Thoughts on system choices, part one

Not so long ago, there used to be only two real choices for the amateur or beginning pro – I’m going to exclude the high end medium format systems and specialized large format systems because if you need that, you generally already know it – Nikon and Canon, Nikon and Canon, and that was about it. The last year or so has seen both smaller systems breach the limits of sufficiency, and larger systems possibly become overkill for most applications. From the general chatter online, in the comments and in my inbox, it seems that a lot of people are in the process of rethinking their gear: lighter and smaller is a definite trend. There’s a lot less thought given to switching than previously; the image quality differential these days is pretty much nil at the low to mid levels, and with the exception of the D800E, also true at the high end.

The confusion now comes from the fact that mirrorless is not only disruptive, it’s mature, alluring and possibly also cheaper – but more importantly, the promise of small and easy seems to have put the fun back into photography for a lot of people. Perhaps it’s because of the weight facilitating portability (and thus having the camera with you all the time), but I think it’s actually because psychologically, the smaller cameras aren’t seen as being quite so serious – thus encouraging experimentation and perhaps unexpected, but welcome, results.
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Quick first thoughts – Nikon Coolpix A and Fuji Finepix X20

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I recently picked up review units of the Nikon Coolpix A and Fuji Finepix X20 at B&H – the store itself is an incredible experience for any photographer, by the way – after a few days of intense shooting during my Making Outstanding Images workshops, I’ve had a chance to put together a few quick thoughts on the two cameras. I will be doing more complete reviews once I get a chance to shoot further with them and pore through the hundreds of images. Until then, this should tide over the curious.

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Photoessay: Postcards from San Francisco, part one

Had the chance to process some of my files from the first few days in San Francisco – in the first six days on the ground, I shot over 3,500 images…let’s just say that it’s an extremely photographically rich city; or perhaps it’s the allure of the unfamiliar and the new (the last time I was in the USA was on a family holiday before the time I was interested in photography). I do know that my keeper rate on the first day was nearly zero, but I put that down to jetlag. I tend to find there’s an ideal point between cultural oversaturation and being jaded with a city – and that tends to be the most productive period for me photographically. It typically happens after four to five days; I’ve learned to go with the flow and not worry too much about not producing anything in the early days simply because the stream-of-consciousness type ‘seeing’ will come, and with it, an enormous task in the curation…more to come once I get a chance to edit and process.

This set was shot with the Olympus OM-D, ZD 12/2, ZD 45/1.8 and Leica 50/1.4 Summilux-M ASPH (via a M-M43 adaptor). Enjoy! MT

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A review is not just a review, part two

Continued from part one.

Are you paid by the camera companies to write good things?
No. I wish, because it would reduce the amount of hostile email and messages I get. If anything, my relationships with most camera companies are quite strained because it seems that they expect you to write good things about their cameras if you’re given the ‘privilege’ of a loaner. This is one of the reasons I prefer to buy my own equipment as I can remain as objective as possible; regardless, I’ll do so anyway, even though it means that there are probably marketing/ sales people at every camera company here who don’t like me. What they don’t seem realize is that in the long run, a lack of objectivity means that nobody will believe what you say anyway. Since writing the last article on this subject, it seems general degradation in the business side of things has meant increased sales aggression, and frankly, a degree of hostility towards objective reviews at a time when perhaps the companies need it most; this is incredibly shortsighted on their part (and perhaps indicative of a fear that your product is really crap), but then again, if you can’t see past your next year end bonus anyway, who cares?

I read your review of XYZ, but would like to get some more thoughts. What do you think of XYZ?
This is perhaps the most stupid and annoying question that I get asked on a regular basis. I’m not going to have anything more to say than I’ve already written in the review, which was a carefully written, considered and very time consuming exercise. Perhaps attending some English language classes might help: re-read the question you just asked me…

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Major D800/ D800E firmware update (additional: more Nikons, ACR 7.4 final)

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Just got an email from NPS: it appears that a lot of the issues with the D800/ D800E have been addressed (note: I didn’t say ‘resolved’, that remains to be determined after testing) in the latest firmware update A 1.01/ B 1.02. The list according to Nikon:

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A review is not just a review, part one

If it seems slightly odd that I have to write an article like this in the first place, that’s because I’ve been noticing several trends in my email inbox lately:

  1. Why don’t I review XYZ camera, or if I can review XYZ camera?
  2. Why didn’t I test for a particular feature?
  3. Why didn’t I test a particular combination of body and lens or some other accessory/ add-on?
  4. Why didn’t I post full size files, or raw files?
  5. Why do I postprocess the files/ test JPEG output?
  6. Are you paid by the camera companies to write good things?
  7. I read your review of XYZ, but would like to get some more thoughts. What do you think of XYZ?
  8. And of course the usual…”Should I buy X or Y?”

I’m going to add a few to this list myself:

  1. What’s the difference between my reviews and others?
  2. Why do I only review certain cameras?
  3. In the unlikely event I’m given or loaned a piece of equipment to review, then what?

I’m going to address these once and for all, and then return to the business of making images with the occasional detour into the equipment.

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Meet the new editorial team.

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I’ve finally figured out how to optimize the efficiency of this site. They will begin with handling email and comment replies, and slowly move on to occasional posting too, at least once I’ve trained them. Please excuse any typos or unintelligible text for the moment; I have to optimize the stochastic keyboard filter. Also, since it seems that some people want quantity and some don’t, I’ve gone for the fast but lucky approach. Meet the new leader of my editorial team, pictured here deep in thought. If it is believed a thousand monkeys at a thousand typewriters can eventually produce Shakespeare, then I figure a small troupe should have no problem handling ‘what should I buy?’ emails. (Besides, there’s no way my Amazon referral vouchers will cover sufficient bananas for a thousand.)

Happy April 1st, everybody. MT

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Thoughts on the Apple iPhone 5 camera

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Don’t worry, I’m not about to start claiming the various image-processing apps are the best thing since sliced bread; they aren’t. What I am going to do is take an objective look at the iPhone 5’s camera as a tool for photographers. Firstly, we’ve got to remember that the device itself has a lot of limitations: it was never designed primarily to be a camera in the first place, which means a lot of niceties are missing: a dedicated shutter button, for instance. It is therefore important to consider things in perspective, and be realistic about the kind of functionality we can reasonably expect. I reviewed the iPhone 4’s camera here; from the 4S, the camera received a spec bump to 8MP with a slightly different sensor, meaning that the effective focal length of the lens is a somewhat longer 30mm – now five elements and with a fixed f2.4 effective aperture. The new unit is made by Sony, and focuses and shoots noticeably faster than the 4.

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Film diaries: The importance of hapatics and tactility, part two

Continued from part one.

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Some gratuitous camera p***, and one of the nicest cameras I’ve handled – the choice of materials is superb. Too bad the price puts it out of reach for all but the lucky few.

This article falls into the film diaries because historically, there have been many attempts to make cheaper versions of popular cameras – the M2, for instance, is supposed to be a cut-price and simplified version of the M3; the Nikkomats are another example. Yet none of these feel particularly poorly made or roughly finished; if anything, they still considerably exceed the perceived quality level of anything currently available new. Objectively speaking, my 1995 Hasselblad 501C is a pain to use: it’s large, heavy, only carries 12 shots, has serious mirror slap, has a reversed finder, requires a separate external meter (or very good eye), is a pain to reload, slow to shoot with, and an ergonomic disaster – yet somehow I just love making images with it because of the way it feels in the hand. The lens’ aperture and shutter rings move with distinct, clean clicks. The mirror and shutter sound feels positive and deep. The accessories detach and snap into place with solid, positive clicks and zero free play; there are no rough-feeling mechanical parts or actions, and the focusing rings (mostly) have precisely the right amount of damping.

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Film diaries: The importance of hapatics and tactility, part one

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Spot the odd one out of this bunch. (Hint, it’s not the M9-P because the image isn’t low-key, or because it’s the only Leica in a bunch of Nikons.) It’s also not the F2 Titan because it requires no electrons to operate. Let’s try another set:

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