Robin's a young photographer who came to my attention in his continuing and evolving street shots of Kuala Lumpur, Malaysia. He brings so much identity and nuance to scenes that I grew up with.
He's been testing the new Olympus E-5 with one of my yearned for, favourite lenses, the 50mm Zuiko Digital Macro. Brandon's let me try it from time to time - it's amazingly sharp but very leisurely in its autofocus because it has a long focus travel.
I thought the E-5 would be too rich in price for my taste, but with results like what he's showing, ahem........ Obviously, it's the photographer in Robin that made those shots sparkle.
There’s an age old tussle amongst proponents of the sensor-based image stabilisation built into the body (Olympus, Pentax, Sony DSLRs) vs the lens-based stabilisation favoured by Nikon, Canon, Panasonic DSLRs. Sensor based IS works on the sensor so you don’t get steadying of the view when you are sighting the shot before you click. Then Bluetrain048 talks about a procedure where you hold in the IS button of the Olympus E-510 and it stabilises the image and keeps it steady for a couple of seconds. Well, I never knew it was there…..
the two optical elements in a plastic tube with a screw thread
a rubber eyepiece that fits over the plastic tube
a plastic clip that the plastic tube screws onto and this clip then fits onto the e-510
The vendor gives you three of these plastic clips to fit other DSLR brands.
Eye relief is not bad, the plastic tube makes it more like you’re peering through a tube and you can’t see the digital readout on the right hand side of the viewfinder without moving your eyes. The significant thing is that the over smooth focussing screen of the e-510 now appears to snap in and out of focus better. Manual focussing still does not compare to say the Pentax K200D viewfinder, but I seem to be getting higher keeper rates. Focussing with the 50mm f/1.7 manual focus Rokkor is a little improved, with the 28mm f/2.8 Tamron, not much, with the 200mm f/3.5 Tokina yes quite a bit and today, the 250mm f/5.6 Minolta CAT lens does give me more keepers. Of course with the pale postview LCD of the e-510, I still can’t be sure, in the field, but coming back to the PC, it’s a good YES.
Olympus Master is this really sluggish software on my dual screen desktop. I received three Art effect freebies with the xD card purchase. They're can come in quite useful.
Major Tom was an inflatable piece of artwork at the Melbourne Dream Festival 2008
It was the Mooncake Festival celebrating Autumn 2008. Brandon gave me a last minute yell to trip down to the Queen Victoria Market - I missed the Lion Dance but managed to meet Brandon for a nice photo shoot.
We came across this shop. The presentation is gorgeous - dried branches on the top and all. I tried a few perspectives and really got upset when a couple walked past, the man in a tall Jewish hat - they would have completed the scene so well. Unfortunately for some reason, the E-510 decided not to shoot - I lost time holding down the shutter release with no action, then flipped the On/Off switch and it worked too late.
This was one angle that I liked. The detail at the foot of the door, the random squares on the grills make it for me.
Melbourne cabbies now feature drivers from the Indian subcontinent. They are often students making money driving when they aren't studying. Here are some, waiting for a fare.
There I was, shooting with Janina and John for the first time. I didn't get to meet Brandon, and the weather was fine, then drizzly, then fine again. Janina introduced us to this building interior and I had the 7-14mm Zuiko Digital on the floor, then just holding up.
I shoot an Olympus e-510DSLR, a Kodak P-880, an Olympus C-750Z and a Nikon 775. Yes, I do still shoot with the Nikon 775 even though it is a 2MP camera with a slovenly response to tripping the shutter release. And I used to shoot two Minolta film SLRs - the XE-1 and the X-700. I'm saying all this so that I can share some perspectives with you. Notice, I say, my perspectives - they are not the absolute fact - perspectives are what you develop when you intend to buy a new camera, particularly a DSLR.
Most newbies are told to go to a shop and hold / handle a few cameras. Some use that handling to make up their mind, but often we see newbies come back to the forum, none the wiser. So much for that - they are so new to the DSLR business, they listen to the salesman, they listen to more experienced forum posters and they still can't make up their mind. Because they don't have sufficient discrimination to eliminate a brand or a model.
My perspective is towards entry level DSLRs by the way, so, here goes.
Canon
Canon is a big brand - it makes pro level 35mm equivalent DSLRs (called "full frame") as well as chic IXUS point and shoot cameras. I know people and have recommended Canon point and shoots, particularly the Powershot A Series that are good value for money. I have no shooting buddies near me that have Canon DSLRs although I have some friends who have Canon DSLRs. As a Pro brand, you will find some of the sharpest, well built, brightest, heaviest lenses made by Canon in the world. If you saw the Olympics or sports meets, there would be a whole brace of Canon Pro sports shooters with big white lenses.
If you intend to be a Pro sports shooter, a Pro journalist, then Canon is one of two brands that is a no brainer choice. Be prepared to spend big bucks for quality. Be prepared to carry heavy gear. Be prepared to insure your gear. I would expect lens rentals and repair facilities to be available given the demands of the Pro photographers.
But what do the Canon entry level DSLRs offer you?
A reputation inherited from the Pro gear (whether practical or not). The ability to buy a Pro quality, expensive lens if you wanted to.
Reasonable, competitive features.
Better low light pictures given the same type of kit lens as the other brands.
You can buy non Canon brand lenses from third party makers.
You can use second hand, autofocus, meant-for-film Canon lenses.
What I don't like about Canon?
The right hand grip from the earlier entry level models - it didn't feel right in my hand (you may feel differently).
The perception that I have to buy more expensive, better range lenses (bigger as well) if I wanted some respectable sharpness and performance).
The perception that the earlier entry level kit lens was not "nice"
No in body sensor shift image stabilisation
Our perceptions are clouded by our prior experience - I had had no prior experience with Canon film or digital bodies.
Nikon
Nikon is the other Pro brand in cameras. My comments about Nikon Pro cameras would be similar to Canon, except that Nikon has only recently arrived on the full frame, 35mm sensor scene. With Nikon though, I have some empathy. My photo mentor when I was in school carried a Nikon. My nearest photo buddies carry Nikon DSLRs. I have held the Nikon D40, D40x, D300 in my hands and came away happy with the feel of the bodies in my hand, the silky sleekness of operation.
What do Nikon entry level DSLRs offer you?
The very cheapest models feel good in your hands and are quite small in terms of bulk - almost like the small Olympus bodies. Once you fit non kit lenses on though, the bulk increases significantly, although with the new kit lenses, the package still looks attractive.
The ability to fit a long heritage of older Nikon lenses, even manual focus ones.
The ability to fit Nikon Pro quality, expensive lenses.
What I don't like about Nikons?
Features in the cheaper bodies have been purposely truncated so as not to draw sales away from their mid-range and Pro level bodies. For example, exposure bracketing and depth of field preview.
Some older, meant-for-film autofocus Nikon lenses will not motorise on the cheapest Nikon bodies.
No in body sensor shift image stabilisation
Olympus
Olympus has always been a maverick. The famous designer was Y. Maitani - he designed not only the famous OM-1 film SLR but even very unique and special small cameras like the XA. Olympus is not a big camera company. They have skills and reputation in microscopes (I used them when I was studying Materials Engineering).
When it came to the DSLR world, the story goes that Olympus never had an established auto focus film SLR - (maybe the autofocus idea generated bulky film bodies and bulky autofocus lenses which were not the Maitani style) - so they decided to maverick it again and produce an E-System using a smaller Four Thirds Sensor. The Four Thirds organisation has a few members - Kodak, Panasonic, Leica and Sigma. They just announced the micro Four Thirds Standard - which is about using the same sensor size, having a shorter flange distance to the removable lens mount - we're all waiting to see what kind of EVIL (Electronic Viewfinder, Interchangeable Lens) camera body will eventuate. Existing Four Thirds lenses will mount on a micro Four Thirds body with an adaptor and autofocus.
Olympus contribute body design ideas and probably body chassis to Panasonic Lumix DSLR cameras.
What do Olympus entry level DSLRs offer you?
A well designed, optimised (sharpness vs cost vs size) pair of kit lenses.
The smallest bodies amongst the competitors (although certainly bigger than a compact camera).
A from-new line of lenses from Olympus and Leica. Some re-engineered lenses from Sigma
The ability to fit (with inexpensive eBay adapters) manual focus second hand lenses from Olympus, Minolta, Nikon, Pentax K, M42 Screw Thread, Nikon.
In body sensor shift image stabilisation
A 2x sensor crop factor so your effective telephoto magnification for the same optical focal length has more reach. A 200mm optical focal length lens will give you 400mm of reach.
What is less to like about Olympus?
A smaller sensor, so slightly more grainy photos at ISO levels above 400.
The 4:3 aspect ratio vs the 3:2 aspect ratio of the other brand's APS-C sensors.
The 2x sensor crop factor will make legacy and current lenses less wide. A 24mm optical focal length will become 48mm focal length effectively, meaning it isn't wide any more.
Less lens choices and no legacy auto-focus second hand lenses.
A less than sharp viewfinder (makes focussing those manual focus lenses hit and miss)
Pentax
Pentax is a very senior brand. It was a peer competitor to my previous favourite and deceased brand, Minolta. Neither were able to compete with Canon and Minolta in the heavy duty, big time Pro photographer market, although there were Pros who did use both brands. In their film SLRs Pentax stayed with the M42 screw thread mount (called the Pentax / Practika mount) a long time. They are a small company but they have recently merged with Hoya Glass who make optical filters, spectacle lenses. They also work closely with Samsung and some of their DSLRs are rebadged and sold by Samsung with some changes.
What do Pentax DSLRs offer you?
Very good value for money. In fact, probably the lowest price possible for a DSLR, particularly the older models.
A variety of "primes" - single focal length lenses that are small and light.
A variety of lenses including second hand manual focus lenses (M42 screw, Pentax K mount). New lenses are either Pentax branded or Samsung and Schneider Kreuznach approved. Sigma are a major lens supplier.
Utilitarian features - well thought out, photographer's features rather than the latest "I have this feature too" ideas.
In body sensor shift image stabilisation
What is less to like about Pentax?
The reliance and close association with Sigma means that the lens feel and build quality do not have the Nikon / Canon "feel". That does not mean Sigma / Pentax lenses are not adequate.
The surface finish and general feel may not be up to the standard of a Nikon.
Sony
Sony had been making digital compact cameras for a long time. When they wanted to get into the DSLR business, Minolta happened to be looking for a buyer for their camera business, so Sony bought the Minolta camera and DSLR business. With that, they introduced the first Sony DSLR, the Alpha 100. Soon after, Sony, with much investment in technology and development, introduced a brace of new Alpha models, incorporating more Sony ideas. Sony have an extensive optical, digital business in still cameras, TV cameras and TV technology, just like their competitor Panasonic.
What do Sony DSLRs offer you?
The Sony brand, support and service network, retail and point of sale network. IT'S A SONY! Competitive and keen pricing.
Engineering money and engineers galore - they too are technology mavericks.
Minolta personnel and expertise from the previous Minolta DSLRs.
Second hand, Minolta Auto Focus Lenses, new Sony branded ones and Carl Zeiss branded lenses.
In body sensor shift image stabilisation
What is less to like about Sony?
The kit lenses are not the sharpest.
Some features purposely left out on the entry level bodies.
A peculiar left - right weight balance caused by cramming articulating large LCD panels in the body.
Sometimes choosing a brand from these is first preluded by - "Do you have a problem with not buying a universally accepted Pro brand like Canon and Nikon". Your photos may not and will probably not be different but the chip on the shoulder may show through. If you have no problems, then you can continue on to enjoy choosing from a wider range of brands.
Once in a while, someone comes by the Olympus DSLR forum on DPREVIEW and asks for any tips on the Olympus 7-14mm Zuiko Digital ultra wide angle (14mm - 28mm Equivalent Focal Length). I'm still on my learning journey, it's one of those journeys where the passage is as important as the destination. Here are some of my notes:
Know that there are two types of shots with this lens. - Exaggerated Perspective vs
Prim and Proper.
To ensure some rightness in the shot, you could
use a less wide focal length
use software to offset converging lines
hold the camera level.
a flat object, head on.
The lens at widest field of view, actually runs out of DOF (Depth of View) if you use the maximum aperture of f/4. This makes things blurry and give you the feeling of coke bottled zoom.
On the other hand, darkness helps cloak exaggeration and shallow DOF.
Spot-Hi meters at ~215-220 on the histogram and is equivalent to Spot +2EV. Use this on something you want to be the brightest part of your photo. Spot meters at ~115-120 on the histogram Spot-Sh meters at ~15-20 on the histogram and is equivalent to Spot -3EV. Use this on something you want to be the darkest part of your photo.
I knew what Spot Metering does - point the center of your viewfinder it at something and the camera reports the Exposure Value you set on your camera (or the camera sets for you) to make that subject's tone equivalent to 18% Gray (or was it 12% Gray? - doesn't matter, it's about Gray).
By using Spot Metering in a Point and Shoot snapshot way, you get awful results - you may not be pointing at the correct area to make 18% Gray and you may be more concerned about not burning out the bright clouds or rendering some darker coloured ground object without noise rather than anything related a midtone.
So, if you realise that you don't want things to be Gray is an ephiphany. You actually want the opposite - to render bright highlights and dark ground objects in a pleasant way with detail, colour and not much image noise.
That's where the ESP or "smart" biased averaging matrix comes in with these modern cameras. They detect all the tones in the metering areas and calculate a "middle" EV based an optimum chance of getting it right. But how do they do that? They don't know whether you want perfect cloud and sky tone at the expense of darkened ground, neither do they know you want the person's face or detail in grass in preference to the sky. The camera makers solve this by doing a lot of research on actual photos in the field, generating stats on scene types, metering patterns, capability of the recording sensor, people's choices in those photos and so on. So they come up with a "smart" calculation to recommend to the camera. That's the best they can do, but that is NOT YOU - You're the end of the line, the "moment of truth" - you and the scene and the camera are where it comes down to right at that moment you press the trigger.
So ESP or "smart" biased averaging can and will be wrong at times.
This is where Spot-Hi and Spot-Sh come in for the Olympus E-510. If you set the Spot-Hi to the Automatic Exposure Lock (AEL) button action, pressing the AEL button will activate Spot-Hi instead of ESP for that shot. You point it at a bright patch that you don't want to "burn" - for me, that's the clouds in the sky. You recompose and shoot. Sometimes, this will give a result similar to using the ESP pattern. Sometimes, it will darken the ground and give you a good sky tone. If you ensure that your ISO is as low as practically possible, i.e. ISO 100, then the amount of noise you generate by lifting the dark tones in post processing will be as low as possible.
What about Spot-Hi? Well, there is only one AEL button on the E-510, so I dedicate the Fn button to MyMode-1 and in this MyMode, Fn invokes Spot-Sh. It won't work like the AEL button, but if I point the camera at a dark ground object and don't re-frame, just shoot, then I am pretty sure that this dark ground object will not be inky, unrescueable black.
Below are some shots I've done using several approaches. They're at the Blackburn Lake area and are of fairly high Dynamic Range oppurtunities.
I was forum chatting with Bassy at the Kodak forum of DPreview and conversation turned to shooting with more than one camera. Click on the photo below (Olympus E-510 with 7-14mm lens at 14mm EFOV to take you to it's source at Photobucket and then hover over the red square, see the blue caption box labelled "ducks" to see the ducks (Olympus C-750uz with 1.7x TCON giving 612mm EFOV).
It's not the best of times for other things, but I am with a plethora of wide angle lenses on different cameras - the first time I can say that I have such luxury. Today was a sunny, winter's day. Not a day to be gloomy or depressed. So off in the car, driving, to see what we can see. I stopped at Sienna Falls, a hole-in-the-ground rejuvenation of an old clay quarry (used for Boral Brick materials).
The road really is that steep, it's not just the 7-14mm ZD lens showing off.
Then, we went off to Box Hill to have some Vietnamese beef noodles in soup (tendons) and broken rice. I paused briefly at the top and shot down into Carrington Road
It's an interesting time for participating in web forums on photography, equipment and taking photos. Newbies and seasoned photographers often scratch their head when they read abbreviations or terms in forum posts. I'll try to keep a record of the various abbreviations.
In photography, angle of view describes the angular extent of a given scene that is imaged by a camera. It parallels, and may be used interchangeably with, the more general visual term field of view. (Wikipedia)
The field of view (also field of vision) is the angular extent of the observable world that is seen at any given moment. (Wikipedia)
Digital Sensor Crop Factor vs FF (35mm Full Frame)
In 1913, Oskar Barnack developed the prototype Leica camera around the 24x36mm film size. This became the standard film size 35mm film SLRs. When the Digital DSLR was invented, it was a different medium and it was expensive to make such a large sensor. So different brands used as a basis, a smaller sensors.
When you take any lens and fit it on a camera successfully, that camera's true optical focal length(s). Let us take for example, 50mm on a 35mm film camera. Now, for the Four Thirds consortium, their reference sensor is not 24x36mm, it is 13.5x18mm. Even if the lens displays a large area, the sensor only sees a smaller rectangle of it, the rest of the image is "wasted". Put it simply, it's like taking masking paper and cropping away the "unseen" area. This crop factor for Four Thirds is 2x.
Take 2 people. Stand away from them with a film camera and the 50mm lens. You take a photo of 2 people. Take that same lens, same scene, but mount the lens on a Four Thirds camera. You will see 1 person in the photo. It feels to you that you are magnifying the scene by 2x. If you walk backwards a bit, you can fit both people into the photo, but you will have now changed your distance and your perspective.
Since longer lenses magnify things, it appears that this real 50mm lens when mounted on a Four Thirds camera works like a 100mm lens in terms of AOV.
I started my blogging at Blogger, oh so long ago, before Google took over. I've been on Live Spaces for a long time, but I'm re-discovering Blogger and Blogspot.
I suppose some kum (gold) for launching a blog is auspicious?
Shot with my legacy Vivitar 90mm f/2.8 Minolta MD Mount manual focus lens (actually my bro's), stopped down, mounted on the Olympus E-510 via Live View (one of the few times I did use Live View). Tripod mounted of course, in natural light, golden winter light in the morning, streaming through the sliding glass doors.
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