Juddering Question.

I finally got an answer to the juddering issue I have been seeing a lot in my footage.

Juddering looks like a little lag that shows when panning.

I was not sure what caused it, but the net coughed up some common problems, mostly subscribing to the “panning too fast” school of thought. Apparently, the rule of thumb goes something like “it should take seven seconds to go from frame edge to opposite edge in a pan”. This is dependent on a lot of other factors like lens coverage etc, but the rule is “slower is smoother”.

Problem is, it still happened. A subtle but un-ignorable series of little jumps. That gorgeous smoothness of film in cinema just seemed beyond me.

The variances of cameras, lenses, sensor speed, shutter to frame rate combinations, panning speed, resolutions all seemed to come up at one point or another, but what is the culprit, why is digital panning such a mine field?

I see it in professional productions, old and new, film or digital, then see examples of perfection in the art from just phone footage.

Turns out it is down to frame rate shot at compared to the playback devices hertz rate, which with most devices is 60 or 120 hz. Recording at “cinematic” 24fps for smoothness actually makes this worse. By not matching the frame rate to the playback hertz rating and using a slower frame rate which exaggerates judder (smooths other movement), there is more than a mild chance of a frame or more being “dragged” to fill the time line (24 into 30/60/120 does not fit evenly). I have been using 25fps as a compromise between 24 cinematic and to match our PAL region. I though it a better fit than 30 fps. Turns out most devices need 30fps.

Does this mean shooting at 25 to avoid recording flicker and editing at 30 to avoid playback judder or the other way around? Not sure, still researching. Sure enough today I got some flicker at 30p so it may be a case of shooting one, then up-rating in processing.

It looks like a high frame rate (with 180 shutter rule applied), to match the NTSC rates for playback, will help, but may not be the perfect answer.

Dualities (Or The Best Of All Worlds)

So, the work bag has settled down as a hybrid system, hybrid capabilities powerhouse. Almost all I need for anything, which is the point of it.

It does this while being small and relatively light, which means there is room for other kits built more to purpose.

So, what else?

Sport has become a 50-50 commitment for me since dropping back to part time. I deliberately asked for weekends over week days for the dual benefit of being more available to charities and not for profits and to lean heavily into the sports end of things.

I also did this for the paper, assuming they would use this opportunity to bring in a younger, hopefully female shooter as a cadet (the four of us cover the fifty something white heterosexual male demographic just fine, but apparently there are more out there) and the weekends are a hard ask without a decent learning period. You often work alone, have to do a variety of sports and editorial on a tight schedule and process to a deadline.

They went for the guy I was originally job sharing with, just with a cleaner roster and our original roles swapped. This is a product of needing willing victims who can go for it out the gate, which unfortunately limits our choices. I do wonder what happens when the four of us retire at the same time, or maybe I am worrying about the wrong thing?

Anywho.

My sports bag is the love/hate project that is Lowe Pro Pro-Tactic or I use the Mindshift Photocross 10 if I need to go lighter;

• EM1x and EM1 Mk2 bodies. The second Em1x has been dropped because I rarely use two cameras at once these days and the Mk2 it is plenty when I do (it loves the 40-150 f2.8). I came to realise a while back that the lenses make more difference than cameras.

• 12-40 f2.8 which I find wide enough. Originally I used the 8-18, a great lens I had not found a home for, but I rarely get that close, but do find 18mm f4 it a little short and slow for general duties.

• 40-150 f2.8, the work horse for smaller field sports. If I need a second camera and the light is good, I will sometimes use the much smaller f4 version.

• 300 f4 the field sport work horse. The 1.4x is used for sailing etc.

• 75 f1.8 is the low light problem solver.

On the weekends I usually work out of this exclusively, unless I have an editorial job and time to switch.

Ok, that is the paper covered. but what about other work?

The Commercial kit, which is less about moving fast and more about solving problems;

Neewer backpack and a series of smaller bags.

• The G9/EM1x dynamic (‘cos I have them).

• Both have cage options in case the whole gig is video-centric.

• OSMO Pocket kit for gimbal work.

• 12-60 Pana-Leica. The standard that does so much.

• 8-18 Pana-leica. This is the wide for this kit, also a good video option and shares my 67mm filter set.

• 30 f1.4 Sigma. The super shallow depth of field and low light video and studio lens.

• Pen “F” mount (half frame) 25 f2.8. A “retro look” standard lens.

• Lots of filters and video rig options.

If video is a big deal or the primary task, I take another bag which is self contained or adds to the above.

Domke 217 Roller;

• S5 body in a cage (growl).

• 50 and 20-60 full frame lenses.

• 35 TTArtisan and Pentax 50 f1.4 “retro” lenses.

• Monitor and mat box, filters etc. This also has the bulk of my Mics for more serious work.

Other bits are;

• A hard case with my full mic setup.

• A large hard case with 4 COB lights

• Several LED panels, modifiers etc.

• Backgrounds, stands, clamps, brackets etc.

• A comprehensive flash kit.

Other options.

For events a couple of unlikely suspects emerge simply because they work.

Any bag I need (Domke F802-804 are common);

• 2x EM10 Mk2

• A zoom, usually the 12-40 or 12-60 Leica.

• A fast standard prime for groups, usually the 17.

• A fast long prime for stage and candid usually the 45 or the 75.

• Flashes.

My travel and street setup are basically surplus to all the above and I hope they will get a run soon.

Any bag, usually based on the needs of the place (Filson, Tokyo Porter, Domke);

• Pen F, Pen Mini 2, EM5 (last one standing), or EM10 from above.

• 12-60 Pana kit, 40-150 Oly kit, for travel.

• 17 and 45 Olympus for street and low light. Both these lenses do got used for events etc.

Humble cameras and lenses can do great things, they just need to get there in the first place.

Future plans?

Assuming I stick with photography, the future does not need a lot of investment.

My want list consists of only a possible game changing camera (OM-1, G9 mk2, S5 Mk2) whuch highly depends on the direction I take and if the S5 is the way I go, I will pick up one or two more S series primes (24, maybe 85).

The reality is, my core work kit has a mirror set for backup, my sports gear gets 3-5 days work a month and my current processes are getting cleaner and cleaner, meaning that with their build quality they are unlikely to be stressed for quite a while. My S5 is being used as an occasional video camera and my pool of backups can also be used as “shutter savers” when possible.

I have unused lights, more flash power than I can use, a half dozen mic options.

If I cut it down by half, I would still feel ready for anything.

The Best Of Both Worlds

My new-old mixed kit is a blessing in disguise.

Early on in my time with the paper, I was in need of some clarity of process. Suffering a little from “imposter syndrome”, I was aware of having to champion my strengths, develop new ones and try to mitigate frustrating errors as I worked.

Shifting to an all Olympus kit was the quick answer, easily done when the paper’s promise of using video turned into a bit of a paper Tiger. Secretly relieved, as I am happy enough with my video and sound recording quality, but not my relatively untried, quick-fire editing skills, the all Oly stills kit was clean and easy to get my head around as I dealt with other things.

A trip to melbourne reminded me of the bright light loving Olympus kit’s strength.

Also, jugging stills and video is not as easy as some would think.

Well, video is back and I am dealing with the dual dynamic.

Much happier now with the prospect of a dual brand kit, having settled into a good all-Olympus work flow and having time to appreciate the missing benefits the G9 offered*, it has become a good, versatile system.

The G9 is teamed up with the 9, and 15mm Leicas. The natural look of this kit is like the Oly with fill flash applied.

The EM1 Mk2 has the bigger load of the 25, 45, 40-150 f4 (or 75).

Sure footed in the extreme, the Em1 Mk2, which is a few generations behind the latest Olympus/OM systems offerings still has plenty of legs for most work (I often use the other one as my second sports camera). I use EM1x’s for sport and the G9’s for hybrid video, but for long lens work, these work.

When I first blended the kit, the Panasonic was matched to the Olympus 12-40 and 17mm lenses, their quick manual focus switching seen as a good thing**. This hampered the camera a little, so an all Panasonic grouping is better.

I did try the 8-18, but at the time it was a poor physical fit for my bag and a little too wide-short and slow in low light (f4 at the commonly used end).

If I want to tame strong light, the Olympus gear is best and for dull light, the Panasonic kit adds glow.

This all Olympus file has a glow about it, but the reality was, the light was blinding. I love the film like look of files like this.

The secret though is in the inconsistencies.

Lacking a wide Oly lens, the EM1 can deliberately mute the delicate and bright 9 and 15mm’s a little. Conversely, the longer lenses on the Panasonic camera are given a little brightness, a little punch in poor lighting.

A harmonious combination of the G9 and Olympus 45mm. The colour from all Panasonic kit tends to look like the love child of Canon and Fuji colour. Light, brilliant with a warm/cool tension, but delicate, almost thin. Adding in the Oly 45 or 17mm’s with their warmer coatings and organic colour tends to ground the sometimes “flighty” files.

Then on the other end an EM10 Mk2 and 15mm Panasonic. This is a favourite combo, the 15mm cooling off the often too-warm EM10 files and adding a delicateness. The camera on the other hand gives the delicate 15mm some depth.

The big thing is the handling mess that was working fast with two different cameras seems to have settled into the rhythm of my life, which is Apple to Windows, Capture 1 to Lightroom, stills to video, Samsung to Iphone, Hyundai to VW on a daily basis.

Maybe this all helps keep this old brain nimble?

*Nicer handling for fast ISO selection, better wide area people acquisition in close, quick video switching, faster switching between AF points and silent to enabled mechanical shutter. I also prefer the low light performance with its own lenses and the quick electronic/mechanical shutter switch is handy also.

**I usually use MF for video. It always works and when I miss, I miss naturally and control the recovery. If the subject is semi static or I want a smooth transition, I use single shot AF and the touch screen.

Freeee.....dom!

This weekend off, I am shooting sport.

Bus drivers holiday?

No, not really, because this is a paid job (for a change) outside of work for the school my wife works for. I am filling a hole left by their photographer who moved on recently.

For the second year running, they have both boys teams in the football finals. I covered them last year, literally the week before I started with the paper, so a full year has gone by.

This is actually from the year before that again, when St pats played in the seconds before Scotch played the seniors.

Two games, no captions, just like last year!

My enduring memory of that period was my weak knee causing me to limp quite badly and making kneeling unrealistic. I am (touch wood) a lot better now, so more angles and I will be able to follow the action better.

Another bonus is the second EM1x and the 40-150 f4 so more speed, less weight.

100% usable files, no chasing numbers, no wasted frames, no hours spent in front of a computer afterwards just to load them up on a deadline, only processing, no stress.

Punching Above Our Weight.

The state weight lifting championships the other day gave me another chance to try to reinvent the wheel (well maybe the whole axle).

The space was limited, the light iffy, but character filled it.

The facilities in our small state for many sports are often a little sad, especially considering the talent we produce per head*.

Enough weight to bend the bar! Still does my head in.

There is currently in a debate over the impending billion dollar “super stadium” build, pushed or more to the point demanded by the lure of a national football team (AFL), but the whole thing seems a bit lop-sided in favour of only one elite sport.

Most other sports have a similar story, like the national grade basketball team the Jackjumpers, who made the final on their first year in the comp. A game at the next level down on their usual playing court was stopped because of a lifted floor board. We avoided the embarrassment of a national game being stopped mid TV broadcast by luck only.

The list goes on and on, but back to the story at hand.

The best shots turned out to be warm-ups in the cramped space next door.

Now that we are focussing on web first publication, we can tell stories with our images, so all angles need to be explored.

One of the lifters here (above) is number three in the country and has her whole career ahead of her, but like so many other “fringe” sport athletes, she is balancing work and training with limited facilities and opportunities.

The 12-40 and 40-150 f2.8’s did most of my heavy lifting.

*More than our quota of international sports stars (we once boasted two national cricket captains at the same time, then a third not long after and always have a disproportionate number of Olympians and world champions for our half a million head count, currently boast one of the best female swimmers in the world, rowers, cyclists etc and more and more we are exporting basketball and soccer players etc). We tend to take this for granted, but the reality is, these people put in the effort with little support and often have to leave to reach their potential.

No Space, All Good

I did a portrait shoot today for a not for profit. I knew I had the whole board room to shoot the job, but the thing I did not know is the board room table, and an impressive thing it was, took up 80% of the room.

I had some depth, but no width. I literally had the choice of whether to use my 1.5 or 2.1 wide Manfrotto backdrop taken from me. I had 1.5m….just. My original intention was to use a main light 45/45* on the left and a second one low and behind on the right side as a dual fill-rim light.

No hope, so what to do**?

The end of the room I was able to use had full length windows with thin Venetian blinds and the direct sunlight was on the other end, so I pressed these into use. I started the morning with the blinds closed, but on opening them, I got a little fill, just a little.

Not bad. Processing can easily fix misses, but it is still easier when doing lots, to just get it right. This was my first subject, all 6’4” of him. Good thing I bought the tall stand. The grey on grey left shoulder is just separated from the background. Oops, just noticed the background picking at the top.

Using the shutter speed to control the ambient light (that is what happens with flash work), it works as the master control of natural light fill. It also controls the background darkness, well the bit the flash does not blitz. Normally I would be happy with no ambient, but in this case I went with just a hint.

About 1/160th gave me a hint of natural light from the darker right side.

My favourite and the manager of the organisation, so nice to do a decent job.

Aperture at f4 and ISO 400 gave me a very usable 1/64 power through a shoot through brolly. I really need to explore my huge arsenal of mods, but for now the brollies just work.

So, a one light, ambient fill image. They look a little flat, but are consistent and useable.

Other stuff; G9 with 12-60 Leica, YN560 flash through a 42” Godox brolly and the Manfrotto Pewter background.

*45 degrees to the left, 45 decrees above for safe if not dramatic angled light.

**In hind sight I could have used a small, flagged LED panel, which I had packed.

Dare To....

This subject is the director of a small theatre company “Dare”, working out of the back of another businesses converted store house.

Possibly full of character under different circumstances, it was not an automatic win today.

The Panasonic G9 and 15mm with those lovely skin tones. The natural brightness of Panasonic sensor and lenses adds a little snap that prints well. I was happy shooting only Olympus for a few months and sure was more convenient (1 battery type), but I must admit, there is a lot to be said for having options.

My usual style of shooting over the reporters shoulder was the way to go as there were no rehearsals, no props and now one else there.

My kit has change a little recently. The push to do video has come on hard and strong, meaning I have gone back to a shared Olympus and Panasonic kit.

The Olympus EM1 Mk2 with 25mm f1.8 wide open.

A rare miss shows its very nice Bokeh. The catch with face detection mode is if it gets confused, it tends to go well wrong.

It is not that the Oly cameras cannot do good video. Indeed they have some benefits over even the Panasonic G9’s, but they are a pain to work with in a hybrid space.

Unlike the Panasonic cameras, you cannot set up a custom work space, really needing to dedicate a camera to purpose, bacuse “just switching” is not easy.

Want video with the G9? Turn to C1 through C3-3 (1080p/25 Natural, 1080 33% slo-mo, 1080p/50, 4k/24 Cine-D, 4k/50 Cine-D, with all buttons and dials dedicated to video). Video is also the same, with Aperture priority my standard for stills. I use ISO for exposure, the main dial on the back controls of that.

With the EM1 Mk2, you need to switch to video, then remember to set the mics, ISO, ect to the right settings from scratch.

Basically one second compared to one minute.

For stills it is literally a mixed bag.

The two brands have some areas they are each better some times than the other like high ISO electronic shutter banding. Usually the Oly is fine, but occasionally the Pana likes a space better.

Handling is the big win for the Pana. I just love the extra real estate and more flexible custom settings. Anything anywhere basically and more switches etc to do it. I have ISO on the back main dial, there is a switch on the front for silent shutter on/off, the nubbin is better for AF point selection and the quick menu is a little more direct. The menus do my head in and try as I might, I have never been able to get both my G9’s functioning exactly the same, but once they settle, they are very nice to use (there is actually a save to card and transfer menu option that I have not used, but that is not the point).

All of these feature on the Oly take another step or two movements to complete. The EM1x/Mk3/OM-1’s fix some of these to an extent, but right now in my day kit, the G9 wins. The Oly cameras are smaller though and turn on quicker.

AF is the Oly strength. The G9 has excellent AF, better even when you just let the camera decide (human/animal detect is quite clever but not infallible), but requires Panasonic lenses to support it and my most powerful long lenses are all Olympus.

I knew this going in and have even found the G9 workable with some Oly telephoto lenses, the newer 40-150 F4 in particular, but the reality is, if you want to shoot sport regularly, a G9 with Oly glass is not a perfect match.

In balance, the G9 is better suited to close work, the lenses I have fitting that space perfectly, the Oly’s for me do the long lens work and again, my lenses are ideal**.

Oddly, some lenses work better on their opponents bodies. The 15mm has an annoyingly loose aperture ring that I cannot disable, unless it goes on an Oly camera. It also has a delicate and light colour palette, which brightens the more grounded Oly look.

The Pana combination likes a little more “retro” pushing and pulling.

Conversely, the 12-40 and 17mm Olympus are great video lenses on the G9 with good ergonomics and very organic looking colours, reducing some of the over-sharp Panasonic footage. The G9 has very contrasty video, so many users set contrast and sharpness to -5 in Natural mode, but even then it can look a little hard.

Also added back to the kit is the 25mm, because I miss that filler focal length after deciding not to use a zoom standard lens, a mic (the Sennheisser MKE-400) and some filters in 46mm (2-400 ND and BPM 1/8th).

The Sigma 30mm could replace both the 45 and 25mm lenses, but its focussing is a little less sure footed and it is quite large on its own. The 45mm can be shoved into the smallest space in my bag, the 30 with hood takes up similar space to my 75mm.

I know that the Pana cameras and lenses can brighten up gloomy images, but the Olympus can better control overly bright surrounds and looks more organic. Mixing lenses and bodies can reveal some perfect synergies.

I also prefer the Oly cameras for flash. I rarely get a lost file to poor decision making from an Oly.

*9, 15, 12-60 kit, 12-60 Leica, 8-18 Leica.

**45, 75, 40-150 kit, 40-150 f4, 40-150 f2.8 75-300, 300 f4. There are also 12-40, 17 and 25mm options, but for the G9 I stick to Pana.

The Calling

There is little doubt that any large group of people in the world, no matter the culture, the location or relative wealth, will have a decent number of phone users active at any one time.

As a street photographer this leaves you with few options other than to include them.

There is no doubt they are useful, well maybe.

They help stave off the modern enemy of momentary boredom.

To keep in touch with loved ones.

Maybe find your way.

Otherwise you need to resort to a lot of this, heaven forbid.

To get information about things you see.

Take those important, once in a lifetime photographs.

Which clearly have no other way of being captured……… .

Good luck making a call on that device fella.

The phone era will have its place in the history of street photography just as any other and I guess if street imaging has any relevance, it is as a method of recording life and what ever that meant at the time.

Will we remember these times lovingly or quaintly in comparison to the near future? I suppose if we knew the answer to that question we would simply go there, because isn’t newer always better?

That does not explain the younger generations appreciation for all things “retro”.

It is human nature to both worship and despise the tools and habits of the now. We want the future, but also miss the past. The now is the nothing point between these two supposedly better times, when of course it is them both, only real. Appreciating the now of life may well be the secret to happiness.

MRC Portraits 12

It is a gift to meet someone who is so very much more than you and to be inspired just by their very presence.

As with many, the first images were serious, intense even. No doubt who was in control.

That irrepressible smile came quickly…..

…and we got there in the end.

The symbology is Ghurka, but I do not know if it is British or Indian service. Either way, I was in the presence of living history.

MRC Portraits 11

We can all be quite precious about our state of being.

Two eyes, all our teeth, still upright and we should be happy shouldn’t we!

Not sure we always are, but for some, the good in life is easier to see.

MRC Portraits 9

This little one is very special.

The first say hello and the last to say goodbye.

Namaste.

MRC Portraits 10

The male dynamic is somehow typical of Australian natives. Strength first, vulnerability second or not at all.

The stills camera has a rare ability to capture the most fleeting of moments, but once captured, they are timeless.

MRC Portraits 8

Shared moments.

I have not been with this family as a whole before.

Their dynamic is deeply moving, all partners in a whole.

Safe hands.

The Eyes Have It

I am a dog person. Nothing against cats, and for some reason they seem to like me, but dog person through and through.

National cat show this weekend.

Some interesting sights.

That mostly looked back.

Intensely.

Except apparently, when you wanted them to.

Still a dog person.

MRC Portraits 7

Are we really so different?

Three women from very different cultures, playing much the same role in their worlds.

Are we really so different?

MRC Portraits 6

A special pair here, father and son.

Genuine pride and love through adversity. A lesson to us all.

Being involved with a tight community of people, with little in common except adversity has been eye opening, heart also. I found it difficult to make connections between people often because they are all so close, clear family lines are blurred. The photo shoot allowed me to connect some people and connect to them.

MRC Portraits 5

This group were a lot of fun, but highlighted to me the cultural gap between us.

After the first group set, the main subject was coy to say the least. Striking a deliberately “wistful” pose, he then shifted into something more dramatic.

It went how we both wanted I guess?

Still fun.

MRC Portraits 4

Most subject were quite formal at first. It was explained to me that this was mostly out of respect for me and the process, but I persevered.

It did not take long for most of my subjects to warm up to the process and let their inner happiness show through.

MRC Portraits 3

This subject (I have no names as the group largely spoke little English and they in and out quite quickly) is one of the elders of the community and a really good example of a how keeping a smile on your face keeps you young.

In what would have been quite a comical exchange, I tried to get her to shift her stance a little side on and my hand gestures were interpreted as “will you dance for me as you have previously at events?”. Either that or she was just having some fun with me.

Either way the end result was perfect.

MRC Portraits number 2

The next image is of a person who has always stayed on the fringes of the larger group. We all have a story and I bet hers is more “interesting” than mine.

I like this more relaxed one, something I feel is rare with this subject.

This is the more formal early image showing also, the versatility of the grey backdrop.