Photoessay: Avril Lavigne, live in Kuala Lumpur

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Here’s something you probably weren’t expecting from me. Though I’ve shot concerts on assignment before (here, for instance) I don’t tend to go very often as a fan, simply because I don’t have the time, and even if I did, most of the acts I’d want to listen to don’t come to Kuala Lumpur.

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Photoessay: Universal Studios Singapore

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A continuation of the previous article on tourist location photographability.

Perhaps as a reflection of personal interest, I was certainly more drawn to the urban scenery element of the place rather than the rides or the fantasy areas; none of the people really fit the scene – i.e. looked ‘in place’, so I left them out (think 1940s New York or 1960s Hollywood being full of Asians in tank tops and shorts). The results are a slightly surreal and empty environment; I think it reflects my recent and increasing fascination with form and light over action. We all go through subject and stylistic shifts in our photographic journey as we explore new things; having shot a lot of street, cinematic and reportage work in recent years, perhaps it’s time for a change.

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Lens review: The Olympus 12-40/2.8 M.Zuiko PRO

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Announced and available together with the new OM-D E-M1 (reviewed here), the 12-40/2.8 M.Zuiko Digital PRO (24-80mm equivalent) is the first in a new line of M.Zuiko Digital PRO lenses. Development of an equivalent-grade f2.8 fast telephoto zoom was also announced, with a 2014 release. Thanks to the folks at Olympus Malaysia, I’ve had the opportunity to use this lens together with the new camera for some time now. Read on for my review.

Advanced warning: Flickr will apparently be down for maintenance for a little while on Friday 13/9, so if some images don’t appear, it’s because they’re hosted there…

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The 2013 Olympus OM-D E-M1 review, part two: some comparisons

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In part one yesterday, I looked at the camera as a standalone device with few references to its predecessor or competition; today we’re going to examine some of the technical differences in a bit more detail against two benchmarks: the outgoing OM-D E-M5, and the Nikon D600. Both are 2012 cameras, and cameras that I’m intimately familiar with because I use them heavily in the course of my normal work – the E-M5 as my travel/teaching camera, and the D600 for video and backup to the D800E. The former is a no-brainer; the latter is perhaps a bit more of a stretch: not only is there a significant price difference, but the sensor goes up in size by two whole notches – it’s effectively four times the size of that in the E-M1. Surely this is an unfair fight?

Update: ISO comparison chart mislabelling fixed, and I am checking on the 12 vs 14bit issue.

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The 2013 Olympus OM-D E-M1 review, part one: the camera

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The late-2013 OM-D E-M1 is the successor and upgrade to the very popular early-2012 OM-D E-M5. It’s now clear why the camera was launched with a mouthful of two names: OM-D is a line of products, E-Mx is the model. In this review, we will refer to them as E-M1 and E-M5 respectively to avoid confusion. As you all probably know, I’m very familiar with the E-M5; this camera has served as my travel and teaching camera for the last year, and has now clocked somewhere north of 40,000 exposures (I also reviewed it here). What’s changed in a year? Quite a lot, it seems: certainly enough to get excited about. There’s also a new confirmed lens – the 12-40/2.8 M.Zuiko PRO, available with the camera, and a matching f2.8 telephoto for next year.

This review will be in three parts for ease of reading (this part is already north of 4,400 words) – the camera itself, today; a relative comparison with two other benchmarks, tomorrow; and a review of one of the two lenses announced with the camera shortly thereafter – the 12-40/2.8 M.Zuiko PRO. A quick note on testing methodology: a range of lenses were used for the review, including the new 12-40, the 50-200/2.8-3.5 SWD for 4/3rds, the 12, 45, 60 and 75mm primes, and the Panasonic 14-42X. You won’t find full size images here due to image theft/ IP issues; go by what I say not what you see – there’s an enormous difference between a small web JPEG that’s been attacked and oversharpened by Flickr’s downsizing algorithm and a full sized one or a RAW file in any case, plus of course the monitor matters. There will be 100% crops where noted, however.

A set of images shot with the E-M1 will be here on my flickr page, and continuously updated as I use the camera more.

Review updated 18 September to include comments on RAW file quality, post ACR 8.2 release.

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Photoessay: New York City urbanscapes

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I honestly have no idea what category or genre this kind of photography falls into; it’s not quite abstract because you know what the subject is, though there’s heavy reliance on geometry, form, color and light; it’s not street even though it’s generally shot on the street or from the street; I suppose it could be travel, though they don’t really especially make you want to go visit a place. Flaneur, perhaps; the exploring observer. Or still life, except there are frequently moving elements. It’s not really cityscape or architecture either, because often there are no buildings, or they’re not complete, or the view isn’t wide enough to be considered an entire cityscape.

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Lens review: The Panasonic Lumix Vario PZ 14-42/3.5-5.6 X G

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14-42 X on OM-D, collapsed and extended. If you’re wondering why I got a silver one, it’s because the black ones were out of stock at the time I needed it. Would I have preferred black? Obviously.

I don’t normally review ‘consumer’ grade gear for the simple reason that it’s usually built to a price, rather than built to deliver a certain grade of result (or perhaps it is, only the accountants and engineers know for sure). However, sometimes you come across a piece of equipment that fills a need much better than you imagined; this lens is one such example. The Panasonic Lumix Vario PZ 14-42/3.5-5.6 X G (what a mouthful, hereafter known as the 14-42X) is a very small – about the size of the 20/1.7 pancake when collapsed – zoom for Micro Four Thirds. It was the kit lens for the GX1 and a couple of other cameras for a while, and fortunately also available separately.

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Photoessay: New York street cinematics

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Possessiveness of taxis is a New York thing

I found the people and streets of New York to be eminently suited to a bit of cinematic street photography. Perhaps it’s the fact that so many movies have already been filmed in New York, or it’s the quality of light filtering between and reflecting off buildings, or it’s the various diverse characters that live in the city. These are little moments, vignettes and slices-of-life; I don’t want to use the word ‘stolen’, but it does sometimes feel like one is peering into a pre-coreographed scene and simply borrowing a frame. I sincerely apologise in advance for having some fun with the captions.

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Lens review: The Olympus ZD 12/2

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Although this lens is not new – in fact, it was announced back in 2011 with the second-generation E-P3, E-PL3 and E-PM1 (full review here) – it still remains ostensibly the best fast wide option for Micro Four Thirds users. (It was also recently re-released as a limited edition all-black version, which now includes the lens hood as part of the kit.) In fact, there’s been remarkably little competition in this arena – just a manual focus offering or two from SLR Magic, and the upcoming (and stratospherically priced) Schneider 14/2.0. Panasonic has the 7-14/4, and the 14/2.5; the latter which is perhaps the 12/2’s closest competition.

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My initial experience with this lens and its optics on the E-P3 and E-PM1 were enough to convince me that Micro Four Thirds had come of age, and would make a worthwhile compact system without major compromises for the majority of situations in which I’d want to use a compact system camera. This impression held, wavered, and changed again – to be honest, until the last Tokyo workshop, I hadn’t had much of an opportunity to use the 12/2 on the OM-D (full review here) for a serious evaluation. The last time I used the lens on the OM-D was also the first time I’d taken out the camera for a serious bout of shooting, and definitely wasn’t a good way to benchmark performance of either camera or lens – simply too many variables and unknowns were in play here.

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Spiral. E-PM1, ZD 12/2

The lens is one of the Olympus Super High Grade line, impeccably built and finished with all-metal construction, and one unique feature (for a Micro Four Thirds Lens) – the focusing ring clutch. Sliding the focusing ring backwards a notch puts the lens in manual focus mode, and also reveals a focus distance scale: unlike every other lens in the system, the 12/2 has hard stops at each end of the range. Together with the depth of field scales, the lens should theoretically be the ideal tool for street photography – fast, wide, zone-focusable, and with more depth of field for a given aperture and field of view than its 35mm equivalent.

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In AF mode (left) and scale-focus MF mode (right)

Except, this isn’t quite the case. Sadly, the clutched focus system isn’t really mechanically linked to the position of the lens elements; it too is a fly-by-wire simulation – albeit a very good one, with the right amount of tactile feedback and everything. The problem is to do with the resolution of the distance scale/ mechanism: there aren’t enough divisions.

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Reflections, Tokyo. OM-D, ZD 12/2 from a moving train

It seems that there are perhaps five or six discrete distances to which the focusing group moves, instead of a continuum. The only thing that could cause this is if Olympus used a form of rheostat in the construction of the the focusing ring/ clutch. Although 12mm is a very wide actual focal length with plenty of depth of field for a given aperture, f2 is fast enough that more critical control over your focus point is required. Sadly, though the idea of the ring is a good one, the execution makes it of marginal utility for the photographer in the real world – unless you are willing to use a small aperture – f4-5.6 or smaller – to use depth of field to cover the lack of manual focus precision.

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Diagonals, Shibuya. OM-D, ZD 12/2

Curiously, this is most definitely not the case for either manual focus with the ring in the AF position (i.e. selecting manual focus on the camera body) or when using autofocus. Here, the lens is precise, moves in as many infinitesimally incremental steps as one could desire, and has no trouble finding critical focus. While on the subject of focusing, it’s probably a good time to talk about autofocus performance. Like all of Olympus’ other MSC designs, the 12/2 is an extremely snappy lens – even more so on any of the recent bodies. I haven’t experienced any gross focus misses, but it’s worth noting that some care is required at f2 – the plane of focus isn’t quite as deep as you’d think.

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Taxi rush, Shinjuku. OM-D, ZD 12/2

The lens is not weather sealed or gasketed, and once again, Olympus has decided not to include a hood – this is excusable for a $250 economy kit item, but not on a $800 premium lens. It just smells too much like penny pinching. Perhaps it’s just as well, because the optional hood is rather cumbersome; it increases the bulk and visual size of the lens hugely, requires a thumb screw to attach, can rotate freely and requires a different cap – why can’t they just use a bayonet hood? Zeiss lenses are a great example of how bayonet hood mounts should be constructed.

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Shadows, Otemachi. OM-D, ZD 12/2

Over a good year of use with this lens on the E-PM1 and OM-D, those are my only two complaints: the inaccuracy of the pseudo-manual focus clutch, and the continued minor farce of the lens hood. If you read this carefully, it means that I don’t have any major criticisms of the optics.

The 12/2 uses a rather exotic optical design with 11 elements in 8 groups; one of these is aspherical, one is made of ED glass, and another two of exotic Super HR and DSA glasses. It’s a non-symmetric, telecentric design whose optical formula honestly doesn’t look familiar to me – the closest thing I can think of are the Zeiss Distagons, insofar as they use several extremely dome convex front elements and a rear telephoto group. The lens also employs Olympus’ ZERO coating to minimize flare and maximize contrast and transmission.

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The overhang. OM-D, ZD 12/2

Let’s get the most popular question out of the way first: yes, it’s sharp. Bitingly so, at all apertures, across the entire frame in all but the most extreme corners. There appears to be a small amount of field curvature, but nothing overly serious; enough that for optimal sharpness you’ll want to move the focus point over your subject rather than using center-focus-and-recompose, though. The lens has a slightly odd MTF chart that is indicative of a significant dropoff in microcontrast about halfway to the edges; I don’t see this in practical use, which suggests that the field curvature is probably responsible – and more complex than a merely spherical surface. In the real world: sharpness will not be an issue.

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Fuji TV building, Odaiba. OM-D, ZD 12/2

Though some of you might think that a little nice bokeh might be obtainable from the 12/2, you’d be mistaken; you have to be very close indeed to throw anything significantly out of focus. Fortunately, the lens focuses down to 0.2m, so this is actually possible. If you have enough distance between subject and background, then bokeh is actually fairly pleasant; however, if there isn’t a lot of distance, and the subject is a bit farther away from the camera, nothing really gets out of focus enough to begin with – in fact, you have to be a bit careful of double images in the out of focus areas. There’s a bit of spherochromatism, too.

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Star. OM-D, ZD 12/2

Although the lens in general well corrected, you do get the feeling that it’s on the extreme edges of what was possible with the design constraints put upon the optical designers: there’s visible CA against high contrast subjects, especially in the corners where you can get up to 2 pixels’ worth; there’s also very noticeable distortion. Fortunately, it’s fairly simple in nature – barrel with no sombrero/ moustache – and is easily correctable in ACR. Flare exists but the ZERO coating does a good job of keeping it to a minimum – even without the hood. Stopping down to f4 on the OM-D makes everything but the distortion go away, leaving you with an excellent optic. It doesn’t quite have the transparency of the 75/1.8 or 60/2.8 Macro, but it’s fairly close if used stopped down. It is definitely the best wide option for M4/3 users at the moment. One interesting use of the lens is for handheld long exposure photography – due to the short focal length and excellent stabilizer in the OM-D, shutter speeds of anywhere down to 1/2s (consistently) or 1s (occasionally) with critically sharp results are possible, making for some interesting photographic opportunities.

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Commuters. OM-D, 12/2

As always, I suppose the litmus test for a lens is if you’d buy it a second time – I think the answer for me would be a qualified yes. I have since had the chance to shoot with the Panasonic 14/2.5; thought I prefer the 28mm field of view over 24mm, and believe that M4/3 lenses should be a compact as possible to play to the other strengths of the system, I would still pick the 12/2 as the optics are better – they simply render in a more three-dimensional way due to better microcontrast, as well as better edge sharpness. Interestingly, the Panasonic 12-35/2.8 runs it very close at f2.8; however, the T stop of that lens is about 1/3-1/2 stop slower too, for a given physical aperture. What qualifies my opinion is the upcoming Schneider 14/2; it remains to be seen if it performs as well as its price suggests it should. In the meantime, the best way to judge the 12/2 is on its pictorial results – construction, expensive accessories and the imprecise focus clutch are just distractions. And on that basis alone, I think the lens deserves a place in a serious M4/3 shooter’s bag. MT

The Olympus M.Zuiko Digital 12/2 is available here from B&H and Amazon.

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Images and content copyright Ming Thein | mingthein.com 2012 onwards. All rights reserved

On Assignment: concert photojournalism

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Tompi. Olympus OM-D, 100-300

I recently played the role of official photographer for a producer friend’s concert – it was a moderately large affair featuring a good number of famous local musicians. The nice thing about this event was that it was large enough to have professional acts, decent lighting and good organization, but not so large that I didn’t have access to everything – and I mean everything, including the stage itself during the performance*.

*One thing a good concert photographer should never do is interfere with the act; so even though the stage might be open to you, one should never get between the performers and the audience unless it’s absolutely necessary, and even then only for the shortest possible period of time. Oh, and remember that the shutter sound carries quite clearly through any microphones that have been placed near equipment.

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Through the legs. Nikon D700, 28/1.8G

Although I’m not normally a huge fan of the types of music being played, I have to say this was one of the more enjoyable events I’ve attended and shot; I guess I’d be the restless type of concertgoer who’s only happy with a camera in hand and backstage pass – not so much to meet the artists, but to shoot. Although it’s the first photojournalism assignment I’ve done in quite some time – and the first concert assignment in many years. (In 2005/6 I was the house photographer at one of the jazz clubs in Kuala Lumpur, but I eventually stopped because I wasn’t getting enough sleep after gigs and before work the next day.) This job made me realize just how much I missed photojournalism.

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Nikon D700, 28/1.8 G

There were a number of photographers there from other local/ national media and international agencies; the locals were mostly using midrange APS-C bodies, kit lenses and off-brand flashes; you could tell the major agencies by their standard issue pro bodies and f2.8 zooms. Interestingly, the proliferation of lower end cameras amongst media/ newsmen – at least in Malaysia – has been getting increasingly common as these organizations seek to cut cots. I can understand the bodies passing the threshold of sufficiency and being capable of producing great results in the hands of any competent photographer, but the use of slow kit zooms just hamstrings the ability to create a picture that preserves the ambient light and feel of the scene without resorting to a flash.

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In the moment. Olympus OM-D, 100-300

From experience, I know that when wearing my photojournalism hat, the lighter you can go, the better. I was carrying my D700/ MB-D10, 28/1.8 G and 85/1.8 G for close distance coverage; the OM-D and 100-300 rode shotgun for more reach. (I was also carrying the 12/2 and 45/1.8 as backup in case the D700 developed a problem, plus an SB900 for balanced fill which I didn’t land up using. My motto is go light, but not so light that you have no insurance when it comes to equipment failure.) Many of you will know that the new Nikon 28/1.8 G has proven itself to be a very capable lens even on the demanding sensor of the D800E; I’m pleased to report that both the 28 and 85 f1.8 G lenses performed flawlessly on the D700, both in terms of focusing accuracy and optical performance. The 85/1.8 G does exhibit some moderate flare with strongly backlit point sources (the hood makes almost no difference here), but I personally don’t mind it as I feel that it adds to that atmosphere and pictorial value of the image somewhat.

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Keyboards. Nikon D700, 28/1.8 G

The big surprise of the night was the OM-D and 100-300 combination, however. I didn’t use AF-C; most of the time careful timing, a short burst and the extended depth of field for a given FOV due to the smaller sensor was enough. It’s rather counterintuitive for DSLR shooters, but I find that with the OM-D, just depressing the shutter all the way down and trusting the camera’s AF system yields a considerably higher hit rate than using AF-C, or worse, AF-Tracking. The 100-300 delivered excellent optical performance, even out to the 300mm limit; due to the lighting conditions I was working wide open the whole time. The lens did hunt somewhat above 200mm, but so long as I was in the ballpark, focusing was reasonably fast.

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Blue note. Olympus OM-D, 100-300

So far, no surprises – I’d shot with the 100-300 in good light conditions, and been pleased with the results. The OM-D, on the other hand, seems to excel under tricky mixed-light or strong-color situations; to get a sufficiently high shutter speed – I was in the 1/45-1/60s region most of the time, at 300-400mm equivalent – I was solidly in the ISO 3200 to ISO 6400 band. In all honesty, I don’t feel the files were noticeably more noisy than the D700 for a given ISO; the only place where the smaller sensor made itself known was in dynamic range – the D700 had probably two stops extra on the OM-D. I can definitely see where the 75/1.8 would be useful though – 100mm was a bit long at times, and the extra 2 1/3 stops (probably more in transmission) would have pushed image quality even higher still.

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Strumming out. Nikon D700, 28/1.8 G

All in all, a very satisfying nights’ work. Come work delivery time, the litmus test is always the client; I’m happy to say that this one passed with flying colors. “I can’t stop looking at the pictures, they’re amazing!” was the text message I got a few days after delivery. So, anybody else need a concert photographer? MT

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Visit our Teaching Store to up your photographic game – including Photoshop Workflow DVDs and customized Email School of Photography; or go mobile with the Photography Compendium for iPad. You can also get your gear from B&H and Amazon. Prices are the same as normal, however a small portion of your purchase value is referred back to me. Thanks!

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Images and content copyright Ming Thein | mingthein.com 2012 onwards. All rights reserved

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One – Ramli Sarip. Nikon D700, 85/1.8 G

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This is what rockers do. Nikon D700, 28/1.8 G

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The loud pedal. Olympus OM-D, 100-300

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Thank you to my band. Nikon D700, 28/1.8 G

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The hair. Nikon D700, 85/1.8 G

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Olympus OM-D, 100-300

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Backstage with the fans. Nikon D700, 28/1.8 G

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