Category Archives: Photography

Bhutan: What Technology Worked, and What Didn’t

"Willow Pattern" - view from the Dolchula Pass cafe, with the infrared Panasonic GF3
Camera: Panasonic DMC-GF3 | Date: 17-11-2015 10:24 | Resolution: 2612 x 3918 | ISO: 160 | Exp. bias: -33/100 EV | Exp. Time: 1/400s | Aperture: 6.3 | Focal Length: 14.0mm | Location: Dochu La Pass (3150m) | State/Province: Punakha | See map | Lens: LUMIX G VARIO PZ 14-42/F3.5-5.6

Bhutan isn’t especially demanding on equipment. If your style of photography is similar to mine you will need a wide range of focal lengths, from ultra-wide (for when there’s limited space in front of a large building) to long telephoto (for inspecting details of the landscape). Outside light is usually very powerful, but inside you will rapidly need some combination of high ISO, fast lenses and a tripod. If anything the greatest challenge is the relatively harsh, direct lighting during the day (when the temples and Dzongs are open), and you will need to watch for flare and the effects of polarisation.

Dust can be a bit of a challenge, especially on or near the roads. It does tend to get everywhere, even inside filter pouches for example, but a filter will protect your lens, and other kit will just need a careful dust down. My excellent Hoya high-transmission 58mm polarising filter picked up a small scratch, but that’s a small price for providing both its optical services and protecting the lenses.

Shot Counts

The scores are in, and the shot counts are as follows:

  • Panasonic GX8: Almost exactly 3,000 shots. Quite a lot of those are for "multi shot" images, including 3D for the first time this year
  • Panasonic GX7: About 100 shots, plus video of "culture night"
  • Sony RX100 mk IV: About 364 stills, plus quite a few short video clips

Overall the totals are very similar to Morocco, albeit with a different camera mix. It looks like I’ll have about the normal 50% discard count, and end up with around 100-200 images which I want to show people, which is fine.

Panasonic Cameras

The Panasonic cameras have worked well. The GX8 is fast and produces great image quality. Its viewfinder is large and bright (although I have to acknowledge that the Fuji XT1 is even nicer), but does seem to be more sensitive to white balance changes than previous models. This means that you may see a bit of a red or brown cast on the live image in some cases, which doesn’t affect the captured image but can be slightly off-putting. It wouldn’t surprise me if this attracts a firmware change at some point.

Handling of the GX8 is good, but the viewfinder and controls are just different enough from the GX7 that you can’t just leave a different lens on the older body and switch quickly back and forth between them.

Even though it packs a much bigger battery than the GX7 battery life is still only moderate. I never used more than 3 per day, but that could have increased if we had done significant action shooting, so my purchase of a total of 4 was probably justified.

Bags

The National Geographic Africa Medium Backpack is an excellent device for carrying equipment between locations. It meets the most miserly airline carry-on restrictions, but easily swallowed my 15“ laptop, tablet, 4 Panasonic bodies, 8 lenses including the 100-300mm, a small flash and various odds and ends.

Unfortunately it’s pretty bloody useless as a working bag on location. The only way to extract kit is to take it off completely and lay it flat on the ground, getting it and then you filthy, and the whole process is very fiddly. Luckily I had allowed for this and fitted one of my Lowepro Nova shoulder bags (the 180 AW) into my hold luggage. This has room for the main body and lenses, the infrared GF3 and bits & pieces with room over for a small water bottle.

Sony RX100 Mk IV

First impressions of the Sony RX100 mark IV are excellent. It is fast, with almost DSLR-like autofocus, and the image quality is superb – more or less a match for my Panasonic cameras at moderate ISOs. My camera has had a "baptism of fire" being used mainly to try and get grab shots from a moving bus, so maybe not exactly a fair test, but has delivered decent results albeit with some misses. Although the EVF is small, and does seem to need quite regular re-adjustment against my glasses, it is clear and perfectly usable in a way which wasn’t true of the Panasonic GM5 I tried.

The handling is a bit fiddly, but I wouldn’t subscribe to some of the complaints I have read in internet interviews. However it is far to easy to accidentally change shooting mode, and the other problem I have had is accidentally pressing the power button instead of the shutter, and switching the camera off at just the wrong moment. If you have the camera at arms length in a tricky shooting position, the feel of the two controls is just not different enough.

Battery life is limited, although no worse than other cameras with a similar sized battery (like the Canon S120). Sony’s insistence on in-camera charging is annoying, and I’ve now purchased a third party charger and spare batteries from Germany.

I tried carrying my camera just in my trouser pocket, where it fits well. However it rapidly picked up a number of small scratches on the rear screen. Nothing fundamental, but a real annoyance on a brand new, expensive little camera. This seems to be a vulnerability of Sony cameras, with one of the other members of the group suffering a similar problem with his A7. I’m hoping that I can fit a screen protector to restore the original appearance, and am now carrying the camera in a small cloth pouch which came with a Metz flashgun.

Other Notes

One other annoyance is that I changed my phone earlier this year from a Samsung Galaxy Note 2 to a Note 3. The older Notes had very good GPS, getting accurate fixes quickly in most conditions. The Note 3 has a useless GPS, taking time to get a good fix even at the top of a mountain under cloudless skies! As a result my GPS track has a couple of annoying gaps in it, and I’ve had to do a lot of manual work and fix it, which has never been necessary on previous trips.

At the same time, my Note 10.1" tablet seems to have suddenly lost most of its battery capacity, and is only good for about 4-5 hours, not long enough for some of the flights on this trip. I am seriously thinking of a shift in loyalties.

 

Overall a few annoyances, but I managed to travel quite light, and unlike some trips there were no major problems. That’s a refreshing change.

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Last Light

Last light over the Haa Valley, Bhutan
Camera: Panasonic DMC-GX8 | Date: 14-11-2015 17:04 | Resolution: 1920 x 1440 | ISO: 400 | Exp. bias: 0 EV | Exp. Time: 1/40s | Aperture: 5.6 | Focal Length: 12.0mm (~24.0mm) | Lens: LUMIX G VARIO 12-35/F2.8

Bhutan: What Worked and What Didn’t

Sorry it’s been quiet for a couple of weeks. Inevitably there’s catching up to do on the return from a trip, plus I’ve had a couple of practical challenges before I could start properly sorting out the photos from the trip. However things are working OK now.

As always at the end of these trips, I’ve prepared a couple of posts with general observations on the trip, in the hope that it may be of assistance to someone planning a similar visit. To keep things manageable, this post focuses on the trip as a whole, and the following post focuses on photography and equipment matters. There will be a final post reflecting on my observations of Bhutan, the country and people.

 

On a positive note, the people everywhere were friendly, welcoming and most were happy to pose for the camera, without expectation of more than a "thank you". In reality most away from direct tourist contact have limited English, although that will change, but they all understand basic pleasantries well enough.

Bhutan is not an expensive location once you’re there and the $250 per day has been paid to the tour operator. My additional costs (mainly tips, T-shirts and beer) probably came to not much more than £200. Western money goes a long way in a country with a 1p note! There are plenty of stalls and shops selling handicrafts, but they understand the value of a "no thank you", and there are no street hawkers or other more annoying channels. There’s no need to haggle, and transactions are very straightforward with no nasty catches, but you do need to be aware of prices which can vary substantially between locations (beer varying between about £1 and £3, for example).

Travel in Bhutan is slow. 20kph is a very good speed in a bus, 15kph is a more sensible basis for estimating. One suspects that the current over-ambitious programme of simultaneously trying to widen almost all the roads is doomed to failure, or at least to very late delivery, so things will probably get worse before they improve.

In hindsight, the trip to Bumthang cost us two long days of uncomfortable travel for not much benefit, and I think most participants on our trip will be advising Light and Land to omit if from future itineraries. If your itinerary includes statements like "a full day of travel", question whether that is the best use of time and endurance, or whether further exploration of the nearer areas will be of more benefit.

Be wary of overcrowding on the transport. The standard tour buses are not terribly comfortable, and have a lower real capacity in practice than you might expect. They have a typical nominal seating capacity of 16-17 plus the driver and guide, but 4 seats are over the wheel arches with zero legroom, the back seat bounces so much that it suits only the hardiest, and there’s zero internal baggage space (suitcases are typically transported between hotels in an independent vehicle). Assume a maximum of 12 usable seats for longer journeys, in addition to the driver and guide.

Food is essentially Indo-Chinese buffets, mainly vegetarian with some chicken, although in the east you might also get a pork or beef dish. (I wrote most of this post at Doha airport, and I have never seen so many people queueing for a hamburger, in a Muslim country!… :))

The primary calorie source is uniformly boiled rice, although there is usually a secondary form such as potatoes, pasta or bread. Those catering more directly for tourists try and keep the main dishes fairly bland, with the chilli and garlic in separate dishes, but you can be caught out. One of the nastiest surprises of the trip for me was something called "cauliflower cheese", but about the strength and flavour of industrial defoliant!

The information I received about the weather was, essentially, lies. We had wonderful weather, dipping to around freezing most nights but between high teens and high twenties once the sun came up every day. We felt a couple of drops of rain once, and the mornings in Punakha started with a bit of mist, but otherwise we had zero precipitation. I had to carry a long-sleeved top or jacket for religious observation at the temples and Dzongs, but otherwise I could have operated entirely in T-shirts on all but two days. The waterproof, weatherproof tops, trousers, gloves etc. were completely unused.

Were we unusually lucky? It’s difficult to say, as this was the first time in Bhutan for all westerners in our party. However the fact that every other rooftop is covered with drying chillies, and the winter firewood is stacked in the open suggests that the Bhutanese are not expecting storms either.

This was my second trip (and the first for seven years) with Phil Malpas and Clive Minnitt of Light and Land. They continue to be great tour leaders: sensitive to the needs of their clients, well organised, and great fun to be with. As usual Light and Land partnered with a local tour provider (essential in Bhutan). Etho Metho provided a very good, supportive and knowledgeable guide in Yeshi, and I continue to be amazed by the accuracy and endurance of Chorten’s driving. Overall, a highly effective team.

So as a trip it worked well. Next: technology!

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Oh Well…

Self-explanatory
Camera: Panasonic DMC-GX8 | Date: 24-11-2015 09:56 | Resolution: 5085 x 3390 | ISO: 400 | Exp. bias: -66/100 EV | Exp. Time: 1/125s | Aperture: 9.0 | Focal Length: 23.0mm | Lens: LUMIX G VARIO 12-35/F2.8

You’d think that with tens of thousands of pounds worth of equipment, umpteen years of experience and an undying dedication to their art, 12 other photographers could take a nice picture of me. However, this was the handicraft of a passing Australian hiker who wasn’t even sure which button to press on my camera. Oh well…

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In Close

Agricultural detail, Punakha
Camera: Panasonic DMC-GX8 | Date: 17-11-2015 13:37 | Resolution: 3888 x 3888 | ISO: 200 | Exp. bias: -33/100 EV | Exp. Time: 1/320s | Aperture: 8.0 | Focal Length: 150.0mm | Lens: LUMIX G VARIO 100-300/F4.0-5.6

I’ve discovered that I’m tending to go to extremes with my lenses on this trip. The shot in the previous post used the 12-35mm at 12mm. This shot was taken down into the Punakha valley from above, using the 100-300mm at 300mm. It’s not bad when consumer camera technology allows you to count blades of grass at about a mile!

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The Tail End

In the Smithsonian
Camera: Panasonic DMC-GX7 | Date: 06-10-2014 12:11 | Resolution: 4475 x 3356 | ISO: 250 | Exp. bias: -66/100 EV | Exp. Time: 1/60s | Aperture: 6.3 | Focal Length: 28.0mm | State/Province: Washington, D.C. | See map | Lens: LUMIX G VARIO 12-35/F2.8

Day 16

A much better night’s sleep. Washingtonians obviously follow the "Saturday Night’s Alright For Fighting" rule, and cause less trouble on other nights. I’ve also developed a hybrid bath towel and pillow scheme which fares rather better in the head supporting department. Frances resorts to cotton wool in the ears.

Breakfast is taken at a rather unique institution across the road from our hotel, which appears to be a 24 hour political bookshop and cafe. I suppose if such is going to exist anywhere in the world, an area which houses many young people associated with the US administration is a good bet, but we certainly haven’t seen one before.

First stop after breakfast is the obligatory shot of the White House. Today there is almost no visible security activity and we are among a total of about 6 people at the fence. Much easier.

The bulk of the day is spent exploring the National Space and Flight Museum. It’s great seeing such iconic vehicles as the actual Apollo 11 command module, and we get the weight off our feet with a couple of excellent Imax films about astronomy.

We then pop over the road to the Museum of the Native American. This is rather less inspiring, reminding us of some rather less impressive American behaviour, but still interesting.

We finish up back at the bookshop. Oh well…

Day 17

Last day. Sniff…

First order of business is a tour of The Pentagon. This is mainly walking around a very large office building sandwiched between two very smartly dressed military men. In our case the lead is a young sailor who swears he’s over 6ft tall but we’re not convinced. However he certainly has the trick of walking backwards for an hour spouting a string of interesting nuggets and funny stories about the American military and their history.

For the afternoon we go to the Newseum, a museum dedicated to the news media. This substantial establishment deals with all aspects of the news media, including the history, ethics, risks and challenges of getting news to the people over the years. Historic papers go back to the 1500s. Static displays include items such as the antenna from the top of one of the Twin Towers, then used by all the New York media. More interactive displays include a fascinating quiz on how to handle the most challenging ethical publishing dilemmas. I even manage to buy a singlet with the slogan "Exercisin’ my right to bare arms"! Although squeezed into a few hours at the end, this is in some ways one of the highlights of our visit to Washington.

Our journey back takes in the third Washington airport at Baltimore, and uses train, plane, automobile and bus. However everything goes smoothly, and we’re home ahead of schedule.

What Worked And What Didn’t

This was my first trip with just the Panasonic cameras, and they appear to be an excellent solution. The GH4 combined with the two f/2.8 zooms is a first class kit which handles pretty well, although I’m still getting used to some of the button positioning, and I don’t have to worry about the odd bump or drop of rain. However it matches 2.5kg of Canon or Nikon kit while weighing less than a 550D and single lens. Around town I switch to the GX7 and the power zooms which lose little in capability and are so light I have to occasionally check they are still there.

The infrared-converted Panasonic GF3 seems to have produced some very interesting results from the rising clouds and running water of the Smoky Mountains, and the main cameras continue to surprise and delight in unexpected ways. It looks like the GH4 is designed to hunt for focus through each "plane" of a scene in turn, so if you just hold the camera steady and keep refocusing you should be able to capture all the shots required for focus blending. We’ll see how well this has worked in practice.

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Morocco Portfolio Uploaded

1113 7D 5736
Photographer: Andrew Johnston | Camera: Canon EOS 7D | Date: 17-11-2013 15:32 | Resolution: 5184 x 2916 | ISO: 800 | Exp. Time: 1/400s | Aperture: 8.0 | Focal Length: 29.0mm (~47.0mm) | Latitude: N 31°6'43.40" | Longitude: W 3°59'14.09" | Altitude: 771 metres | See map | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

I’ve just finished processing my shots from Morocco, and have uploaded the portfolio to my album. In addition, there are several new panoramas you should notice at the top of my web pages. Take a look at www.andrewj.com/album/Morocco

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Panasonic GX8 – First Impressions

Around Cobham - in-camera JPG from the new Panasonic GX8
Camera: Panasonic DMC-GX8 | Date: 21-08-2015 15:37 | Resolution: 5184 x 3456 | ISO: 200 | Exp. bias: -33/100 EV | Exp. Time: 1/500s | Aperture: 5.6 | Focal Length: 26.0mm (~54.0mm) | Lens: LUMIX G VARIO 12-35/F2.8

 

I was asked the other day what I think of the Panasonic GX8. As I predicted here, it’s absolutely the right size: sit it on the desk next to the GX7 in its half-leather case, which is how I always use it, and they are exactly the same size to within a mm or two. It just feels right in my hands.

Otherwise it feels very much like a cross between the GX7’s neat rangefinder ergonomics and the GH4’s speed and weather protection, pretty much just as requested. There are a couple of minor annoyances:

  • I’m peeved that the battery is a different model to the GX7 (and the various other Panasonic cameras I own). Apparently shared with the G7 in the current line-up, it looks suspiciously like the one from my old GH2. So bang goes the aspiration of travelling with just one battery type and charger… That said, it does seem to offer much better life, so there are pros and cons.
  • Moving the "rear dial" from the edge of the top panel (like the GH models) to the top of the panel will take a little getting used to, but I suspect that will feel second nature fairly quickly.
  • Panasonic have gone down the GH4 route of putting the focus mode on a physical switch. I broadly understand why, as if this is set wrong it can easily trip you up in a very confusing way, but the counterpoint is that I can no longer set focus mode associated with custom settings, but will have to manually adjust separately. On balance, I prefer a button/menu.
  • The loss of the flash is a minor annoyance, but realistically I almost never use one any longer as I prefer to just "take pictures in the dark" using the remarkable high ISO capability of the new cameras. If previous patterns are borne out, I expect ISO 6400 to be fully usable.

It’s too early to judge image quality, as there’s no Capture One support yet, but the in-camera JPGs are pretty impressive.

Watch this space.

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Man at Work

Metalworker in the Marrakech Medina
Camera: Panasonic DMC-GX7 | Date: 11-11-2013 15:15 | Resolution: 3070 x 4093 | ISO: 1600 | Exp. bias: -1 EV | Exp. Time: 1/15s | Aperture: 8.0 | Focal Length: 38.0mm | Location: Museum of Marrakech | See map | Lens: LUMIX G VARIO PZ 14-42/F3.5-5.6

Another low-contrast shot from the Marrakech Medina, which didn’t look promising out of the camera, but I think works well after processing. This was at a much shorter range than the "bread" shot of last week’s post, but the cloud of dust and sparks from the active grinding wheel had much the same effect. I turned Capture One’s clarity slider up almost to maximum to try and cut through the haze a bit, with an almost "painterly" result. I think it works…

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More Multishot Techniques, and Going 3D

The single shot version of median blending - central gallery of the Natural History Museum on a busy afternoon!
Camera: Panasonic DMC-GH4 | Date: 05-09-2014 16:37 | Resolution: 4608 x 3456 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 15.0s | Aperture: 11.0 | Focal Length: 12.0mm | Location: V&A Museum | State/Province: England | See map | Lens: LUMIX G VARIO 12-35/F2.8

I have been using multiple shot techniques almost as long as I have been interested in photography. My earliest stitched panoramas were in the days when you got a spare set of prints and took out the razor blade and sellotape. I also have a rather nice picture of Frances using the "soft focus" double exposure setting of the Canon AE1.

However things really got going when I moved to digital. For several years I have done stitched panoramas and HDR. I have also experimented with focus blending to generate images with infinite depth of field, although I haven’t yet got my technique quite right to get the best results. All of these are well-established, well-supported techniques with good support in terms of both documentation and software.

The digital community moves on, and new techniques and capabilities are appearing. The new Olympus OMD cameras support an in-camera multi-shot technique to build ultra-high definition files. Another new technique which has caught my eye is the idea of "median blending": take a large number of pictures of a scene with annoying moving objects, such as other tourists 🙂 and then blend them together to find the median colour at each point. As long as you have enough pictures in the stack that there are several "clear" at each point, all the annoying moving objectsTM magically disappear. The only problems with this are that it really can’t be done hand-held unless you are very steady, and the only really effective software support is in the full version of PhotoShop, which I’m loathe to invest in. Other software options are on the way, and I can then see this becoming a regular part of the toolkit.

In the meantime, I’ll continue occasional use of the original single-shot version of this process. Take a long enough exposure of a scene with annoying moving objectsTM and most of the annoying moving objectsTM disappear of their own accord, or become faint ghosts at worst.

In the last week, I’ve identified another multishot technique which may get a significant workout. We’re both fans of 3D films. In Paris, we saw an exhibition of Jacques Lartigues’ photography, which included some of his stereographic images. What the gallery had done is to scan these, and convert the slideshow to a short 3D film which could be viewed with standard cinema 3D glasses, and it got me thinking…

I now own a 50", 4K, 3D display. It’s called my television. We had already concluded that slideshows on the TV are the best way to show my photographs to Frances and visitors. The "lights on" moment was to question whether I could generate my own 3D images and display those in the same way. It turns out that this is perfectly possible, but surprisingly poorly documented on the interweb.

Option 1 – The Panasonic 3D Lens

This is easy. Micro four-thirds cameras can use a special lens from Panasonic. It’s not very expensive, and not much bigger than a lens cap. Put it on, and the camera goes into 3D mode, and creates special image files in the .MPO format. Put these on a memory stick and view them on the TV, the TV goes into 3D mode, you put on the glasses, and voila!, 3D images.

That’s the good news. The bad news is that the implementation’s a bit limited. First the lens is fixed focal length, fixed focus, fixed aperture. The focal length is 68mm-e, on the telephoto side of normal and not a length I’d often use for static subjects. The other significant limitation is that like most in-camera implementations of HDR, panoramas and so on, you just get a "pre-baked" .MPO and .JPG file, with no RAW. You have to get all the image characteristics right first time in camera, and there are some restrictions on what you can do in any case. Worse, the output is an odd 1024×1824 resolution, which isn’t even enough to fill a full HD display, let alone 4K.

It’s a useful trick to have, especially for moving subjects, and as the lens is tiny I’ll carry it around, but the conclusion is "not good enough".

Option 2 – Blending Two Images

There’s an obvious alternative, at least in principle. Take a shot, move the camera right about 6cm, and take another of the same scene. Then somehow "merge" them into an MPO file, similar to a stitched panorama.

The challenge is that it takes a lot of googling to find some software capable of doing the merge. Eventually I tracked down the brilliant little program StereoPhotoMaker ("little" is right – it’s a single 2MB executable file). It does what it says on the tin – takes a pair of images, aligns them, and saves the result to various 3D formats, including my target .MPO file. Amazingly for such a small program it’s not just limited to that, and includes a number of clever adjustment and file management features, although realistically in a RAW-based workflow you are going to do most of the image adjustment and management externally.

The great thing is that this process isn’t limited in the same way as Option 1. It works with any lens, any settings, and takes the full resolution JPGs produced after anything Capture One can do, so the resulting images are more than capable of driving the 4K TV to its full capability. Like stitched panoramas, if you’re working on a tripod there’s no theoretical reason why you can’t combine it with other multishot techniques, so you could in theory produce a 3D focus blended HDR with annoying moving objectsTM automatically removed, although that would take a bit of discipline and patience to get the right shot list :).

The only real drawback is the one common to most multishot techniques – it really requires a static scene, unless you are going to manage the moving objects via either median blending or very long exposures.

There are a few annoyances to resolve, like why my TV can see the files on a memory stick but not over the network, but I’ll get there…

This is simple, easy and requires no special equipment or technique change. All I need to do is remember to take a second shot of any suitable scene, and this approach could produce some great results.

Option 3 – Two Cameras?

Stereographic imaging has been around for about 150 years. For most of that time photographers used a simple technique which works with any subject, static or not, and doesn’t rely on clever digital manipulation. Stick two cameras side by side, and take two shots simultaneously.

Although traditionally this is done with two identical cheap cameras, I’m not convinced that’s essential. The cameras do need to use the same sensor, and the same lens, but as I have two copies of the excellent, featherweight Panasonic 12-42mm power zoom and a growing collection of Panasonic bodies that shouldn’t be a challenge. Knocking up a suitable bracket should also be fairly straightforward. In my loft I have a device which might provide a very useful basis for this – a "pistol grip" camera mount which includes a trigger for the remote release – and it might be appropriate to use standard tripod quick-release plates to speed assembly and disassembly. With the Panasonic remote release system based on standard 2.5mm jack plugs the wiring should also be fairly straightforward.

The challenge is to make sure that both cameras and both lenses are set identically. There’s obviously a simple manual process for this, but it’s potentially a bit of a faff. However I’m wondering if the Panasonics’ ability to be controlled over Wifi from a phone is the answer – develop a bit of software which reads the settings from the "master" camera and applies them to the "slave". That’s maybe a bit more work, but worth investigating.

I’m torn as to whether this is worth the effort, and the extra weight to carry, or not. I have a bit of a history of spending time and effort to do something complicated, and then not using it very much. Watch this space…

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It’s Not Just What You Do With It, Size IS Important

Sextant statue in front of the Liver Building, Liverpool
Camera: Panasonic DMC-GM5 | Date: 22-07-2015 19:41 | Resolution: 3423 x 4564 | ISO: 200 | Exp. bias: 0 EV | Exp. Time: 1/800s | Aperture: 5.6 | Focal Length: 14.0mm | Lens: LUMIX G VARIO PZ 14-42/F3.5-5.6

On paper, the Panasonic GM5 should be an ideal "carry around" camera for me. The same sensor and processor as the excellent GX7 and GH4 in a neat pocket-sized packaged. A proper electronic viewfinder. Access to all the Micro Four Thirds lenses. Panasonic’s engineers have even been cunning beyond the normal behaviour of camera manufacturers and although it has a different battery to its larger brethren, it uses exactly the same charger. I’d managed to get a couple of minutes "hands on" in a shop and was reasonably impressed.

Last week, driven to Amazon by their remarkably "rubbish but effective" Prime Day pseudo-sale, I bit the bullet and ordered one, in a cheerful red. The general capability and image quality, as evidenced above, is all I expected. However, after a few days in my hands it’s going to go back. The reason – size. Like all disappointing love stories, it’s complicated…

It’s Too Large…

Although the GM5 body is tiny, not much larger than a Canon Powershot S series, put a lens, any lens, on the front, and it becomes too large to put in your trouser pocket, and too large to comfortably travel in my computer bag the whole time. In addition, I really need two lenses to cover a decent zoom range. The Panasonic 14-42mm and 45-175mm power zooms are both tiny, but together they make it into a package which demands a camera bag, in reality no different to using a next size up body.

… But It’s Too Small

In use, the camera is remarkably fiddly. I could live with the small buttons, but their legends and markings have also been scaled down, to a point which is almost invisible to me when I’m wearing my glasses. Also the smaller body puts my hands much closer to the lens and viewfinder in use, and I find that with the camera to my eye my hands are fouling my glasses.

Even wearing the smallest lens I own (the 14-42 PZ), there’s a bad case of "lens too big for the camera", and it won’t even sit flat on the desk. More of an issue, there’s no easy way to carry it in the hand, except gripping right round the body or lens, which makes it difficult to raise to the eye for a quick shot without having to use both hands.

For me, however, the killer is the tiny EVF. Impressive in the shop, in real use out and about, wearing my glasses, it’s almost unusable. The effective view size is tiny, and despite several attempts at adjustment I couldn’t get the view sharp with my glasses. You get, at best, a sense of what’s in shot, rather than being able to scan the picture for meaningful details. (Ideally I would have avoided the sextant statue "fouling" the statue of Edward VII on his horse in the above shot, but I just couldn’t see that detail.) If I can’t use the EVF I’d rather have a camera with a size larger rear screen, to give me some chance of being able to use it with glasses on, and in varying ambient light conditions.

So much though I wanted to like this camera, It isn’t for me. Sometimes engineers can shoot for a compromise between two opposing targets and pull off a remarkable double. My delightfully schizophrenic Mercedes Cabrio is a case in point. Sometimes, however, you end up with the worst of both worlds, and that’s what’s happened here.

Just Right?

Ironically, the day I ordered the GM5, Panasonic announced the follow-up model to my much-loved GX7, unsurprisingly named the GX8. The improvements in pixel count, functionality and weather protection are all almost uniformly welcomed, but there’s been some criticism of the fact that the GX8 is a bit bigger than its predecessor, by about 5mm in height and depth, 10mm in width, and 75g in weight.

Now I love my GX7. It’s my favourite camera of the many I’ve owned. But it’s never been out of the house except wearing the bottom half of the "ever ready case" Panasonic supplied with it. This improves its fit to my hand no end. By my estimate, the ERC adds about 5mm to the height and depth, and about 10mm to the width, and weighs somewhere between 25 and 50g. It sounds like the GX8 is spot on!

I wait with baited breath…

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Crash, Bang, Wallop, What a Picture

Fireworks Through the Liverpool Eye
Camera: Canon PowerShot S120 | Date: 13-07-2015 23:31 | Resolution: 3920 x 2940 | ISO: 80 | Exp. bias: 0 EV | Exp. Time: 10.0s | Aperture: 6.3 | Focal Length: 5.2mm | Caption: Fireworks Through the Liverpool Eye

I was literally just about to get into bed in my hotel in Liverpool last night, when the air was rent with loud explosions. Fortunately nothing sinister – just fireworks giving a cruise ship a good send-off on her voyage. My hotel room was very well positioned to watch the show, with the fireworks and the ship visible through Liverpool’s "Big Wheel".

I did have my little Canon S120 in my bag, and couldn’t resist trying to capture the scene. I had a minor panic as I ran round the hotel room and rummaged through my bag trying to find something on which to rest the camera – good fireworks photos need exposures of 10s or longer. In the end I think this one was taken with the camera propped up on the TV remote control. Not ideal, but a reasonable success given the circumstances…

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Dark Shadows

Rock formation in the Dades Gorge, Morocco
Camera: Panasonic DMC-GX7 | Date: 15-11-2013 16:30 | Resolution: 4594 x 2871 | ISO: 1600 | Exp. bias: 0 EV | Exp. Time: 1/320s | Aperture: 8.0 | Focal Length: 175.0mm | See map | Lens: LUMIX G VARIO PZ 45-175/F4.0-5.6

I’m finally getting around to processing the remaining shots from my Morocco trip in 2013!

I had parked a number of shots from the Dades Gorge, because we were shooting almost into the setting sun, and they were either hazy, or very low in contrast and the in-camera JPEGs look almost "blown out". However it was right to hold these back until I could exert the full capability of Capture One on the RAW files. Here is one where to get the best effect I’ve really had to deepen the shadows, but I think it works, bringing out not only the shapes of the rocks, but also their shadows on one another.

Let me know what you think.

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