x 14mm f2.5’s, Sigma 30mm and Pana 20 f1.7 (mk1) would all be so useful at the moment.

I now just use what works, being pleasantly surprised by the better results, repeating these, changing things out that do not work and generally looking at gear as a necessity, not a luxury. Seeing genuine wear marks, each coming with a memory of a time or place fills me with satisfaction. I used to boast my second hand was a genuine bargain, but that was the amateurs advantage.

Gear is just gear. I have what I need or I do not, at which point I fill the hole and move on.

Bags

Bags are a great example.

I have been a self confessed bag-o-holic. I would conjure up a picture of the places I would go, the things I would shoot and the way I would look doing it, just to justify a bag that I wanted for no other reason than I like it.

Boy has that changed. Nothing knocks a precious high value bag off it’s pedestal faster than it letting you down in the field. Too small, too poorly laid out, sagging in the middle, not appropriate to gear/place/work method, not weather proof, are just a few ways a bag can fall over (not to mention just falling over!).

The Domke 802 is my day to day bag, because all favouritism aside, it holds what I need, all of what I need, and appropriately it is one of the few bags I bought to task when I started shooting for others. No other bag I own does this in a workable fashion. The ancient F2 runs second when I need a big grip camera and lens (the 802 is too skinny).

Taken three years or so ago, at the beginning of this journey. The bag is now a little faded and worn, one EM5 has been replaced by an EM1 mk2, the other sometimes by an EM10 mk2. The Yongnuo’s have been replaced by a Godox for HSS TTL (the YN’s are in my big lighting kit) and an LED panel. I have dropped the 75-300, third camera and the bigger pouch as excess to real needs. Finally I often swap out the 12-40 for the 8-18 (a wider lens than I have used for a long time). Like an old pair of jeans, Domke bags age well and when worn through real use, serve as visual diary of your travels. The cute note book has gone the way of the Dodo, with a phone upgrade.

The Filson Camera Field or standard Field Bags are only used when I know I do not need much gear, so looks can be considered (they are both much prettier than the F802), and the big Neewer backpack is employed when a pair of big lenses attached to gripped cameras are needed unless I can count on only using one, then the Turnstyle 10 is used for backup with a Black Rapid body strap.

All my many other bags are in the cupboard, reserved for personal use, or maybe not.

Lenses

Some of my favourite lenses (17, 45, 75-300) have fallen away as they are generally less useful/slower than a Pro zoom (75-300), not as powerful/useful as other primes (45) or less reliable in some of the funky light I have to deal with (17). When travelling, I am sure these will come back into the fold, but for now, their inclusion means leaving something I know I will miss more at home.

In the right circumstances, I take the 17mm for granted, relying on it’s useful characteristics. In the wrong conditions, I have learned to avoid it for it’s flaws.

Silly things like avoiding mixing brands went out the window quickly as needs forced compromise.

The one lens I would love to have back is my 12-100 f4, sold days before this job came up. To be honest, I respected that lenses capabilities and versatility, but usually liked the images from other lenses more. Having it would be a convenience and add depth, but it is not needed.

Cameras

I was happy with small, discreet, mid range cameras. More than happy.

I now purchase cameras based purely on needs, not preferences and consider things like potential shutter count, speed, accuracy, repeatability and capacity over size, weight, price or looks. The EM1x is a case in point. Never considered a necessity for my personal work, it is now a work horse as are the two EM1 mk2’s. The camera least used is the Pen F, one I struggle to use for work, but I like this one the most for my self. The Pen has possibly found a home as a studio camera, excelling in controlled light.

“Shutter savers” like my little EM10 mk2’s and older EM5’s are still invaluable, extending the life of the pro cameras on a 1 for 1 shutter count basis, but are used only when best speed and accuracy are not paramount.

Processes and Backup

Lightroom, low storage capacity and poor house keeping was how I rolled for years.

All that has changed.

C1 has made my images better in a more practical way. My processing is getting more client oriented, consistent and finely tuned. I am also more willing to explore more options for even better output.

Dropbox is now my most important storage partner and I always seem to need another backup hard drive. I now talk in TB’s, not GB’s.

Lighting

This was traditionally a no go area for me, basically because I did not need it for my personal work (they call me Mr Tripod), but now it is a staple and an exciting ally in my war against poor quality images.

I once considered flash a poor solution to an on going problem best avoided. I now happily strap 3-4 speed-lites to various mods and stands for all sorts of effects. Lighting terminology, technical considerations and an experimental mind set have all contributed to overcoming my dislike of artificial lighting, even turning it into my preferred form for creating.

*

To nutshell it, I use what works, replace or adjust what does not, buy what is needed without question and look for solutions to problems, rather than play mind games of mix and match that lead to inevitable purchases with little justification then, just an often a wasteful off-loading.

No preciousness, no over thinking, no favourites, just get and use what works. Very year of the Ox.

GAS (gear acquisition syndrome) is for me, a product of an idle mind and hands. When I shoot more, I use less and misguided protestations like “I don’t use zooms” tend to disappear.

A good example is my past indecision about the f1.2 Oly lenses. Even on brutal sale I could not make up my mind which would be best, because I could not identify a genuine need when compared to my f1.8’s. Now, I would instantly buy the 17mm, because as much as I love it, the 17 f1.8 is poor against back lighting in artificial light (read; near unusable). Need > solution.

Working

Time is money. Time is also indicative of results, for better or worse. I happily give more time than I am slated for, because being early and sometimes staying late more often than not nets me better images, always better connections and takes away a lot of stress.

Something I have learned quickly, is that being early is usually just being on time. I have avoided several embarrassing moments with shifting venues (or going to the wrong one ;) )and the “second half only” syndrome at sports (very common with schools for events to be reduced in length, bringing others forward etc).

Working for your self really does force you to decide whether you are doing something just for the money or as an expression of self. No, I do not ever want to leave a job done half way. I also do not want to be the last to arrive or the first to leave (unless I have to, see; last to arrive).

I also approach jobs with a more realistic, pragmatic mind set. I would in the early days take too much gear, but still often manage to not take what was actually needed. I now listen to my inner voice with a high gain mic. Get a feeling you may need lens “X”, then take it. Think you probably won’t need lens “Y”, or your flash, still take them if they are a part of your core kit (always take your core kit!). Take spare batteries, spare cards, backup bodies (1 more than minimum-usually 2, sometimes 4). Listen to that voice.

My battery charging station and day to a day card organiser have bought balance to the universe. My processes are set in place.

Expect problems to arise, jobs to change and requests to come out of left field but do not pack a caravan to deal with any potential issue. Learn what works and use that, that is to say, sometimes you need to fit the problem to a realistic solution. Familiarity allows creativity. Too much gear, too many options may lead to analysis paralysis. The most sensibly paranoid I have been is to put a bigger light kit in the car just in case.

This has especially been true with flash. I have two basic ways of shooting with artificial light (broad enveloping or controlled/feathered). Within these two loose styles I have many subtle variations, but at the end of the day, the core concepts are the same, so packing is relatively easy.

Take notes as needed so you can be prepared for next time.

I recently came across an issue of fogging lenses and sensors. Changing lenses in a humid environment from a cold bag, bad idea. The second “live” night of the school production, I mounted each lens on it’s own weather sealed camera and left them alone.

So, I hope there is something in the lesson I have learned for you.