Look Ma, Two Hands!

Sometimes necessity is the mother of invention, or even desperate adaption.

I recently shot a gala ball and plans went south almost immediately. The remit was to cover the entry hall for casual arrivals, mingle, follow the groups into the main hall, do set shots against a pre-printed background then mingle some more.

I have done this sort of thing many times before for the school and my basic process was to shoot flash on camera with a black flagging foam, then use a brolly or two in studio mode for groups and couples who will come to me.

Previous success with the black flagged technique aside, I just needed to go one more step.

Problem:

What happens when the background is so shiny, it lights up like the sun and there is no room to move the lighting off angle enough to fix it?

You pack up the stands, brollies and strobes, determined to work something out later.

*

Too pressed for time to worry then and there, I slotted a flash on to my camera and played the usual dance of (flash) head twisting and flagging foam shifting for vertial and horizontal candid shots.

Suddenly people started asking for a formal shot, so I tried something, not sure why, but something between on camera and stand mounted flash.

Armed with a single flagged flash (YN560 IV) in my left hand, an EM1 and 17mm with flash controller mounted (YN560TX), all set to manual, I tried to fire the light onto the background at a good angle to avoid flare. Turns out the right angle was to bounce it off the ceiling from the middle of the entry way stairs!

This was so freeing!

Camera angle and flash angle were now two separate entities.

A one handed camera is no issue.

This one was bounced off the red floor to give these little devils the right feel. How would you do that with a camera mounted flash?

Even distances and high ceilings can be coped with, simply by raising the ISO, flash power and most importantly, pointing the flash up to the higher ceiling from a good three feet above the camera.

You can run an EM1, even in manual, one handed with a small prime like the 17mm. The 17 only needed to be set at f2-2.8 for plenty of depth for two rows (equivalent to f5.6 in full frame) and 1/60th at ISO 800 provided nice ambient light and plenty of power for the flash unit. Zooming is done with your feet. The flash was zoomed to 42 (I think), then set to 1/2 to 1/8th depending on location and off I went.

The devils own backcrop, flare central. You can get the feeling of it’s brightness in this one, but reducing exposure in post eliminated it. As it turns out, it was too small for its purpose, so angled shots to cope with the shallow passage way would have been likely anyway. Where I am standing (middle of the enntry stairs), was not ideal for a light stand and brolly! On the other side the organisers had a row of tables with wigs to be raffled, so no shifting that.

Shot after shot, with mild adjustments made as needed (it only took a few shots to get the different ceiling heights and wall distances down pat), and no shot was unuseable out of 700+!

The light was usually lovely like this. If not, look to the photographer, who made a few bad choices. No shadows on faces or walls, nothing unnatural about the light and plenty of brilliance without “flashy” hot spots. Basically portable butterfly lighting.

Ok, all very well, but what if you have no wall or ceiling?

I am going to try this, a slightly less convenient, but still one-man-band style trick.

Flash on camera, flagged if needed and pointed at a 60cm 5-in-1 reflector hand held at the desired angle.

Portable, large face soft box.

Another option is a 33” white brolly with a small holder for the flash, but that needs more room than the average camera bag could supply.

Bags, More Bags

The F804 Domke has been good. The size is an irrelevant necessity, but loaded weight is not.

I may take a smaller bag in for my new “lite” kit*.

The Crumpler may be pressed into service, the Domke F3x even, or possibly one of my non-camera bags.

I can go out either “fully loaded” or “fast and light”. Often when I need the long lens, I actually only need the long lens and when I go out without it, but get caught, the super sharp 75 is still capable of producing “extra reach” by cropping if necessary. It is also very fast focussing and allows me to carry the EM1 with the lens mounted on it removing my other major dislike of changing lenses all the time.

There is scope for this lens to be replaced by the 35-100 f2.8 Pana**, but there are some considerations there. The difference between 75 and 100 is negligible in controlled situations (but f1.8 to 2.8 is not), AF on an Oly is less than perfect (I would then leave the EM1 behind), it is weatherproof and has a wide cross-over with the 12-60 (in fact all three zooms have massive cross-over from 12-18 and 35-60).

Looking down the track, I can see the 40-150, 75 and 35-100 all in one place at one time, just never in a bag together. It’s my job, not my hobby, so I need to buy the tools that are needed.

It troubles me going out with only one camera. It does not seem to bother the other more experienced shooters. A near new G9 is likely more reliable than a 12 year old D500 with probably close to a 1,000,000 frame count, so I could get over it! Anyway, the EM1 would be back at the office.

Maybe not a redundant purchase.

*G9, 12-60, 8-18, 45 and 75. This kit actually removes the biggest issue I had in the past, my big Oly kit of gripped Em1 camera and 40-150 Pro, opening up bag options massively.

**this lens will likely be added as it adds good options to every kit I may use. It will up my travel kit, removing the need to carry two lenses, give me a better video tele, a lighter work tele and a point of difference.

Adjusting To The G9 For Stills

I like the G9 for stills, but I am also aware I am not fully in control of it yet. Here is what I can share now about the cameras positives and negatives.

Positives

(compared mostly to the work horse EM1 Mk2’s for context).

Physical controls.

The G9 has a wheel and “nubbin” control, which are both a bonus over the EM1 Mk2.

The wheel takes me back to Canon and with ISO or exposure comp assigned to it. I love this dynamic.

The nubbin is right in line with the later Canons and the EM1x (and EM1 Mk3 if I had one). For video it controls White Balance, in stills it is assigned to the AF area control.

The extra real estate of the G9 allows for specific controls for most functions (somewhere between Nikon on the left side and Canon on the right side), but these are also very different to the Olympus style (like the Canon/Nikon tension). I need to invest some serious time into this camera and assign it to specific tasks to get my head right with it. With the new and old Leicas’s it will be my main camera for the paper, Olympus saved for sports and action.

Touch functions.

I do not tend to use touch controls for anything other than AF/shoot on the Oly’s, but that is something I find indispensable. On the G9, almost every function can and often should (occassionally can only be), controlled by touch. Ironically, the camera often duplicates the physical controls with touch options, which can be too much.

Custom functions.

This is a game changer, especially for video. The customisation of the G9 surpasses the EM1 series for stills, but crucially, all video functions are available as well and the camera allows you to differentiate. Olympus has a hole in their game here, something the OM-1 seems to have addressed partly, but there is so much more available to the Pana user. This is like the difference between brush tool in Lightroom and C1. In C1 you can use basically any processing option, with any processing option. In Lightroom you are limited to a select few.

I can assign a set of video only, very specific settings to any function button, save it (up to 5 of them), then set the camera up for stills very differently. My 2 G9’s settled in very quickly to their video role and it was handy to duplicte these settings (by simply down loading them onto a card and transferring them!), then concentrate on a very different setup for stills. The video-centric one has been left at defaults for stills, the dual role one is an on-going journey.

Handling.

The camera feels more complete without a grip. I could add one, but do not feel the need. To be honest, I fell in love with this camera first time I held it a few years ago, but had mixed feelings about the view finder and full compatibility with Olympus lenses.

Video.

Stands to reason a camera bought for video would be good at it, but I am impressed by just how good it is. I also like the EM1’s 4k in FLAT profile, but the 1080p from the Pana, and the options this opens up (time lapse, slo-mo, dynamic cropping, 180 fps etc), are more than enough for my needs.

Image Quality.

The combination of the G9 and 75mm f1.8 has a nice image balance and extreme quality.

I will rate the IQ as closer to the EM1x/Pen F than the EM1 Mk2’s. The colour is neutral and mixes well with the slightly warmer Oly lenses. It seems to have the same super clear sharpness the Pen F displays, crisper than the EM1 Mk2, and with better noise control than either, possibly because, like the Pen F, it does not share the sensor with phase detection pixels.

I have had good luck with the electronic shutter at high ISO settings and the skin tones are stunning. White Balance can seem off in some RAW files (very yellow under indoor lights), but cleans up very well. Unlike the EM1 Mk2’s I find White Balance fixes are clean and logical.

Information.

The eye detect is clear, the AF point indicators also. The camera has a mountain of display options and is customisable.

*

Things I am not sure about yet.

Controls, touch screen, customisaton, information etc.

Just so much to learn, understand and set correctly. Sometimes this camera does my head in and I have needed to Google several functions. I cannot remember ever having to do that with Olympus.

I feel less “connected” to the G9 (at the moment). It is very capable, but I do not (yet) feel the immediacy I feel with the Oly cameras. It seem to me the EM’s are more workman like, the Panas are more amateur “tech over simplicity” oriented and much busier, almost like over grown compact cameras. I have on occassion just trusted the camera and generally that has been ok, but more than a bit unsettling none the less.

I changed it for stills shooting after one night of familiarity for the big portrait job and that was in hindsight both a great and equally, perilous move.

Power.

Battery life is a hair less than the EM1 Mk2, but batteries are cheap enough. The only two times this is really an issue are video and sporting events. It does not do the latter.

AF and stabilisation.

I do not trust the stabiliser or touch AF for video as much as I do the EM!x, or even the EM1 Mk2’s really, but with the Leica 12-60 coming, I hope this will get sorted. The 12-40 Pro Oly has performed very well on the G9, but not completely faultlessly, like with the EM1x. With later firmware and the Leica lens, most of the bugs seem to be ironed out.

The view finder.

Nothing really to complain about and it is better than the EM1 Mk2 on paper, but still adjusting.

To nutshell it;

The G9 is in many ways the superior camera both on paper and in use. It’s potential is greater with a feature range for a hybrid shooter that is unmatched by the equivalent Olympus or indeed many other cameras (and certainly nothing for the price).

The EM1’s generally (the “X” is special), are the better choice for “rubber meets the road” sports and action AF and are generally less complicated, so they are more intuitive than the Panas, although I am comparing years of Oly use to short months of Pana use. Shortfalls in video, a tiny lag in high ISO performance and a muddier/greener look from the Mk2 sensor are balanced with small size, familiar menues and their raw AF performance.

Somehow, I have muddled my way through to a decent split kit using two, mosty compatible brands, sharing one format, but handing it very differently.

The G9 (8-18, 12-60, 45, 75) will handle all close and indoor work with video and I will get on top of flash.

The EM1 (40-150) will be the sport and action/long lens camera.

These can work exclusively or be combined.

Lots Of Football

I have had a busy week.

New job and a tripple game football carnival on the weekend, which meant six straight hours on my feet, toteing lenses and cameras, then hours of processing (goodby Sunday).

High skill levels and plenty of passion.

Sometimes called “Aerial Ping Pong”, Australian rules has plenty of this.

How To Do A "Quick And Dirty" Lens Test

I have the new kit 12-60 panasonic lens, bought as a filler for my school work (mostly as a wide angle) and the Leica 12-60 is on the way. I bought this lens based on a previous test conducted at the shop I worked for, comparing several lenses with a wide element (15 Leica, 12-60, 14-140 and 12-35 Lumix, 12-100 and 12-40 Oly) and the 12-60 surprised. Only the 12-100/40’s and 15mm clearly beat the pack, the 12-35 was dissapointing for the money.

So, how do you calm the jitters and check that you have a good copy of a lens?

With zoom lenses, the reality is most have some slight optical inconsistency, but modern glass is seldom off kilter enough to be a real issue. For more on this the http://lensrentals.com blog has some great, but scary articles.

My tests, done “in the field” are simple checks to make sure the two most likely issues (three for SLR shooters*) are picked up quickly so you can either exchange the lens or more likely, just be aware of them.

De-centering.

When up to 20 elements of glass are layed down in the barrel of a new lens, there is a slim chance that they will have one or two not perfectly aligned. Designers take this into account and modern manufacturing tends to mean most of a batch are nearly idential, but batches may vary slightly, especially when a line is new.

My tests (EM5 Mk1, 12-60 kit) are done hand held, shifting the focus point onto the corner subject (the pillow on the empty chair).

Corner aligment at 12mm wide open (no post applied apart from C1 import and cropping).

Apart from colour shifts due to my non-scientific process, there seems little difference. If any corner is different at all, the lower left maybe slightly less controlled, but still falls within perfectly acceptible levels. If this was the best the lens could manage it would be fine. The fact some corners seem maybe even better is a win.

Now 60mm wide open

Again, no science applied here, but good and even performance.

Bokeh? Not really a big selling point for a slow M43 zoom lens, but the relality is, most photos have an element of Bokeh (it’s in the definition), and some of my favourite results have come from my slowest glass.

Background Bokeh at the long end is very pleasant. In reality, semi focussed Bokeh is possibly more imporrtant than “full blurr” Bokeh. With maximum blurring, post can easily be applied. When the background is included in an even semi coherent form, poor Bokeh behaviour is less fixable.

Foreground at the wide end is nicely smooth in rendering, making wide open use easier. Focus was on Daisys’ face at f3.5. “Invisible” transitions are ideal here, something the 17mm Oly is good at.

The best thing about the Bokeh is, when I tested the lens it went pretty much unnoticed.

*

Sharpness. I am used to even the cheapest M43 lenses being sharp enough for most tasks, but this lens has shown in my own previous tests and those done by many others, to be very close to the Leica in base sharpness. The question is, what “type” of sharpness is it**?

So, who decides to do a sharpness test at ISO 1600, hand held at 1/15th with a 13 year old camera? Apparently I do. The base image. The flat colour is down to the environment, the camera and ISO, but partly the lens with its “mild” colour rendering.

On the focus point (hair in front of the eye), sharpness is more than enough for publication even at big sizes. No post applied. Bokeh smoothness again shows up here.

Pushed a little with globally added Clarity and Sharpening. This is similar to my 40-150 kit. There is good micro contrast, decent base sharpness and control of other clarity reducing elements. Like the 40-150, it does not need much extra post applied. In Lightroom, I found some lenses struggled with the noise to sharpness balance, but C1 hits a decent level in both. The EM5 Mk1 has a “simple-sharp” sensor, an honest, pleasantly film-like look, but not as delicate as later models, so it may be the camera (especially at ISO 1600).

Other things?

As I tested, I looked for chromatic aberration, flare and glare and other obvious issues and found statlingly few. I was aware the Lumix lens is possibly even better than the Leica at handling flare and would believe it.

From my first day with it, when the sun was shining. Most of my lenses struggle with this one, a good excuse to avoid cleaning the window…... . For context, this was uncomfortable to my eye.

If I look at this lens in relation to it’s intended role, it will be better than fine.

As a wide angle filler, a good light “one lens” and studio/travel work horse, it has all the right characteristics. Would I use it for formal group shots of the school body, to cover jobs like my Telstra portrait shoot, street and travel portfolio work? Absolutely, but I have specialist options for each circumstance. If pushed it would be more than adequate. This lens has reminded me to use my “lesser” enses more. No-one but me knows the difference.

Why the Leica? Build, aperture choice (especially for video), slightly superior mechanics (again for video), the ability to cover the ranges in two kits. Basically that is it. This lens was the smart buy, something I am always happy to do. the Leica is the sensible buy, but always a higher risk to reward ratio.

*

Lens speed, the elephant in the room is always a consideration. Not much is enticing about employing it for low light action (this is when the full frame users start to pull ahead), but aside from that, it has few real weaknesses. At the wide end, it is fast enough and for the uses it will be put to and if used in the studio, speed is irrelevant.

Importantly, it works efficiently within the envelope of what it offers. There is nothing more frustrating than an already conservative lens that has to have special considerations applied. If it only offers f5.6, then f5.6 needs to be useful, otherwise it is actually an f8 lens. I have come across this before and it is a fail mark***.

Would I spend $600au on it? No, I would spring for a little more and get one of the many other standard lenses available like the Oly 12-45 f4, but for $100 in a kit, it is a steal. It’s even weather proof and dual stabilised.

*Calibration of lens to camera focal plane was a common concern with SLR cameras, something I struggled with regularly, but off the sensor focussing in mirrorless cameras has removed this as a consideration.

**To me sharpness comes in several forms based on sensor and lens, from simple/honest to complicted/delicate and results in lenses that do or do not like sharpening, contrast or clarity of different sorts applied. This is subjective, personal even, but a real observation from seeing many lenses and cameras.

***My Canon 17-40 f4L especially on a full frame camera had several “exceptons” including a performance dip in the mid range, effectively zero resolution in the corners wide open at the wide end some CA etc. This did not stop being one of the most popular lenses in the Canon range, but it needed to be used intelligently.

Base Line Quality

My ”high stress” portrait shoot the other week went as well as I could hope. Proving that word of mouth can trump any form of online promotion, I skipped the cue and scored the gig for the Telstra Australia CEO and board headshot and group photos for their annual general meeting and other uses. I am still not sure who recommended me, but it was a school contact, so many thanks who ever you were.

Something that came out of it, not totally unexpected, but reassuring none the less, was the inherent quality of the M43 system at its best.

At normal size, quality is pretty much a given with almost any system, especially with controlled and plentiful light. This is a “straight” shot, not “softened” like the submitted ones.

In close, the true quality is revealed. Big enough, even without software applied for large reproduction.

Fluke?

Nope.

The camera was a G9, chosen on a whim the night before (only used for video up till then), based on the skin tones and extra brilliance it produced under these lights. The lens, the Olympus 75mm at f2.8 is to be fair one of the systems best, but the reality is, I have a half dozen lenses that get very close and there are at least a dozen more available in this landscape.

Yes processing was applied, but it was within very basic parameters. No special programmes or techniques were used, only some mild touching up and increasing of basic sliders, all well within C1’s remit. No sharpeing was added past the import base. I find C1 does sharpening and noise just about right.

One of thousands taken over a six hour football carnival. Out of 3000, 2000 were worth keeping (I do not shoot bursts, so each is not the best of several), of which 500 were submitted, spread over six teams.

Again, plenty of quality to burn.

So, both extremes of the genre, from random fast action to controlled, no excuses studio work are within the systems comfort range, as they are for most modern systems.

One of the things I really appreciate about C1 is sharpening and noise reduction, my two bugbears from Adobe where they were always in conflict. They are now not even a consideration most of the time. If noise is a real issue (underexposed 6400+), or sharpening is to be added to something that is actually soft due to depth of field or movement (C1 can fix this), then I will use the brush tool with Clarity and Sharpening or No Noise as needed.

In the real world, people do not react to the theoretical potential of your gear, only the end product and I am more confident than ever that M43 gives me and anyone on my field more than enough tools to do the many roles it is pressed into.

First Week In, Perceptions Shifted

After a week (2 days) of shooting for the paper I have mixed feeling as to how I have done.

My photography was secondary early on, simply because of the other factors I needed to be aware of. New systems (a Google landscape) and old (Lightroom again!), changing photo styles and processes.

I went in with the kit I felt would be ideal;

EM1x with 40-150 Pro, 1.4x TC and 45 f1.8, which provided sublime long lens speed,

G9 with 8-18 and 25mm f1.8, for wide and video,

Godox 860 flash.

My feeling was, I would shoot either wide or long with the 25mm in the middle and that was the way it has gone to a point, becasue it was what I had. This came with plans to replace the 40-150 with a 35-100 f2.8 II Pana simply to reduce weight.

What I did not realise was the majority of shots could be taken with a 12-60 range lens and often, the extremes forced time wasting mucking around as swapped cameras or lenses.

Compression is nice, so is a bit of extra coverage, but 90% of the time, the needs of these images are within a range you would call “expanded normal”. More important is the “PICS” dynamic (Person, Interaction, Composition, Shoot), which is easier in the “normal” shooting range as communication and compositional imperatives like watching the subjects hands, interactions etc count for more.

Taken with the 40-150, but either the 75mm or the 12-60 could have done it as well and with the 75mm, depth of field could be shallower, or with the 12-60, I could move in to do the next, wider shot without disturbing the scene.

Longer lenses are needed for many distance shots and wider for tight spaces, but these can usually be predicted and a 24-120 equivalent is a decent range for most.

The other advantages of a smooth par-focal zoom lens, with the same 62mm filter thread as my 12-40 Oly filter kit, Leica contrast, build quality and sharpness, weather sealing, DFD focussing and dual IS matched to the camera, will raise my G9’s to another level and there is even enough lens there for indoor sports. The 8-18 is great, really great, but lacks stabilising and is a specialist lens.

If I add the 75mm Oly, I have a much cleaner and smaller kit than the twin extreme zoom kit which still needs supporting primes as f2.8 is not a total soluton. The big 40-150 is the best in class, but I do not need to either replace it nor carry it every time. I can also use just one camera, a G9, using the standard lens the bulk of the time and using the EM1’s with longer lenses only. This increases the life span of my kit as the two G9’s are basically new.

So from;

2 bodies with 8-18 and 40-150 Pro lenses and a couple of fast primes,

To;

1 Body with 12-60, 45 and 75 for the bulk of my jobs. This kit weighs half as much. Even if I add the 8-18, it will still be a light weight kit.

A second consideration is, it offers a massive 24-120 and 65-325mm range for 1080p video, with all the above extras.

Another Nice One Of Meg And Some Thoughts On Portrait Simplicity

My C1 catalogue has been cleaned up. I have a few files I will leave there because they have nowhere else to go. Neither job needs them, but also I have no relevant non-work location at the moment. My workflow has a dead spot and it has some images I like.

Amazing the difference a subtle background change makes.

Portraiture to me has simplified greatly. From my early fears it could not be, I have worked it through, eliminating the overkill options, refining the cleaner and more basic ones.

Best mods; 40 something soft white shoot through/reflected brollies (only outdoors in the wind are these an issue, but that will be the case with most mods). I have settled on a shoot through as main, 45 degrees to the side/45 above (roughly), and a nearly face on reflected as fill. Generally about 1/8 power, ISO 200, f2.8 works as a starting point.

The shoot through adds some brilliance and is efficient, the reversed fills softly, gently, but tends to lack the enough punch as a key light. Both flash units are set the same as the reversed is about two stops less efficient, ideal for fill.

If a separation/rim/hair light is used, almost anything will work. A small LED, another brolly, a small, more focussed 7” reflector or 26” soft box if I have time. This is usually set about the same as the fill and I watch out for obvious “hot” light from these (not a fan), i.e. it should be, but not be obvious.

If large groups are the subject, these can be used together as is. Really big groups could be handled by my set of 4 very efficient silver 4’ brollies (soft boxes with no diffusers), but I have to work on this.

All I need is a couple of YN560 flash units, medium stands and brollies and I feel capable of most looks I want. I have added a black backed brolly recently which allows me to flag light better, but other than that, it is all good.

If I am outside and there may be wind, becasue umbrellas are sensitive to even a slight breeze, I will switch to a pair of soft boxes, large or small by situation.

Events are even more straight forward.

A flash in my left hand, flagged, a camera and controller in the other (often with the 17mm if I am shooting pairs and groups) just works. This means I can employ the flash as I want, pointing it at ceilings, walls, the floor even and the same with the camera. Previously changing shooting orientation and/or flash angle was a real pain in the $%S.

I had to re-orient the flash head, then spin the flagging foam around. The Godox units are very tight to turn, so I used the manual YN’s, which introduced other issues.

The lens thanks to format and Bokeh style can be used safely at f2-2.8 even for two deep groups, increasing flash efficiency (ISO 800 at 1/4 power produces about 1000 pops). Even 1.8 is useable. I use a zoom is the group size may vary a lot, but the 17mm fits most situations.

The beauty of the hand held option is that I can use the TTL Godox, or manual YN’s hand held at consistent distances from reflecting surfaces rather than always from the camera*. This reduces variation from several stops, to one or two and the angle of both flash and camera can be micro managed. I can also switch out flash units etc without having to change anything over on camera (literally drop one in the bag, pull one out). If I put a small tripod on the flash, I can even just sit it somewhere and fire it remotely without issue.

Even using a manual camera to balance ambient light and a manual flash, I shot a huge number of images recently and not one fell out of useable parameters, which goes to show, manual flash can be as intuitive as people say, especially if you are shooting at consistent distances. Generally you quickly learn to judge the ceiling distances after one try.

Two and a bit years ago, I hated using flash. It now feels like the safe and creative option to shooting in natural light.

*I usually set the camera at ISO 800, the lens to F2.8 and the flash to 50 zoom and 1/4 power. M43 makes 2.8 effectively 5.6 in FF terms and the Bokeh of the 17mm is very tolerant of slight misses. If the ceiling is catherdral like (well “like”), I can push the aperture to f1.8 (still a tolerant 35mm f2.8 in FF), the ISO to 1600 and the flash to 1/1, which is 5 more stops of power.

You Be You

Having two jobs, jobs that are similar, but different, I have to be true to myself. If I am not, I have too many forces pulling on me.

My first job is very free and creatively open, but it did not start out that way or to be honest have any real “shape” at all. Originally, I took too many images, too many images that were person specific not generic or contextural enough and spent much of my time trying to “perfect” my images to a level beyond what was needed. I was trying to take images I felt people would like, based on my past successes.

Guess what happenned.

The school started to adopt and accept my files, often using the ones I would not have thought were subject specific enough. basically, we met in the middle. If I supplied what was needed, then I could also supply what I wanted and the school would use them as they wanted, often as fillers or mood setters for publication, sometimes the image even made a place for itself simply by being.

This was not a normal dynamic.

My style has developed from my street shooting days. I do not set up many shots, almost always relying on fly-on-the-wall candids and everyone has started to adjust to that. “Just do what you do” was my mantra and now it seems it is theirs. If a set image is needed, it is taken, but generally speaking, they are seldomly needed if I get what I am chasing.

I had to be true to myself and to them. I had to supply the images in good faith, meaning I had to take the best shots I could without hubris, without ulterior motive and without expectation. I have to give of myself freely, otherwise the whole thing would fall apart.

Not your usual “badminton at a school image”, a file of which would usually comprise of a team shot, some groups preparing then a handful of action shots, but not a deep enough delve to show the tension and effort, but also the camaraderie and enjoyment.

If, in the example above, you have to go the next level and attempt to get genuinely tense sports images, the rewards can be great or little, but they will have an effect over time. The next level is then open to add in humanity. The shot above is of the the two team captains, in a final and losing (overall), but still able to share a moment of humour with the opposition as the shuttle clips the net and shoots straight up on a critical point. Getting “just what was asked for” would have resulted in me leaving half an hour before.

Trust begets trust.

Mutual trust allows a freedom of creativity.

This happens in sport, drama, events, the list goes on.

*

In my new job, I need to find my balance point. The expectation is for a more creative set shot, a better standard of image from the get-go taken from fewer overall. There will be expectations from journalists and editors for a choice, but not a flood and candids, if taken, need to genuinely replace set shots in relevance and content.

Basically I need to do the above, but more deliberately.

Take what is needed, take it well and deliberatley. Then as time allows, take some more, but maybe experiment a little as I go and find my balance.

Nobody can bring you to what you do, so there is little pointtrying to be someone else. If you do not fit, adapt, but never let your inner talent be silenced. You got here using it, so do not abandon your true self, or you may one day find you do not know who you are anymore.

Getting A Handle On It (Or Not)

My video rigs have been used for a while now, long enough to be over what works for me and what does not.

Olympus.

My EM1x and Mk2’s to a lesser extent have very smooth and workable stabilisers. If used in full digital and in body mode for movement (this gets rid of corner artefacts), there is little more you could ask for short of a real gimbal, which comes with the “invisible” motion look (see OSMO below). I love the slightly more “hand held” feel, which to my eye, now attuned to looking for tell tale signs, is seeing the “pro hand held” look. This is not totally smooth, but “big, heavy camera” smooth.

If shooting static hand held, I switch to the in-body only mode which is cleaner.

Believe it or not, this is do-able. The extra weight of the lens is a benefit for stability and I have had success up to 100mm hand held. I can replace the cameras’ handle using the Smallrig gimbal handle below.

They work well with their own handles and a second smaller one on the cage. I use the little mini handle from Smallrig, simply as a stabiliser for my left (focussing) hand when using touch screen focus. Without the handle, that hand tends to feel a little lost and it also provides a “bumper bar” for the screen. I have plans to replace this with a new UURig wooden handle, which also has a cold shoe.

The little side handle, which is actually a mini top handle.

I have tried a handle on top, a big Smallrig rubberised one, but even with weights added to the cage, it is not as stable as the cameras’ own grip. It is likely me, but I just do not feel as confident with a top handle using the “gravity” hold, nowhere near as confident as I am with side holds.

For panning, I find my arms tucked low into my body and turning my body from the hips works way better than a top handle.

The top handle for me is only really a benefit for following a subject from a low angle, something the OSMO does so much better anyway.

The OSMO.

This is designed to work as is, but I definitely get smoother walking footage with an extension pole added. A 1’ carbon fibre extension from a bigger gimbal is all you need, set at the desired angle.

This camera also works well with a long boom arm, becoming a semi-drone option.

Panasonic.

The “hold” steady shot mode of the G9 is right up there with the EM1x, so static shooting is much the same dynamic.

Again, I find the dual or single side hold is best. This is a lighter rig than the Oly, so a handle on top is rarely heavy enough to give me the down force I need for smooth follow focus.

This is one of the gimbal exension handles Smallrig makes. On a hunch I grabbed one (arrived today), and it is a great way to put a handle on a camera, without the need for a cage of any sort. It also has a cold shoe and can be mounted at any angle and either side. I will put this in my newspaper bag, as a simple, cageless fix for stability and accessories and weighs nothing.

The reality is, Mark Bone has a point with handles, but he also points out that the heavier the camera, the better the results. I can weigh the Oly rig down and with its extra mass, the whole thing starts to get there, but the light weight removable handle on the G9’s rig is often useful only for the extra 3 coldshoes it adds.

The side handle has become a staple, the top handle is removable and to be honest, that is handy. When the UURig handle arrives, I can have up to four cold shoes available without it, so I may even switch it’s cold show adapter to the bigger rig and shelve the bolt on handle (which is one of their cheapest, so no great waste).

Everyone has different needs and I am no different. I think that for me, using mirriorless cmaeras for over ten years has led to good processes using the rear screen and they do not include handles, so coming late to top handles has not been a seamless fit, but side handles have.

New Bag Excitement

There are some of you who will totally get this, many will not.

I have a new bag coming and I am excited. There is something very therapeutic for me when planning a new camera bags’ filling. It makes you feel organised and right about things, abe to handle anything, determine how you are prepared, but only as long as you remember to fill it correctly, comprehensively.

The “monster” Domke F804, will have a dual role. It will be a roomier camera bag than the F802, but also it will be my commuting and day bag. The insert I have for it (Tenba standard messenger), will not fill it to the edges like the F802, so there is room to think outside of the box (or insert).

The EM1x with 40-150 will fill the insert, but not now stretch the bag. The G9 and 8-18 can go next to it without being cramped and the two primes will go into one of the front pockets in little padded bags. The other pocket can handle the OSMO and Godox flash (more on these below).

There will be room for my laptop, which the F802 can take, if not over packed like it is at the moment.

I will also have a small rain jacket and a scarf for added bottom padding and un-foreseen weather events (Tasmania is known for these, anytime of the year and I only live an hour from mountains or the coast). The added height of the bag to the rescue here.

Once the camera kit and general bits are accommodated, I need to think “creative field fixes”.

Sound.

There is not a whole lot of pressure here. Most of the papers’ sound bites are simple voice-overs, to accompany video, most likley to avoid sound issues wit the content. The photog I went out with on my trial day, used the mic from a D500 Nikon over my video, so anything I take will be a bonus.

I think my “small mic” kit, a bunch of stuff that has been relegated to the “nicely packed, but probably never used” shelf may have a use after all. The Zoom H1n as pre amp-field recorder-LAV interface, some small ear phones, the Movo mini shotgun (original), Movo LAV and the Neewer mini shotgun make a good fix-all kit. I can split two 3.5 mics into the H1n, run a small mic straight to the G9 and the zoom off camera, boom or clamp a mic close. All sorts of things are possible. I will also take a bunch of cables, rechargeable batts, wind covers etc, so the little XCD* case will be filled to the brim.

Video.

Sound fixed, means video needs to be looked at closely. The G9, EM1x and OSMO are my “A” team for video. The G9 matched to a Pana lens are the core, the OSMO handles odd angles, movement, run and gun problem solving and the EM1x can do long lens or semi stabilised hand held. I would use the EM1x more except it needs 4k recording down sized to 1080 to do its best work. The G9 and OSMO also do out of camera effects like slo-mo, time lapse and panning.

All I need really is another XCD case full of OSMO accessories. This adds the under water housing, mic connector and some brackets. I will also add a 1’ carbon fibre rod for better angles for it and the cables to connect it to my phone.

So video and sound, both fixed by adding if needed a pair of small XCD cases that will fit in the bag with the insert.

Flash.

I have a dual off camera Godox TTL set that again, like the OSMO and small mics has been falling into disuse lately as other things have taken over. It looks like my new job will help me achieve my goal of “nothing wasted”.

Another XCD case and I have the TTL controller, second Godox (685) and a small Olympus flash to expand the one flash (860) base kit. I will add in a 60cm 5-in-1 for diffusion/eflection etc. and the “black foamy thing”. One flash, the foamy and a reflector gives me a studio in the hand flash.

So, flash, video, sound, tech and stills covered. Unlike the Crumpler Muli, which has not fixed anything, I can actually plan for this bag, because Domke bags are a known thing. All I really needed was a bag a little bigger than the F802 and I know the F804 is basically double the depth and an inch taller for a start.

There is also room for a small drone.

*The little semi-hard XCD cases, have been super problem solvers. They always seem to be “just right” being the ideal length of a Zoom H5, Godox flash etc. True to their accommodating nature, they should slip into the bag between the insert and front panel, stabilising the lot.

Nothing I throw at these cases seems to phase them. Sometimes I think a couple of these hold more than my Pro Tactic 350 AW, which seems to have the opposite dynamic and annoyingly does not take these well either. Another good fit is a 200 LED panel with a couple of NP batts.

Some Experiments Worth Sharing

Testing (stressing) my big shoot last week I did a little testing. During testing of course noth.ing was good enough. :Where is the briliance, where is the magic?” could be heard echoing from the hills!

I did discover the lovely colour neutrality of the G9 especially for skin tones, which helped make my decision to use one for stills and also effectively doubled my image making options

This is to me a near ideal semi-formal portrait. The ability to take the colour to the subject really helps.

Flipping it can have benefits as well. The warm-cool contrast works here, adding power and seriousness.

Channelling a bit of the Rory Lewis or Leibovitz “painterly” look.

The double-sided background (black/grey) allows me to determine the base depth of colour I want, i.e how light or dark, then some light and often rough brush work allows me to change the tint to anything within normal hues.

New Lens Thoughts

The second G9 arrived with its 12-60 kit lens.

The kit lens is designed to support the excellent 12-40 Olympus, which is suffering from a “lumpy” zoom mechanism, so has been consigned to life on my video rig (I draw the line at zooming while shooting).

First image. Wide settings, wide open, low shutter speed and a fine result. Even with this math applied, there is some smooth fall-off. Just goes to show, Bokeh is always relevant even for slower M43 lenses at longer distances.

Nice colour and contrast. This gentle look is another tool to use. Long end wide open.

Nice off centre sharpness wide open at 60mm.

Again nice centre quality. Not a scientific test, just hand held, medium ISO, EM10 Mk2, slow-ish shutter speed.

On an EM10 Mk2 it is sometimes a little hesitant with focus, but so is the Leica 8-18. The Leica is quicker on an EM1 and G9, so it is an EM10 thing.

I had read that flare was better controlled on this than the Leica 12-60 and to be honest, I had to search for any at all. I recently pointed my 17mm at this scene and it blew out like the sun!

Contrast and Bokeh seems nice. This had some shadow raising and highlight smoothing, but without issue. The colour tint of the lens looks to compliment the warm EM10 sensor nicely, something I noticed on the 8-18. The wall colour is spot on to reality.

A little gentle work added. It is similar to the 40-150 kit. Micro-contrast sharp, medium global contrast and saturation, controlled Bokeh.

Wide shot controlling distortions well and no vignetting.

It feels nice and tight, has no rattle or wobbles and is a good fit for an EM10. In Australia they retail on their own for $599.00, which I do not find at all appealing. For basically $80-100 in a kit, it is a real bargain.

Different brands they may be, but this and the 75-300 Olympus are a good pair, almost covering the full range from 24-600. As a landscape kit, this is ideal. Stopped down a stop or two, both lenses are as good as you need.

Both punch above their weight, both fit easily in a bag and take the same filters, both seem to handle strong light well and they are slow, so a couple of small, fast primes compliment them without contradiction. All in a small and light package.

I know from testing one of these with a bunch of other lenses when I worked at the shop, that they are potentially better than many dearer lenses (this and the Pana 14-140 both surprised, only the 12-100 Pro and 15mm Leica cleanly beat it).

Mine does not seem to be de-centred, the most likely indicator of a zoom fault, so I am happy.

Fate It Seems.........Is A Friend

So frustrated by my searching and seeing the bag prices going ever up, still with little idea if I am even on the right track, I emailed the best source for Domke Bags in Australia (Greg Smith at Photovideo Accessories), the company I have bought probably 8-10 bags off over the years (all except the very first and last Domkes actually).

I requested “anything like an F802 only taller and bigger”. maybe an F804, F832, F833, F812, J??? in that order, not expecting to have any luck.

“They are discontinued (804’s), but I have a single black one out the back” came the reply.

I am guessing the front pockets are the same as the F802, which makes the bag a couple of inches taller, as advertised. The optional base board is the same as the one for the F1x “Little bit bigger” bag, so I am expecting an F802 satchel, with the footprint of an F2 bag +1” all round.

It was full priced (not overpriced like some, just original ticket!). The F802’s are a very tempting $135au, but achieve little. This one is $279au, which to be honest is the outer limit I was expecting to pay for a bag, but after looking around, not too bad at all (Bumblebee was $200+ and not built like this).

Dimensions are noticeably bigger, especially in depth;

F802

36.83 x 7.62  x 30.48 cm

F804

38.1 x 16.51 x 31.75 cm

Under $300 for a bag I will likely have for the rest of my career? Seems reasonable.

Have I bought the wrong thing, have I let fate pull me along by the nose?

It has no padding, is a simple, old school design and big, really big.

Padding is fixed by using the good old Tenba insert, possibly even two! One will be too small to fill it, but that is also fine. I have other things to add in. The bag is also tall enough for me to line the bottom of with something soft like a thick scarf, rain jacket etc. Things like that add padding and come in handy occassionally. I may be able to source another insert if needed, but to be honest, I only need a little “shape” to make it work and I actually like some void space.

The added internal volume means I do not have to (but still can) bother with side packs, which make the F802 longer, more cumbersome. I know the big lens and camera will fit fine, the inner sleeve will take any laptop and the front pockets will handle the rest (The bag can apparently take 11x14” print boxes). I should even be able to take my 300mm on camera, which is a bonus I was not expecting. If I want to fill a single large bag with cables etc, this may also be it.

The other very real factor is, empty space does not weigh anything. A big bag with un-used space weighs much the same as a smaller one fully stuffed. The difference in work dynamic though is huge.

I know and trust the design, so no issue there. I am so used to the F802’s now, so this will be the same only different. Habits formed are life savers when you are in a hurry. I literally have a different place for my phone, keys, cards, batteries etc. in every bag, which is really not helpful when you are tired and in a hurry.

Black is fine. I dislike the yellow fading the straps can take on, but they can be re-dyed and the strap even replaced. That fading is also a sign of a bag well used and after 30+ years, my old F2 is still looking reasonable.

My only real issue is I now have a surplus of bags. The new Crumpler will be used as my school kit bag, the Filson and Porter may be cycled with it, but the 802? Probably my big event bag or even an alternate for the paper. Holding true to the thinking above, I should really just use the two Domke bags to keep things consistent.

At the end of the day, all of my bags past and present probably total the value of my dearest camera body. This is similar to buying a top end video camera then scrimping on mics. They need each other, simple as that and you are more likely to curse a too-small or uncomfotable bag, than your camera.

Two Jobs, Two Hats, Two Bags

So, in a couple of weeks, I start a second photographic job, working for the local news paper “The Examiner”.

“The Ex” as it is often called, has a very long and illustrious history, a history that it earned through good old fashioned graft with integrity.

News papers these days are stuggling to stay relevant, but like retailers, if they stick to what they do well, then enough will stay strong until things “settle”, and there is always room for at least one representative in this space.

The work will be similar to my school job, which is still my priority. It will be diverse, requiring adaptablility and creativity in equal measure and like any job, there will be an adjustment period.

The “shape” of the work however, will be quite different.

At the school, quantity is accepted, detail is supplied by them and even attention to editing is done for me. I can also indulge my creative tastes as long as I get the shots that are mandatory.

For the paper, captioning and relevance is key. An image without an accurate caption or connection to a story angle is effectively unusable, no matter how good it may be. I will be required to take more set-up images, something that would have horrified me a few years ago, but has lately become second nature.

Growth, adjustment, flexibility, humility and an open mind will be needed.

To smooth my road, I have decided to run two kits, each complete and (almost) exclusive of each job. The idea is to get into reliable, separate habits in each dynamic, without having to switch gear or share a single kit that will almost always need to be adjusted for different jobs. The last thing I want is to carry around too much or worse, leave something behind.

With the school I basically pick my kit, then choose my bag. No real harm is done if I miss something other than a mask, batteries, ID or memory cards, which I always have backups of in a little first packed emergency pack. For other jobs I tend to over pack, ready for anything. With two very different styles of work needed, I think it wise to work less reactively.

*

The news paper kit will be a “pro” kit, covering my maximum capabilities with minimum fuss.

EM1x mated to the 40-150 Pro with optional 1.4x TC. This gives me my best stills performance, good run and gun long lens video and weather sealing/ruggedness to a very high level.

A G9 with the 8-18 Leica. This will be my premium video camera, but will also be doing genuine dual duty with its recently discovered superior stills quality. The 8-18 will perform better on a Pana, will provide a solid 16-95 equiv range in FHD video and is also weather sealed. To me, the G9’s seem to be just a hair below the EM1x in build and features, about equal in image quality and an equally slight notch above the EM1 Mk2’s in all but stabilising and video AF. The big bonus with the G9 is the custom setting flexibility. I can mimic all of my other G9’s video feature sets in the five custom selections, then totally re-configure it for stills.

Two very different cameras will hopefully not be an issue as their roles are very specific and their similarities (the “nubbin”, physical hardness, size and more direct on body controls) are maybe more in line than I first realised.

I have the versatile, universal Camvate cage which can fit either the G9 or EM1x by simply changing out the stems.

Added to these will be my 25mm and 45mm primes. The 25mm fills the gap between the zooms and adds a decent close-up/small group portrait lens, the 45 adds a true “Bokeh” lens and I have two of these. I may add an EM10 to these to cut down on lens swapping, but that will likely be unnecessary.

The biggest filter thread is the tele at 72mm and the wide lens is 67, so a couple of 72mm ND, Cinebloom and polariser filters will cover both lenses with a step ring for the Leica.

The 300mm will likely get the most use in this kit for sports etc.

The OSMO pocket will add gimbal stabilising and hopefully the whole kit will be used.

Mics are less critical, so my neglected “little” mic kit will be employed comprising a Movo shotgun and LAV, Neewer and Rode shotguns and the Zoom H1n as separate recorder or interface. I can even split a pair of them into the Zoom for group interviews.

I will assign the TTL Godox flash kit (860 + 685 + controller) and a small Olympus fill-flash to this kit.

A small 5-in-1 white balance/mini reflector panel will round it out.

The whole lot (or what I would need at any one time) can just fit into the Domke F802 with optional pouches, but I have also just ordered a Crumpler Muli 8000 on clearance (see the Fate is a friend post). This bag is meant to be two inches longer and an inch deeper, so the slightly cramped Domke may have an alternate. The Domke excells with multiple small to medium sized items, but struggles, being a satchel, with “big rig” cameras. The EM1x with mounted tele is stretching the friendship a little, and cramps other gear. The Muli may also allow me to pack the 300mm which I struggle with in the Domke.

It also takes a laptop internally in a well padded compartment.

*

The school kit will change quite a lot, but will hopefully still be fully viable, afterall, this is the gear that got me here in the first place.

2x EM1 Mk2’s (one gripped), will be rotated or occasionally used together for sports and some hand held video. These will take long lenses, chosen from 45 or 75mm primes (low light/maximum Bokeh), 75-300 premium kit for reach or 40-150 kit lenses. These are all strong performers and compliment each other.

Ironically, lenses like the 75mm were often left behind because of the weight and bullk of the 40-150 Pro, but the slower aperture kit level zooms, which are strong in every other area except build and light gatheing need the fast primes for indoors etc. and allow for them to be carried, even with their own camera bodies.

Whenever these lenses get a run, nobody ever complains about the image quality and I am constantly surprised how hard it is to tell. The 40-150 performs better than it should in low light showing strong micro contrast, the 75-300 handles very bright light well and the 75mm is my go-to for indoor sports, strong Bokeh, sheer quality and candids. They have all been neglected lately simply because it is easier to just pack the pro lens. I can pack all three for the same bulk as the pro lens.

2x EM10 Mk2’s which will also be rotated. These are my preferred cameras for standard to wide angle lenses, simply because their screens tilt back, rather than rotate around for touch focus operation. If one dies, I will replace it with a similar camera if I can just for that. The main lens will be the kit 12-60 Panasonic or 17mm, but the 8-18 may be borrowed out of the paper kit or the 12-40 pro from the video kit if I know I will need their special capabilities. There is even a leftover 14-42 EZ.

2x EM5 Mk1’s will be used again in rotation for primes until they fall over. The sensors in these handle artificial lighting I feel much better than the EM10’s giving me less trouble with white balance and nice, tight high ISO “grain”. The 17, 45 and 75 all work well on them and I have batteries to burn here (6 at last count), which need to be cycled regulalrly. I am not expecting miracles here, but I will flog these until they stop going.

The red Pen Mini on a 60” strap can be used as a handy cross-body camera and a novelty for the younger kids. It is also my favourite from the hip street shooter with the 17mm.

Bags for this kit have been fun to organise and an opportunity to tidy up some long running issues. Rather than just get another F802, the easy fix, I have been looking at my many, many other bags.

I was tempted to get another 802 for my school kit, but while searching for the recommended Tenba insert, it occurred to me to try the insert I have in some other bags and it fit in many well enough, so I just went with the insert. I may still use the F802 if the Crumpler or something else works out better, so this may be moot.

The Filson Camera Field bag has been “fixed” by taking the 30+ year old hard base-board and newer insert liner from my ancient Domke F2 (now used to carry cables etc for my lights). The problems of sag and poor insert choices now gone, it has become a contender for school camera bag.

Love/hate personified. Hard to find a nicer “retro” look bag, but like many, it falls down on practicality. This is a prime example of a bag made for a kit (Leica M6 and two primes maybe), just not my kit. Maybe if I do a long term project some day, using a Pen F and three primes it will be ideal, but in a practical work world, it is really an enthusiasts bag.

My Tokyo Porter satchel, a very comfortable and roomy bag, and the classy Filson Medium Field are sharing a Tenba insert and the Domke F3x, Crumpler Light Delight, Turnstyle 10L and LP Pro Tactic 350 will all get a go as needed. The big body attached to big lens dynamic is gone from this outfit, and along with it, a lot of the issues these bags struggled with.

The Porter. An impulse buy on our first trip to Japan, this bag has returned there more than once as my best option. Like the Filson, if you want to mesh a day bag and camera bag it is ideal, but recently I have found it doubles up as a serious camera bag, using a Tenba insert. It has much the same dynamic as the F802, just with different pockets.

The F802 provides 2 to 4 large rectangular pockets and two “slip” pockets inside and out. The Porter has one enormous front pouch of similar capacity, better for single large, flat items and it has several useful small pockets inside. The main compartment also has a little more room than the F802 which allows for the insert and some other bits.

Video, which is more controlled and serious in this environment is handled by a dedicated G9 with rig, 12-40 Oly pro (24-200 f2.8eq in FHD) and 25mm antique Pen lens. I will take other lenses from the above kit as I need.

For support, my Zoom/Lewitt mic kit, dedicated lights and mods require their own storage solutions, but the camera and lenses go into the Neewer backpack with as much else as I can squeeze.

I have tentative plans to add a 35-100 Panasonic f2.8 lens, which would go a decent way to replacing the 40-150 Pro lens in these kits, while keeping the filter sizes under the magic 62mm, quality up and the bag strain low, but first I will see how this kit serves me.

Flash is handled by using none (fast primes and ON1 No Noise) or the YN kit. I cannot praise this kit enough. Recently I shot over 700 images with a single YN and single set of Eneloop pro batts, all with the flash in one hand, the camera and controller in the other. I needed to do this to avoid some horrible reflected flare from my environment, which put paid to my 1 stand-1 light idea (no room to move it), and it worked a treat.

I even managed several consecutive 1/1 power shots bounced off the ceiling, of an entire stairway at about 10mtrs and that was after a couple of hundred shots already. It just popped and popped, with me manually shifting from 1/16 to 1/4 power depending on the ceiling height, with no image falling out of processable parameters.

The event was a “Wigging It for Cancer” gala ball. An awesomely bad hair day all round.

A lovely left over is the Pen F, which I will reserve for personal and studio use. It has a gorgeous, clean high-res sensor which seems sharper than the earlier phase detect pixel ones, but it lacks any AF tracking, has mediocre low light performance and banding at high ISO’s in silent shutter mode, so for studio use or personal street/travel with primes it is perfect.

I will pilfer lenses, bags and accessories as I need for this one.

It helps to talk up loud some times, to express ideas and make plans, then put them out there.

Fate, Friend Or Foe

I tend to let fate force my hand, well guide my hand usually, force it occassionally.

Sometimes I just cannot get something to take, no matter how hard I push, then eventually a different answer emerges, often one I have not foreseen.

I find if I push and push, especiailly against the natural flow of things, I get where I intend, but often at a price.

Just let it come. Time will bring the answer.

Example; I resisted getting the RPG Zweihander for quite a while. I have to be honest resisting getting any games at all, but D100 RPG’s have become my one true (RPG) path, something I have far too much history with from the very start to now, so it follows I might want to expand here instead of contract. By putting it off, I avoided the early edition, entering the fray when the later edition revised print run was around and other support materiel had evolved.

Similarly I avoided the “pinkish” version one 35-100 Panasonic lenses, so now I can get the less odd looking second generation one.

I am trying to get a Manfrotto Bumblebee M-30 PL bag. It is resisting me. There seem to be none in Australia, are ridiculously overpriced overseas and with no ETA from local suppliers it just seems pointless. It looks perfect. It is slightly bigger than the F802, opens through the top, has nice pockets and looks (and reviews as) a very comfortable bag loaded. I just cannot get one.

Trust fate?

I would love a Domke F804 (gone), might grab another F802 (cheap), have brands I have not even looked deeply at and need to explore other ideas, so maybe I have just saved $200 (after spending $100 on a Crumpler that did not fix things). I am happy with this one though as a replacement for other less practical bags.

Lovely, just like the half dozen other bags I have about this size. At a pinch it would work, but I have several like this. Almost, but not quite.

Trust fate, see what happens.

The Great Deception Game

I may have come across a bit strong there, but it seems to me, and this is an opinion borne of over thirty years of playing this game, that picking a good camera bag can be hard, often frustrating work. It is not that the designers and sellers of bags are trying to be deliberatley misleading, but real, defined, qualifiable information can be tough to get.

It starts as fun, probably more so in the internet world, less fun but easier with natural limits the pre-internet age sufferred. Browsing the heavily “channelled” internet*, you can be taken along many pathways, down many alleys and into the odd dead end.

The big issue, the one that vexes me the most, is getting the actual capacity of a bag determined.

There are a few reasons.

1. Most bags quote unrealistic “broken down” and stacked (read; crammed) kit capacities.

2. Measurements do not seem to adhere to any fixed rule. Some bags have been quoted in all literature as internal measurement “X”, but prove to be well short of that.

3. Many bags do not quote external or internal measurements, just “measurements”.

4. Few designers/reviewers/retailers actually show you what fits in configurations that matter.

5. Inserts can make or break a bag. Too rigid and they limit options, too soft/short/few and they are nearly useless.

6. There are just too many bags and they are constantly changing.

7. There are nearly infinite combinations of gear available to put in them and never it seems, the gear you own!

8. No one configuration is perfect, which means often buying several bags, which may lead to several misses, wasting time and money. Ths can be unconducive to continuing the search for perfection over settling for “near enough”.

Here are a few examples.

Billingham and Domke bags often hold more than they look like they will, because they are not overly padded. Their inserts are soft, but those are flexible, removable or replaceable. My F802 is a real gear swallower and that goes for most Domke bags (watch the F-8 though, it is really a tiny clone of their bigger bags). I had a Billingham Hadley large, which was useful, a Hadley small that was handy, but only as a light street bag, but never really meshed with either of them.

Bags with heavy padding like ONA, some Lowe Pro, Crumpler and many, many more are often smaller than they look because they are so heavily padded. Padding can be a gear saving, but more often does not make a difference and the rigid, over sized, over stuffed end product can sometimes do more harm than good. I always liked the look of the ONA Brixton, until I finally found out it is much smaller in reality than several smaller bags I own.

Bags with dark interiors can look deceptively large and added to that, they can swallow dark gear, especially like things like M43 45mm f1.8’s.

Gear is seldom in a “ready to go” configuration. This is the big one. A pro level camera with a grip added or built in, attached to a decent sized work horse lens like a 70-200 f2.8 equivalent with hood on the right way around and maybe another with a standard zoom, are big in a variety of ways. Not having them at the ready is unrealistic. Pro photographers need things at hand, not “broken down”. Digital also has cleanliness issues, so unlike old press photogs who would leave lenses and cameras open to the elements, we do tend to cap everything, which just slows down the swapping process.

For myself, as eluded to in my bigger “Two bags” post (coming), an EM1x or Mk2 with grip and 40-150 f2.8 mounted with rigid metal hood and filter (no lens cap), second camera with wide angle mounted the same is SOP for me. I only have two bags that can take that combination in a practical fashion (not a back pack, not broken down, not caps on and hood reversed, actually ready to go).

The F802 Domke and the similar in use Tokyo Porter sling bag, which is not even a camera bag, can each manage it with a Tenba insert added, but are cramped and not ideal in other ways. Add anything else into the main compartment and all bets are off.

Smaller gear is not an issue, but smaller gear is not usually at the pro end of things. With lenses mounted on dedicated cameras, I can change from one to the other with a simple switch. Stuffing around with un-assembled gear in crowded bags is simply not on.

Video rigs can also be problematic. Screwing a handle or mount on, or even mounting the camera in the rig, while on-the-go is not practical, but giving this type of thing extra room, can mean leaving most everything else behind. Fragile mics and monitors just make things ridiculaous.

So, what makes a good bag?

Realistically, a bag should be chosen for the exact kit you intend to use and how you want to use it*. If you are a studio or portrait photographer, you can likely pack things down until you get where you need, but for most of us, who may need to arrive and concentrate on planning and shooting within seconds of arriving, should buy the bag for their gear as it is going to be used.

*Always have a “lung”, which is one more space than the minimum. This allows you to change things out as needed without having to put something down or double hand things. A large, empty outside pocket is ideal.

Bags that I like.

The Domke F802 satchel is ideal for long gear, large quantities of medium sized items like flash units, panels, a big laptop etc, but it is poor at holding large camera bodies when mounted on a lens.

Pretty much my news paper rig. The big difference is, the EM1 mk2 has no grip on it, which is a game changer.

Tight, but workable. It does however make getting to the middle sections a little difficult. Scrap that, it is too cramped, so deal with it and move on. Take the grip off and no issue.

The middle sections are for primes and/or a third camera with prime mounted, but the big rig blocks access and distends the bag so I cannot access these or put a laptop in it.

The F3x Domke is the original one camera, three lens bag, especially for bigger SLR’s (D800, 70-200 F4, 16-35 and 105 micro for example). It is near useless however with smaller mirrorless systems without an insert used. It has a couple of sizeable outer pockets and a body hugging shape.

Crumpler Light Delight 4000, bought for a really light job and it does just that. I wish it had a rear zip pocket, which I think is an oversight, but otherwise, this is a little cracker for a camera on the shoulder and one in the bag with accessories.

The Billingham Hadley series**. I have had the large and small, but should have bought the Pro and I would likely still have it. The large could take the problem child combo (above), but I found the big front pockets less usefull for gear than the ones on the F802 and it’s insert was over padded.

LowePro Pro Messenger (200?). Sold this a while ago, but I have fond memories of it being a sllightly more practical copy of the Think Tank Retrospectives. It was ironically too big at the time.

The Filson Camera Field bag** has gone from a disappointment to more of a winner with the inclusion of my Domke F2s’ rigid base panel and thin walled inserts. If the F802 Domke is used for my news paper kit, the Filson will likely become my main bag for the school kit. The big issue previously was a debilitating sag in the middle and a fixed four compartment configuration, partly alleviated by using a Billingham two section insert as well.

The big girl is too large for this bag and it’s annoying habit of sagging closed does not help. I have fixed the sag to some point, but there are other issues with inserts. The smaller lens, not to be under estimated, is a neat fit.

The insert is a new Domke one for an F2, liberated for this bag, but I still have issues with cramped condiitions and soft dividers. My ideal is to be able to switch cameras without looking, but that is not yet happening with this layout, things just tend to get squished and jumbled.

Think Tank Turnstyle 10L. This is my street bag. It holds a lot more than it looks like it could and surprises me still. One of the recent contenders was the Turnstyle 20L, but after a lot of research it looks to be just under sized for my needs. I did not even notice the large ipad pocket inside for the first few months. I use this as my “running” bag when shooting sports. It holds a flash, wide lens on a small camera, phone, notes, water and rolled up spray jacket. all things I might need, but not immediately, then I use one or two cameras and lenses on straps.

Bags that are not camera bags, but will take a Tenba insert or similar. These are many and varied (Timbuk 2 medium satchel, several Crumplers, Filson Field, some bespoke bits). These prove the point that too much padding and made to purpose is not necessary, all you need is some gear separation and a little rigidity or shape. My favourite is a green Tokyo Porter satchel, which has elements of the Domke F3/802 and TT Turnstyle.

A surprise packet, bought on one of our first trips to Japan is the real deal. Inside it right now, is the Tenba insert with the big lens and camera combo.

I cannot actually close it like this, but that is not a real issue as the bag is not weather sealed anyway (hah, hah). The front divided pocket can hold two ipads in each section and is so big, I lost my travel wallet in it for weeks once, not searching well enough each time! This thing hugs my hips even better than the F3x.

Crumpler Muli 8000. This was hoped to be the slightly bigger bag I need for my news kit. On paper it was a tad longer and deeper than the F802, has a padded laptop compartment and the usual Crumpler comfort and durability. It turns out, like so many other bags, it shrank in transit and is effectively identical to the F802 except shorter. It comes with some interesting dividers, but it clearly not aimed at bigger gear. I may use this for travel next time we go.

I had high hopes for this one and first impressions (well second after “it looks smaller than I assumed based on the actual quoted specs”) are positive. The usual Crumpler quality and comfort. It has not really added anything new, except maybe a nice bag with a laptop spot, although I am at odds with the strange and short dividers. The “beast” is sitting just a little higher than I would like. If it was all I had then maybe…….

Deep it may be, but not really any better than other options. It does not need another insert like the F802, which maybe makes it more efficient and it is really light but rigid feeling. It may become part of a rotation for the school kit (no fat cameras or tall lenses). In all fairness, the lower sides are actually a benefit for accessing other compartments. It does however only have one pocket.

Neewer Large backpack (also available under other names). This is the big event hauler. It takes video rigged cameras, big lenses on cameras, lots of cameras, you name it.

(Possible) Manfrotto Bumblebee M-30 PL. This is definitely a bigger bag than the Crumpler above, but also more expensive. If the Crumpler does not prove to be as big as I need, the M-30 may be grabbed.

(Possible). Mindshift Photo Cross 13. This one is bigger than the Turnstyle 20. Unlike the 20, it does not just look like a small bag bigger, but looks like a good, sleek backpack. I am concerned (as always), that my largest kit will not fit, so likely not worth the risk. A cross body bag appeals for comfort and safety.

(Possible) Domke F808. Not on my radar before, this is a slimmer, taller take on the F802. Not practical really, but a Domke I like the look of, so always a chance! It’s biggest issues are insert choices (not many) and no pockets on the front, although I could add two on the sides.

(Wishlist) Domke F804. This is one that has effectively slipped away. A giant F802, deeper and a little taller and longer, it would have been ideal, but I just cannot find one (edit; found one and bought it!).

*

Bags that I do not like (but still use for one reason or another).

The LowePro Pro Tactic 350aw mk1 is a constant pain. the idea is sound, but the execution poor. The bag is shallow, unable to take a big camera annywhere in its lower half and the two side access pockets, theoreticallty able to tae a lens and camera each are limied to smaller bodies and smaller lenses to work. Overall I only keep this for its “good foot rest on a plane” rigidity, otherwise I would have sold it. It is also very uncomfortable for an average male to wear.

The Domke F3x. Yep it makes an appearance on both lists, because without a lot of help, it is not at all usefull for a mirrorless user with the above criteria. It was designed for a different era and even with new inserts etc, it is a rough fit for me. Ironically, it is probably ideal with an EM1x, 8-18, 12-40 and 40-150, but not with two lenses mounted and another camera. I have a soft spot for it, proven by my decision to buy a special edition green rugged wear one in Japan while I was selling two others at home (I still miss the ballistic nylon one, it was well plush), but realistically, I have many better bags for my needs.

*

The search continues (got an F804!!!), or maybe I need to look outside the box. If I by a Panasonic 35-100 f2.8 as my on-body-always lens, then the longer, heavier 40-150 could be held back for jobs in both my kits as needed. The reality is, I only need a decent portrait/event lens at hand, so the 70-200 equiv would be fine and the slightly shorter range reduces the need for a 25mm in the bag. It would even mean I could take the 300 instead for genuinely long lens jobs.

*Is it just me or are Google searched becoming more and more “owned”.

**Realistically, Billingham and Filson bags have become so expensive, that real photographers are using them less, collectors or well heeled hobbyists more. I bought my Hadley large for $280 and sold it mint for $150. I shudder to think……. . Like the Billinghams, my two Filson bags cost under $300au a few years ago, about half current price.

Camera Choices Made Easy By Circumstances And Need

My long and very indulgent vacillations on what video camera to buy became very easy in the end.

I bought the video camera that did the best stills and video in a reasonable price bracket.

I bought a second G9.

the potential of the G9 exceeds my needs, but it is nice to know there is a little up my sleeve (10 bit 4:2:2 4k unlimited in V Log-L with firmware and a Ninja V). I do not know it well enough yet, but I feel that there is plenty to discover and much more to refine.

The BMPCC4k is the cleanest path to RAW video (a long way further than I need), the OM-1 has the best AF and stabilising (the EM1x is close), the GH6 is probably the best overall (but the G9 is close), but at the end of the day, for a little over $1000au ($1350au with the excellent 12-60 kit), it is hands down the best value. I have saved enough even against the cheapest other option to afford the Ninja V that would upgrade it and my Olympus cameras (The EM1x is also excellent with a Ninja, offering RAW video).

I will not rig out the second G9 like this, as it is more of a stills camera first, but it can be customised for all the same video options.

It also has, and this is important, the same quality and work flow as my current G9. Learn one, know both.

Use them together and the are identical in performance and results. Two cameras gives me effectively unlimited recording, because I can alternate the mandatory short “naps” as I on/off them with complimentary footage from another or even the same angle.

Add in accessory and battery compatibility and it is the “smart” choice.

So, when push came to shove, I went to what I know and trust.

Close Call

I have a big portrait shoot in a couple of weeks and it has given me a case of the jitters.

I intend to use my grey/black 1.8x2.1 Lastolite with the new magnetic bracket. This is big enought for pairs and even small groups, full length and wide shots.

What it lacks though is texture.

The Pewter and Walnut Lastolite is the one on my radar and it is available reasonably cheaply at the moment. It may even make it in time.

Added to cart, bought……….then cancelled.

It is still over $300au, which is a substantial amount for something that is only one of many ways of doing something that can be done by, well, nothing actually.

I have texture options with my four soft “pleather” 1.5m hanging rolls and a Kate 5x7, but the lastolite system is so very easy to work with. The question is (here we go again asking what “the question” actually is), do I have a need for another grey and a texture. The grey is different to my solid, as texture is the hardest thing to add without replacement, and the walnut is as good as a one use texture, because again, texture is the hardest thing to fix without replacement.

After ordering it, I went for a long walk and with buyers regret/hind sight at work, I googled “corportate portraits agin, for the hndredth time this month. Looking at a lot of images, it soon became clear that for corporates in particular, solid colour is the norm and to my eye, dark grey to light black is the strongest.

Light black you say? Black with a little light on it, tends to go dark grey.

$60 of fabric. Subtle texture and colour is not that hard to find if you hunt around. This is actually Donkey brown, but I also have a silver-grey.

My grey backdrop is fine. Perfect actually, I just needed to realise that….again. All I need to do is work out lighting and I am sorted. The Pewter is graded, slightly “shimmery” and very mildly textured. As I found previously, this is not that hare to do. My cheap vinyl furniture fabric is close enough, so before I go and spend enough money to buy a more needed lens, maybe I should sit back and relax.

My basic grey, with white balance tweaked a little.

Colour, which tends to run second to texture, is actually I think, more important. Even the choice of warm or cool grey can effect the skin tones of a subject, but colour is an easy fix. A simple masked brush-over for the background and it can be warmed up or cooled down, colour shifted or more or less saturated with little effort. Add some vignetting and I have a graduated grey-black with warm or cool tones. I have noticed that Rory Lewis, when using black or grey changes the colour to warmer or cooler tones regulalry.

Anyway, after going around in the same circles as before, I am back to where I started. The big grey/black, a smaller black/white and four texured rolls. The reality is, lighting and subject make the shot, the background is only “an opinion” added to it. I shy away from overly opinionated backdrops, preferring mild, nearly imperceptible textures and subtle colours.

A win is the Lastolite bracket which is great and even helps me hang metal bars for the rolls. It is very strong, rated at 5kg, but I think 10kg is possible. The fake leather rolls hung 2m from floor up to the bar are fine.

So, close call, but no harm done.

Big Portrait Gig

I somehow landed a gig shooting the CEO and Board of one of Australias’ largest companies. Interesting seeing as I am not pushing myself on any format other than word of mouth at the moment. Never underestimate the value of networking and referrals. There is a form of legitimacy that comes from a face to face recommendation, that no amount of web page glamour can replace and lets face it, most of us would take the easy road if given one from a trusted guide.

A month of pondering and now a week of testing (nothing too frantic, just conscientious and relentless).

I was after that “special something”, but am also mindful that these images just need to be functional and acceptable for a multiple of uses. No Chiaroscuro or split light, no risky business, just good flexible files with that “something” that makes them stand out a little and room to supply a variety of stylised, processed files.

The Oly files were nice enough, just lacking some “pop”, which I put down to lighting. So what was wrong? I have had some recent success with school ball photos, using only a pair of basic 42” brollies, but in more controlled circumstances, I just seem to be coming up………flat.

A dozen lighting tests later, it dawned on me. I always use my “lucky” EM10 mk2 at balls, a camera that has a warmer base tone than the EM1’s. It struggles in bright light, bad light and ugly light, it has less dynamic range and it is not built for heavy use (which it still gets), but with flash, it seems to sing.

This made two lines of thought collide. What about trying the G9?

Panasonic sensors are known for their skin tones, the G9 is as capable a camera as the EM1 series and I have already been impressed by its performance after just one day of messing around with it.

A little post added (as with the one above), but pretty much pre-set level. There seems to be a more vibrant, three dimensional feel (also the same lens). The blue was added with a mild white balance shift, but the skin tones held on nicely, almost Canon like.

This is the “Film Extra Shadow” base setting in C1.

Seems to be plenty of flexibility in there also.

Clean white, warm skin and a cool background. Worth looking into.