Quick update on the support position for the Panasonic GX7. Phase One won’t commit themselves on Capture One support. It looks like the DNG converter is the best Adobe are going to do. I also haven’t yet managed to track down updates for some utilities like ExifTool, although they may exist.
Then last night as an idle thought I tried the RAW processing app I have on my Galaxy Note tablet, PhotoMate. It worked first time with the GX7 images! Nice.
The majority of my camera purchases have been somewhat “behind the curve”, to the extent that I’ve purchased some just before the announcement of their replacement. However for my latest purchase I’ve gone right to the other end of the spectrum.
I placed my order for the Panasonic GX7 the day it was announced, and have been waiting only moderately patiently for it to turn up, which finally happened on Friday. Why? I think mainly because I have been suffering “new gadget withdrawal”, especially after the disappointment of my Olympus TG2 in April, and the lack of anything appealing from Canon.
It will now be interesting to see how long I have to wait for effective software support. Neither Capture One nor Adobe Camera Raw support it yet. The camera comes with a copy of the ghastly SilkyPix, but personally I’d rather have my teeth drilled. Fortunately Adobe have released some support via their DNG converter, and the in camera JPEGs are pretty good, so if I do get any really wonderful shots in the next month or so I’m not completely stuck.
First impressions? It’s very small, a definite size down from the GH2. I hold my larger cameras gripped firmly by the right hand with the left for additional support and zooming. The GH2 is a bit small for this, but it just about works. However the GX7 is too small altogether, and in addition the lug for the strap pokes out in just the wrong place to dig into the soft part of my hand. I hold the diminutive Canon S95 pinched between thumb and forefinger of my right hand for shooting, with the middle finger of the right hand providing bracing and operating the zoom. The GX7 is a bit big for this, but it may be the right approach, especially when I can work two handed. I’ll have to experiment.
Otherwise all the controls fall to hand and work quite intuitively – the provision of a front control wheel allowing the rear one to be dedicated to exposure adjustment suits my shooting style well and is a dramatic improvement over the GH2.
Based on early reviews I expected the viewfinder to be both larger and clearer than the GH2. I can’t see any real size difference, and it’s still a notch down from a large DSLR like the Canon 7D, but it is almost as clear as a good OVF. Another definite improvement.
Dislikes? Another bloody proprietary USB connector, and it’s different to the GH2. This just gets worse, and any designer who thinks it might be vaguely acceptable should be taken out and shot. This one is so unique that I can’t currently source a spare cable anywhere obvious! However, as it is compatible with the also-new LF1, I hope that it does at least represent the new standard for Panasonic…
Auto ISO is a bit surprising, defaulting rapidly to ISO 6400. It remains to be seen whether this can be justified by the quality of the raw files at that level – the JPEGs are OK, but maybe not as good as I hoped. — CORRECTION — I’ve just had a look at some of the in-camera JPEGs on the PC, and at ISO 3200 they are superb, at ISO 6400 they are really perfectly usable for anything short of fine art, and I would not be ashamed of the ISO 25600 results for an important “memory shot”. It remains to be seen what can be done with the RAW files, but so far, so good.
It looks like the GX7 shares one of the GH2’s failings – the apparent quality when reviewing images in camera is very misleading, and usually pessimistic, something my Canon’s don’t suffer from.
Overall a promising start. I’ll keep you posted.
| Angel Peak, New Mexico. HDR panorama from 15 originals. | |
| Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 04-10-2012 18:48 | Resolution: 5184 x 3456 | ISO: 800 | Exp. bias: -4 EV | Exp. Time: 1/320s | Aperture: 10.0 | Focal Length: 28.0mm (~45.4mm) | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM | |
I’ve been catching up with some of the outstanding shots from our USA trip in 2012. One of the most successful days of the whole trip in photographic terms started in the fascinating Bisti Badlands, and ended on a short rim drive opposite Angel Peak. The scenery there would be stunning in many conditions, but we were treated to a dramatic sunset, with the sky on fire in certain directions.
Unfortunately, however, the best sky colour was opposite to the most dramatic scenery, which raised a dilemma about what to capture, and how. Most of the shots of the sunset itself are very nice, but have a relatively boring foreground. I’ve ended up favouring a couple of compromises.
The top shot is composed from 15 original frames, processed first in Capture One, then converted in Photomatix to 5 HDR images which were in turn stitched together in Pano Tools Assembler. The dynamic range across the scene was very high, and unfortunately the most interesting areas of the scene, the sunset and Angel Peak itself, are quite widely separated with the intermediate area somewhat less interesting. Although I’ve gone for a fairly “natural” look I’m not sure it doesn’t still look a bit “processed”.
The other compromise is a more traditional one. I call the image below “Tree on Fire”. It’s lit by the setting sun, but there’s not much colour in the sky. My first attempt at this, immediately after the trip, wasn’t very satisfactory as I ended up with a very oversaturated image which had insufficient detail and areas of blank colour. Re-processing in Capture One with its excellent highlight recovery I’ve managed to keep the deep red colour but get the detail of the tree back. A tighter crop than my first go has also improved matters. I’m now quite fond of this one.
Let me know what you think.
I am trying to work out what to make of the announcement of Canon’s new 70D. For those of you who haven’t caught up yet, Canon have finally, after four years, upgraded their APS-C sensor technology, yesterday announcing their new “prosumer” model. This will have a 20.2 MP sensor, whose main achievement is innovative autofocus technology in live view or movie mode.
In optical viewfinder mode the camera will fall back to an autofocus scheme based on (but slightly downgraded from) the 7D, and the announcements have been oddly quiet on the topics of image quality and dynamic range, arguably weak spots of the current 18MP sensors.
Now part of me says that any improvement is welcome. I had started mentally drafting a blog post worrying about whether Canon had effectively abandoned the middle ground – at least I don’t have to complete that. I had been waiting for a real upgrade to my 7D and 550D for so long I almost ordered the new camera as a reflex action. And the combination of a feature set similar to the 7D in a smaller and lighter chassis might hit a sweet spot for me in practical terms.
But apart from being lighter and newer, I’m not convinced the camera has anything to offer me. In terms of feature set, it’s still definitely a downgrade from the 7D, and a poor successor to the 40D and 50D. The new autofocus will probably be brilliant for video, but of limited value in the types of photography for which I use the 7D.
I don’t do much video, and on the rare occasion that I might my tool of choice is probably the Panasonic GH2. I do use Live View, but only really to extend my reach (e.g. shooting over crowds), for “sneaky shots” and the occasional tricky manual focus task. 90% or more of my 7D shots are through the viewfinder, ensuring visibility in all lights, and stability down to very low shutter speeds. I suspect the vast majority of stills photographers using Canon DSLRs are similar.
The new generation of Canon cameras may therefore be at best a “stopgap” upgrade, particularly if image quality is no better than now. However, I’m not completely despondent. I think the camera is actually something else altogether – it’s actually a “stepping stone” to something completely different.
Canon have “form” in this area. The 50D was a similar “stepping stone” between the excellent but relatively low-res 40D and the 7D/60D (high resolution, split by functionality). The 70D looks suspiciously like enabling technology for a whole new generation of Canon cameras.
The cameras I think, and really hope, will emerge will look like this:
It’s important that the “full size” version is “full functionality” with dual axis level, multiple custom settings, built-in GPS etc. (7D replacement). If necessary for marketing purposes there can be a “reduced functionality” version like the 60D as well.
In other words, I’m now really waiting for something which looks like an APS-C, EF-S mount GH2/OMD. If they’d announced that yesterday I would have bought it sight unseen.
| 0811 7D 6859 | |
| Camera: Canon EOS 7D | Date: 21-08-2011 16:56 | ISO: 200 | Exp. Time: 1/160s | Aperture: 10.0 | Focal Length: 28.0mm (~45.4mm) | Latitude: N 64°19'34.82" | Longitude: W 20°7'28.19" | Altitude: 218 metres | Location: Gullfoss | See map | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM | |
I’ve finally posted my complete album from the 2011 Iceland Trip! Please look inside and let me know what you think…
| Waterfalls at Veldivnathraun, Iceland | |
| Camera: Canon PowerShot S95 | Date: 24-08-2011 19:02 | Resolution: 3648 x 2736 | ISO: 200 | Exp. bias: -1/3 EV | Exp. Time: 1/1000s | Aperture: 3.2 | Focal Length: 10.7mm | Location: Hrafntinnuhraun | State/Province: South | See map | Lens: Canon EF-S 10-22mm f/3.5-4.5 USM | |
I’ve just finished processing the photographs from my 2011 trip to Iceland! I’ll get the best up on my site over the next week or so. At least I’ve avoided the second anniversary of the trip…
There was a wonderful little twist in the tail. I was processing the last few shots, most of which were taken on my Canon 7D, and the very last were a couple of shots taken walking away from one of our locations, when the sun suddenly hit the waterfalls just right. I assumed that these were also from the 7D, but the filename and data tell a different story. These were taken on my diminutive Canon S95. Not bad, huh?
| Fisherman casting net on Gibb's Beach, Barbados. Developed with Capture One 7 | |
| Camera: Canon EOS 40D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 23-04-2008 21:58 | Resolution: 3233 x 2155 | ISO: 200 | Exp. bias: -2 EV | Exp. Time: 1/40s | Aperture: 20.0 | Focal Length: 17.0mm (~27.6mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM | |
Following on from the last post, I thought I’d pop up an example to highlight the improvements possible through just the right choice and use of software. The picture above was taken back in 2008, on my old Canon 40D. As soon as I’d taken it I knew that I had a great latent image, but the very high dynamic range was a real struggle. The original in-camera JPEG is long gone, but the following version with no adjustments shows the problem: the sun and its reflections are completely blown out, and the automatic metering has substantially under-exposed the darker parts of the scene:
My original development using Bibble 4 was a partial success. I could recover some of the colour in the sky (although obviously not the sun itself), and I could reveal some of the shadow detail, although the fisherman himself was never much more than a very dark silhouette. However, this was at the cost of substantial colour noise in the mid-tones, such as the breaking waves, and some very odd banding around the sun:
Onscreen this image works fairly well, but I could never get a satisfactory print, and it was rejected for stock use because as a thumbnail it just looks like a dark splodge. Successive versions of Bibble didn’t do much better, so much so that I’ve kept the Bibble 4 version as the best compromise.
Enter Capture One, and with relatively little effort I get the results shown at the top. I much prefer this version: you can see some detail even in the darkest area of the fisherman’s body, and the overall feel is not so markedly “low key”. There’s also very little noise. I haven’t tried printing it yet, but I suspect there won’t be many problems.
Oddly when I showed these to Frances she still preferred the Bibble version, because she felt it portrayed the mood better. However, I’m definitely going for the Capture One version. Which do you prefer?
| Eric Clapton at the Royal Albert Hall - May 2013 | |
| Camera: Canon PowerShot S95 | Date: 17-05-2013 21:55 | Resolution: 2498 x 1405 | ISO: 800 | Exp. bias: 0 EV | Exp. Time: 1/50s | Aperture: 4.9 | Focal Length: 22.5mm | Lens: Canon EF-S 10-22mm f/3.5-4.5 USM | |
We live, as some of you might have noticed, in a digital age. The displacement of older technologies by digital versions has been accompanied and largely enabled by rapid, substantial advances in technology. Yet a couple of recent experiences suggest to me that we may be reaching a point in many areas where further hardware change is of less importance than improvements to the supporting software.
This has most clearly been brought home to me in respect of cameras. My older, larger, cameras and lenses work by delivering high quality optics coupled with relatively straightforward processing of the captured image from the sensor. The newer, smaller cameras make some dramatic compromises on optical accuracy, and then correct the errors in software. This works surprisingly well, but introduces the challenge that if you want to shoot in RAW format and develop the shots yourself, you need RAW processing software capable of reproducing the same, or better, corrections.
That’s been a problem for me, as the software I was using (the former Bibble, now Aftershot Pro) didn’t have adequate support for my new Panasonic GH2 and its diminutive lenses. Also new owners Corel seem to be determined to kill the software through negligence, which makes the prospect of improvements unlikely. (That’s another story, to follow…)
This week I got a bit disheartened, fearing that I was becoming “locked out” of both new cameras and fully developing my work with the GH2, and finally bit the bullet. I didn’t buy a new camera, I started evaluating alternative RAW processors. After a couple of false starts I have settled on Capture One from Phase One. The results so far are very promising: it not only corrects the distortions of my Micro Four Thirds lenses, but it delivers silky smooth output from my larger Canons at ISO 3200, and does a remarkable job of highlight recovery. The shot above was taken at ISO 800 from the back of the Royal Albert Hall with my tiny Canon S95. (BTW, Eric Clapton was excellent!)
But the big surprise has been applying Capture One to some of my older images. The following was taken on our 2007 visit to the Southwest USA, using my original Canon 350D. I was never really happy with the Bibble version, which struggled both to recover the blown highlights and to pull some usable shadow detail without excessive noise. The difference using Capture One is dramatic. It’s almost like revisiting the scene with a new camera.
Getting back to the original topic of this post, I’ve also seen the same software-led effect elsewhere. Support for a proper stylus aside, there’s not much in hardware terms between an iPad and my 10″ Galaxy Note, and some might prefer the Apple hardware. However the dramatic differences in software capabilities are a real differentiator. (See my various reports for details.)
I don’t want to belittle the impressive work of digital hardware engineers, and we’ll continue to take the benefits of further advances, but we need to recognise that the efforts of frequently unsung software engineers may be just as, or sometimes even more key to the hardware’s exploitation.
There’s a salutory lesson here about not jumping to premature conclusions. Based on my first impressions of this camera I had mentally started drafting a review based on praising the hardware, but with some criticism of the software and firmware. I even had a great tag line: “A camera for adventurers who want a few pictures, rather than photographers who want adventures”. That was before the snorkelling trip…
For many years now if there’s been the prospect of either snorkelling or diving on holiday I’ve taken a Canon PowerShot S-series or G-series camera with its waterproof housing. I’ve had at least three generations of that solution, which have been utterly reliable and produced some good results. However they are a bulky solution in these days of reducing baggage allowances, and somewhat slow and clumsy in operation.
This year, therefore, I decided to try a different solution, and opted after some deliberation for one of the new “ultra tough compacts”. While Canon and Panasonic both have a comparable solution, after some deliberation I went for the Olympus TG2, based on a combination of its looks and spec.
This is supposedly a very tough piece of kit – waterproof to 15m, drop-proof to 2m, crush-proof to 100kg and with a large operating temperature range. The downside is that this is a market where the competition is intense but based on point for point feature matching, with a focus on improving things like nominal depth protection rather than the photographic features.
That meant that even before use in anger there were some compromises: none of the cameras in this class do RAW, even though Canon, for example, support this fully on their smaller high-end compacts like the S95. to make things worse the TG2 also lacks many of the some other fundamental tools to control exposure such as automatic bracketing (despite a very high frame rate which would support it well), or shutter priority.
The lack of these features is a complete mystery to me, when these cameras are allegedly designed to be used in conditions where the lighting as well as the environment will be challenging…
Early trials did suggested that the camera does have accurate, fast autofocus (which was something I particularly wanted), and makes a decent job of auto exposure in most cases. Picture quality is OK, but the noise levels rise rapidly at ISO 800 and above, the JPEGs have a somewhat “overprocessed” look, and there’s some noticeable pincushion distortion on underwater shots, even at medium zoom. These are presumably all the result of the tiny sensor, which is significantly smaller than in compacts like the Canon S95.
So, off to Barbados and into the water with the turtles. One immediate observation was that the display is very difficult to use at snorkelling depths (where there may be quite a lot of ambient light from above/behind you), and the tiny font becomes illegible for a user like me with ageing eyes. A “high contrast” option on the display, and a large-font “quick menu” option (like on all my Canon and Panasonic cameras) would be useful.
However, a few minutes into the snorkelling session I noticed a much more serious problem: the camera kept on switching itself off, and the battery level was dropping almost as I watched. I managed to snatch a couple of shots, but the camera was really misbehaving, and I had to give up.
Back on the boat the problem was immediately apparent – the camera had sprung a leak presumably through the cover for the USB port, as that had evidence of water inside it. However, instead of being limited just to the port section, the water had spread rapidly through the camera with the result that the lens was misting up and the electrical problems were getting rapidly worse. Although I tried drying the camera out and recharging it, it’s now completely dead. Fortunately I had invested in a waterproof SD card, so I managed to rescue a few decent shots, but otherwise it’s a write-off.
This is an extremely poor design. As you have to charge the battery in camera (using the proprietary USB cable – another peeve), there’s no option of just sealing the camera for a complete trip. You would also think that the camera would have some measure of “double sealing” so that in the event of a leak into the port or battery/card openings the water wouldn’t permeate quickly into the rest of the electronics, but this is clearly not the case.
This camera is completely inadequate for its intended use. Fortunately my suppliers (the excellent Wex Photographic) have promised me a full refund. I will not be spending it on Olympus equipment.
| Gullfoss, Iceland, up close and personal | |
| Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 23-08-2011 11:02 | ISO: 100 | Exp. bias: 1 EV | Exp. Time: 1/100s | Aperture: 5.6 | Focal Length: 85.0mm (~137.7mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM | |
I’m afraid I don’t subscribe to the received wisdom that waterfalls should be photographed with long exposures which capture the flow as a sort of silky mush. That might work for gentle trickles in dappled glades, but if you’re looking at something like Iceland’s mighty Gullfoss you (or at least I) want to somehow capture the power of the flow. However, just setting a fast shutter speed, pointing the camera straight on and freezing the motion doesn’t always work either.
I took around 100 shots around Gullfoss. I’m only really happy with a handfull, but yesterday I discovered this one which I think really works. Although I’ve labelled it “up close and personal” it was actually taken from further away than some of the others, but I like the pattern of flows and rocks revealed in the portrait orientation. I also think that the 1/100 shutter speed gets a pretty good balance between “flow” and “power”, although it’s a lot faster than some would go for. What do you think?
| Fireworks at the Albuquerque Balloon Fiesta 2012. (Genuine single exposure - only slight crop and exposure adjustments applied.) | |
| Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 13-10-2012 20:05 | ISO: 200 | Exp. bias: -2/3 EV | Exp. Time: 8.0s | Aperture: 11.0 | Focal Length: 22.0mm (~35.6mm) | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM | |
As usual, I tried to take a few notes regarding the more “technical” aspects of our holiday, which may be useful to others planning a similar trip.
One spectacular success was having Laurent Matres’ Photographing the Southwest in Kindle format, with a synced copy on my Galaxy Note phone. On our previous Arizona/Utah trip I missed a couple of the “best shots” because I didn’t refer to Matres’ notes, and at other times we did follow his directions but it was a bit painful lugging quite a heavy book around. The Kindle version solved both those problems, and the Galaxy Note is sufficiently large to be quickly readable, and to render the book’s images clearly and attractively.
It was definitely the right decision for us to hire a convertible. I drive a drop-top in the UK, and we both loved buzzing around with the sun on our faces and the wind in our hair (well, OK, that’s maybe more one for Frances to comment on… :)). However, we seemed to be in a tiny minority driving a soft-top in New Mexico and Colorado, and the rental choice was not good. I’m not sure of the reason, whether the locals are afraid of getting too much sun in the Summer or insufficient weather protection in the Winter, but of course that doesn’t stop us in wet, windy Britain…
We eventually went to Dollar (whereas my first choice would usually be Hertz), and got a Ford Mustang. I can’t fault Dollar’s friendly, efficient service, and would use them again. I can find some fault with the latest-model Mustang, which seems to have definitely regressed compared with the versions I previously drove in the mid-naughties. In particular luggage space seemed to be smaller than I remember, there was very little in-cabin storage, and the CD player wouldn’t play files in WMA format, which put paid to a lot of our music. However, the worst failing was a weird speedometer display cramming an optimistically large speed range into the top half of a small dial, with the result that it can’t be read to an accuracy better than about 5 mph. That doesn’t fit well in a country where a 5 mph error is often enough to earn a speeding ticket. Useless.
Complaints aside, the Mustang did the job, and helped bring us back with a decent tan.
Another trick which worked again was raiding a Radio Shack on the first day and purchasing a can of compressed air. The worst equipment challenge in the American SouthWest is dust, and being able to blow everything clean each day is a real boon. Now all I have to do is find out if I can do the same in Morocco this year…
Including our phones we took five cameras this year, which may seem excessive, but each found a genuine use playing to its strengths, and justified its place in the luggage. As usual, the real workhorse was the Canon 7D. Out of a total of about 2050 exposures,1652 (or over 80%) were on the big beast. I have eventually mastered its ergonomic shortcomings, and extensive practice means that its operation is now quite intuitive. I know and can confidently predict its results, which are still better than those from the Panasonic GH2. OK, it’s still an enormous lump and the 15-85mm lens is not the sharpest optical tool, but it works.
The Canon 550D’s main role is as a backup body, offering the same sensor and lens compatibility as the 7D for half the price and weight. However, it came into its own for our balloon trip, where I wanted to carry a lightweight kit which still supported my beloved 70-300mm IS lens. The 550D, 70-300 and 17-85 did the job beautifully. As a result the 550D took 221 shots.
We also carried the Panasonic GH2 and its three lenses. Its main role was as Frances’ camera when she wanted to take her own shots, but I also used it as a lightweight “carry and forget” camera to have with me during shopping trips, evening sorties and similar. It has to be admitted that the 550D and a single zoom lens could also do this, but with less ultimate flexibility and at a higher weight. Having the GH2 along also provided further redundancy should my Canon long or wide zooms pack up, always a consideration given last year’s two lens failures. We took 172 shots on the GH2.
On a less positive note GH2 battery life is not good. A charge is genuinely only good for about 100 shots, and to add injury to insult Panasonic now effectively prevent the use of anything other than their own full price batteries, at £50 a pop or higher. Neither Canon suffers either limitation. It’s not a critical problem, but does place some boundaries on the Panasonic’s role.
We both took a few shots on our phones as well (I took 4 on the Galaxy Note), mainly of things we wanted to share immediately with specific friends. However, I certainly wouldn’t advocate one practice I saw – a lady whose husband was having the “trip of a lifetime” in the cab of the Silverton-Durango railroad, and she was trying to capture his arrival using just the camera on an iPad!
The Gitzo tripod paid its fare with the low light photography at the balloon fiesta, but otherwise saw very little action. I rely more and more on the combination of modern cameras’ performance at medium-high ISO, and the effective combination of my steady hand and Image Stabilisation. As the Americans say, “your mileage may vary”, but I now just assume that I will work hand-held if the sun is up or I need to move around.
Given the extremely photogenic subjects, and a lot of fairly friendly lighting, my hit rate was pretty high, especially for the more static subjects. After an initial edit I still have about 1200 frames worth processing, and I expect to end up with about 200 worth showing to someone else. Cutting this down to about 100 which find their way to my blog and tablet may be a challenge.
Overall a wonderful trip, and very successful source for photography. Roll on the next one!
A very Happy New Year, and all the best for 2013!
| "The Back of Beyond" - scene from the Fjallabak region, Iceland | |
| Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 24-08-2011 10:48 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/100s | Aperture: 11.0 | Focal Length: 80.0mm (~129.6mm) | Location: Einbúi | State/Province: South | See map | Lens: Canon EF-S 17-85mm f4-5.6 IS USM | |
I haven’t posted any photos since the end of our USA trip, but I have, finally, got back to sorting out my Iceland photos from last year. I thought, therefore, I would share this shot with you. It’s from an un-named spot in the Fjallabak region. Fjallabak (pronounced fiat-la-back) means “back of the mountains”, which is delightfully literal in this case.
I love the various circular swirls which are a recurring feature in this image. I’m not sure whether they all have a common geological cause.
I also did an HDR version of a similar shot, which brought out more of the sky detail but reduced the nice smooth feel of the mountain shapes. However, the black and white conversion looks quite dramatic, and with a slightly different crop works quite well:
I need to do a bit more work on the HDR version – at full resolution there’s a bit of odd “banding” in the sky – but I think it looks promising.
Which do you prefer?
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