It’s been nearly two years since the D800E was released. In the meantime we’ve dealt with left focusing issues, comparisons with much more expensive cameras (here, and here), the fact that most of the Nikon lens stable doesn’t really match up to the capabilities of the sensor, focusing issues with MF glass – now that we have lenses like the Otus and 2/135 APO, and its use as a scanning device for film – amongst other things. It’s become my go-to camera when an image needs making, under any circumstances, and with any given set of requirements. Yet it’s honestly taken me two years to warm up to it. Here’s why.
I don’t normally post about firmware updates, but this is a) quite a major one, and b) there are a lot of E-M1 users amongst the reader pool. Amongst other fixes to audio recording, the shutter mechanism is affected. Some cameras – mine included – are affected by a resonant shutter vibration specifically at 1/180s that causes a slight double image; higher and lower speeds are fine. The new firmware adds an option that switches “the first shutter curtain from mechanical to electronic to reduce blur caused by shutter impact”. In our initial testing, it appears to make a significant difference on two of the three cameras we have here (all of the workshop videos are filmed with them, we have a spare, and I shoot one myself).
I first raised this issue to Olympus back in December; it’s highly commendable that they’ve listened, been in regular contact, and given us not only a solution, but a highly innovative one that doesn’t require sending the camera in. Kudos.
The firmware update can be downloaded here. You will need the original (proprietary) USB cable that came with the camera to upload it, though. MT
Today, we’re taking a little break from the travel-themed images I’ve been posting of late, and return to nature somewhat. I’ve always found something compelling about trees; I’m not sure why. Perhaps it’s some deep-rooted part of our subconscious that calls for an occasional visual break from the uniformly geometric concrete we live in, and an embracing of the naturally fractal and chaotic world for a change instead. Judging from the feedback on previous images and photoessays, I’ve also found this to be the case with a lot of other people, too.
A gentle reminder that today is the last day for the Autumn in Tokyo Ultraprint sale. As usual, the edition size is very limited and these images will not be printed again at this size. For more details and to order, please click here. Thanks! MT
How many of you have given serious thought to how you evaluate and delete images? From repeat experience, I find that it matters more than you might think. Today’s article examines this in a bit more detail: surprisingly, this is one of the very few times when producing better final images has nothing at all to do with the actual image capture…
I think of this image as being very characteristic of the way I shoot these days – and you can probably guess that it was one of mine, even without the frame. But what does that mean? Why and what is it that makes it so – and more importantly, how do you consciously add your own visual signature to an image?
Introduction: This was an earlier essay written on a tough topic: something that is fundamentally important for all serious photographers, yet is extremely difficult to define in a strict technical sense due to its very nature.
In hindsight, I realized that it might not be something that a lot of photographers consciously consider at the time of capture; it might come up come post processing time, but you really need to have it in mind before you even hit the shutter. There is of course far more detail than I can possibly cover in a single post – we tried to put everything into a single 2h video, but we landed up needing 6 hours in total to be comprehensive. I probably should have reposted this as an introduction to the latest two videos, but better late than never! Think of it as context, preface and explanation for Making Outstanding Images series: Exploring and Processing for Style.
These photoessays will have far fewer images than the usual variety, simply because the number of images taken is necessarily lower. I’ll shoot perhaps 12 frames in a productive day. To confess, I’ve actually been hesitating a little over whether to post these at all, because even though the loss from print to screen is enormous, there’s an even bigger loss between full digital files to web. There is simply no way to represent them in such a way that doesn’t throw away most of the tonal subtlety and immersive detail. I’ll do it anyway, for the curious. But upfront I will say that something is definitely missing…there’s a ‘digitalness’ to the images at this size that isn’t present in the full size images; I suspect it’s because once you shrink an image this much a lot of the subtle tonal and microcontrast cues that say ‘film’ are downsized into oblivion. Just so you know: you’re looking at an image that’s been reduced to about 0.5% of the original size. MT
Many of you will know that earlier this year, I acquired a large format 4×5″ studio monorail. It’s an Arca-Swiss F Line with standard bellows; it has full but ungeared movements on both front and rear standards, a telescoping monorail and takes Graflex film holders. I paired it with a Schneider APO-Symmar 150/5.6, which turned out to be the right choice as I’ve not yet felt the need for longer or wider – somehow, it matches my perspective perfectly. Film – my beloved Fuji Acros 100 – and spare holders arrived a little while after the camera, and I’ve had a complete working setup for about a month. Today’s article comprises some collected thoughts after living and working with it for a while, from the point of a primarily digital photographer who’s also gone back to revisit medium and now large format film.
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.
I’m pleased to announce the final two videos in the Making Outstanding Images workshop series: Exploring Style and Processing for Style are now available for instant download!