An unwanted side effect of the Stay Home lockdown policy has been the expansion of the waistlines in our house.
It’s not that we are eating more, or badly, far from it. In fact we have better, fresher, less ‘pre-prepared’ food than normal as we have the time to make proper meals. No, the problem is that we just aren’t moving enough. Normally, I would be out the house and on my feet from 7.30-4.00 for three or four days of the week, usually four. On top of that we would be playing golf at weekends, so plenty of walking, and I would also be cycling on top of this.
Since the lockdown, we’ve been walking gently with the dog (who is 13, arthritic, and doesn’t go far), I’ve taken a couple of cycle rides when I got brave enough to venture out in the loony traffic, and we’ve done a bit of gardening. There has been some garden golf, with little plastic balls, and a bucket for pitching, plus some putting on the carpet in the hall. It’s hardly 18 holes around a 6mile walked course.
I’m cautious about cycling because the existing cycling infrastructure in Edinburgh simply isn’t wide enough for any realistic social distancing, so I feel forced onto the roads, and my experience of that last week has not exactly filled me with confidence or appreciation for my fellow man.
Of course, part of my problem is not just this but the fact I wasn’t well to start with: I have large recurring haemorrhaging ovarian cysts which result in massive abnormal swelling, excessive tiredness, nausea and even sometimes make me feel a bit faint. There is also the frequent episodes of not inconsiderable pain.
I was due to see a consultant about getting these cysts removed, and probably a full hysterectomy into the bargain, when all this Coronavirus stuff started. I’m just hoping that the cysts are cancerous…
Anyway, my trousers won’t do up any more. I’ve gone from my nice fitting ones, to my emergency slightly baggier ones, to the “OMG I’m huge” ones that lurk at the back of the cupboard from when I was a lot heavier due to medication (steroids for Ulcerative Colitis sort of cured by having my colon removed).
I’m sitting here with a muffin top over my walking trousers, and I can’t even contemplate wearing pretty much anything that’s hanging in my wardrobe. Could be just the cysts, could be I’m getting fatter (and unfit) too. I think come the end of this episode the clothes shops and the gym membership profits will skyrocket.
We will certainly not get a hair appointment for love nor money.
Perhaps I shall take to running up and down the stairs if my 49 year old knees will let me. They’ve not been keen on running since I did the Skye Half Marathon last June. They aren’t even that pleased with cycling at the moment.
All in all, I am falling apart folks, falling apart inside a bag of expanding fat and flesh.
Let’s hope we see the daylight again soon, if only so we can still be able to see our toes without a mirror.
I don’t know about you, but I am finding it really hard to concentrate with everything that is going on, or not going on, right now.
My partner is working from home and he likes to have noise around him because he is used to working in an open plan and sociable office environment. I however, am used to quiet and solitude. I’m upstairs on the desk in the spare room, and he’s downstairs having commandeered the dining table. He has bar far the best view and is on the sunny side of the house. I have a wall, a mirrored wardrobe door, and have to have a standard lamp on.
He has the radio playing and I have the door shut because it’s annoying me, and it’s still coming up through the floor.
But these distractions are nothing compared with the ones rattling inside my head; will I catch it? Will I die? Will my partner catch it? Will he die? What will happen to me if he dies? Who will look after the dog if we both die? What about my friends, my mum, my partners parents? What about my job? What about the two job interviews I had lined up? What about social unrest if this carries on? What is everyone going to do without money and access to essentials? What are we going to do, financially, if this carries on for too long?
How much will the world change? Will the change be for the better? Will we see less migration and less flying, will be see cleaner air now we got used to working at home (where we can)?
What about cycling, will we still be able to do that next week, next month? Some countries have already put in much stricter rules. What about the erosion of the legal process, civil liberties, etc?
All these thoughts, and many others, rounding my head time and time again. I am trying to keep my blogs going (I have two), and I’m trying desperately to get another chapter or two of my book written. It should be the perfect time for both, but can I concentrate, or is the stuff coming out of my head a product of reduced sleep, which is a product of worry and lack of exercise? Is it terrible? Is it even remotely readable?
What will happen when this is over? When will it be over?
Can’t he turn the that down? Does he need it that loud?
Where has the dog gone; is she downstairs, upstairs, or outside?
What’s left for lunch? Oh my god will we have to go out to the supermarket, that’s go to the dangerous.
Will I ever get my hospital appointment? Will I get my op? Will this pain stop?
Why do I find the music annoying, it’s only what I play when I want the radio on myself It’s the same station I have in my car, and it doesn’t bother me there.
I could go back to bed. No, that’s defeatist. And, if I do that again then I won’t sleep properly tonight, like I didn’t last night, because I had slept in the afternoon. Why do I feel so sleepy in the afternoons? I’m allowed to ride my bike, I like riding my bike, I’d feel better riding my bike, why don’t I want to ride to my bike? What am I scared of?
How did Sherlock pull off faking his own death in Series Two? Did someone kill themselves for him, and then switch the bodies, the other three scenarios don’t add up. Why am I even thinking about this? Ah, the box set. Is the world now watching copious box set binges, what will that do for our IQs?
Netflix must be raking it in.
Wow, the butchers delivery has come, fresh meat for the first time in a week. WOW. Steak pie for tea. I miss being a vegetation but I can’t digest it due to having had my colon removed. I don’t really like eating animals. It’s not very nice. Steak pie, I love steak pie, proper butchers made steak pie, with chips and gravy.
Shit, that was the last of the dark chocolate digestives, can you get dark chocolate digestives on Amazon? You can’t get a supermarket delivery for love nor money. I’m not risking catching Corona for the sake of a biscuit, I need to loose weight anyway. We all will after this, and for once I might not be the palest person in the room either.
Shut up head. For heavens sake, it’s only been just over a week for the official lockdown. Although I locked myself down two weeks before that, aside from essential travel.
I like this song…
Open the door, I can’t hear it properly. It’s stopped, oh, he’s on the phone. Typical.
Shall I do my accounts? That’s scary. No money in for several weeks. Should be payday Friday but will I get my SSP? Did I earn enough on the last two pay periods of my zero hours contract to qualify? What if I didn’t? Should I tell the doctor that in spite of his best intentions and my best interests I have to go back to work? But I could get Corona.
Oh stop it head. Stop rambling. Concentrate. Write your book, or your blog. Write, something, even if it’s drivel like this.
Historic Scotland give away free entry tickets to many Scottish attractions to celebrate St. Andrews Day. This year we took advantage of this to get a trip inside the prohibitively expensive Edinburgh Castle.
Walking up to the castle from the city centre gives you a good view of the Christmas Market in Princes Street Gardens at this time of year. Breakfast hotdogs anyone?
It was wet, pretty cold, and up there on top of the (we hope) extinct volcano it was fairly blustery too. Time to get inside, and weave our way around for over 40 minutes for a few seconds glimpse of the Scottish Crown Jewels – that’s if you haven’t succumbed to claustrophobia in the wait and just leg it out the door the moment you get a whiff of fresh air…maybe that was just me…
The best feature of the castle, in my opinion, isn’t castle. It’s the views of Edinburgh and over to the Fife coast.
The One O’Clock gun, which faces into the city…
Within the castle is a separate building hosting memorials to the armed forces. Each has in front of it a book of names for WWI and WWII. This one is open to a very special page…
At the top of the second column of the left page is Pte George Thomas who died in Italy in November 1944. He was my Grandfather.
This post in is tribute to the men, women, and animals who lost their lives in
WWI and WII, and all conflicts before and after. #wewillrememberthem
August is the main month of festivals in Scotland, although they take place in various places all year round. In Edinburgh you have the entire month of August as one big long, often over crowded, festival which includes the legendary ‘Fringe’.
It was nice to see that ‘Donald’ payed us a visit…
There was plenty of music on the streets as well as in the hundreds of official venues…
As well as some more unusual street performers…
As the residents recover and traffic, parking, transport, and the pavements get back to some sort of normality, we know Edinburgh will gear itself up now for Hogmanay and do it all again next August.
Meanwhile, up north in the Highlands, although not overly far from Inverness we had the Belladrum Tartan Heart Festival.
More in line with traditional ‘festivals’ this three day very family friendly event also boasts the joys of the blue portaloo, the inevitable wait for one, and the pervading smell that goes with it. But enough of my bugbear of the festival scene…it was also a magical experience of music, magic, songs, dance, and performances ranging from big names such as Paloma Faith to small local bands having their very first big stage outings.
Getting to Aviemore wasn’t the level of difficulty I was expecting. The roads were well gritted and quite fine to drive on at a decent speed, even in the darker and colder spots. The problem was that not everyone seemed to realise this, and so I spent the whole the journey in a convoy of trucks doing no more than 40mph. It was almost as bad on the way home.
The side roads, and the minor roads, were still covered in snow and underneath was a lethal layer of ice, but if you kept to those that were gritted and most well used it was easy to travel. Getting on and off of the car parks was a bit more interesting, but the main road in and out of Aviemore from the North was fine. There was no point in rushing though as there was no way to overtake the convoy.
I got there around 11am, desperate for tea and a pee, to be stung for £4.80 for a cup of Earl Grey and a small piece of cake, and that’s on top of £1 to park the car to eat it.
I moved on from Glenmore Forest Visitors Centre, the culprits of this high charged refreshments, and then parked on the verge, thankfully knowing where the parking spots are under the snow and ice and where it was safest to do so. One pound for an hour parking? It’s as bad as parking in the city.
There were a few people out, and everyone of them seemed to be carrying a tripod. I had hardly had an original idea.
I got to work quickly because although the light was just what I wanted I knew it would be disappearing all too soon.
As we approach the Winter Solstice the working day for photography in the Highlands and North East of Scotland is really quite short. It has its advantages because you don’t need to get up at some ungodly hour to catch the sunrise, or the best of the light. The sun is never that high in the sky to remove all the shadow and spoilt the points of interest, and being weak it is often a warm light. Unlike your feet and hands if you stand too still for too long.
The ducks on Loch Morlich are a wise and talkative bunch; no sooner had a photographer appeared and the host flew over to demand feeding. Disappointed. they would then return to the unfrozen shallows in the sheltered part of the loch and await their next hope.
Loch Morlich overlooks the Northern Corries of Cairngorm, including the ski-centre, and the snow was majestic. The sunlight on it was lighting up the slopes and defining the shapes in the faces of the mountains, which the darkness of the rock usually obscures. Given the light, I shot with a view to capturing the scene in colour but when I got home I realised it would look good in mono’. The advantage of shooting Raw is that you retain this choice, and I have processed images as both.
At the moment it is taking me quite a bit longer to process my images, as I struggle to get to grips with Affinity Photos after the simplicity of Lightroom. I miss being able to get a light-box display of all the images in the folder and then easily moving from one to another. In Affinity Photo I have to individually open each file into Develop, then from the processed Raw move into the main image processing space. At least Adobe make Bridge free now and this enables me to see large enough previews of the image to determine the keepers. I hope that Affinity will come up with something like Lightroom as their Photo app is more akin with Photoshop itself, but with additions normally associated with Lightroom.
I was really happy with the 3 Legged Thing Punks Billy, which is easy to operate even with winter gloves on. I use Sealskinz gloves, which I find warm enough without being bulky. Although having leather palms they aren’t perhaps the most environmentally friendly, they do grip well even in the cold and wet.
This outing was the first since I replaced my Nikon D600 with the D800. I had had some issues with oil and dust which meant I had spent a lot more time retouching dust spots from images than I would have liked. I returned my D600 under it’s used warranty and replaced it with an almost mint Nikon D800.
The D800, purchased used from Ffordes, was great. Having the larger pixel count meant that I was able to then crop images much more radically than before.
Even using just half the original image frame, I still had an final image with sufficient information, and pixel resolution, to print to a decent size. The image above was shot in portrait and cropped pretty much across the middle, leaving this the top half. I initially thought I wanted the grass in the foreground but decided against it, and I didn’t take a lens long enough to capture just the area of the frozen loch that I envisaged in the final image.
I was also amazed by the level of detail and the way the ice crystals sparkle towards the top of the frame. I am also impressed with the lack of noice even at high resolution. Earlier this week I had been out as the sun dropped and captured an image using ISO3200 which I would never have thought of as more than a record shot before. It is perfectly useable and appears on my Instagram and Twitter feeds as well as my Facebook page, but I think I could probably get away with printing it to A4 at least if not A3.
As can be expected at this time of year in the mountains the light faded quickly, and my idea to go to more than one location was written off. The sun rapidly sank behind the hills and the (photographic) day was pretty much over.
One last shot and it was time to head home and in another long, slow, crawl behind more lorries and nervous car drivers.
I understand that it snowed later that evening, and the temperatures plummeted further below freezing. It had not got above -4C all day, but this is nothing compared to the winters past where temperatures like this would last for weeks on end.
It is quite funny that many of Scotlands ski centres have just taken delivery of snow making machines that they are struggling to get into position, because of the snow…
The last time we had a white Christmas, and a long period of snow, was the winter of 2009/10, one which holds some very precious (and highly entertaining) memories for me. Perhaps this year will see a repeat of those conditions?
But this time I hope I don’t get snowed out for three whole weeks!!
Well I did it. I cancelled my Adobe Photographer’s package subscription at the point of renewal. As I mentioned in a previous post, I am not happy to work from the cloud because it simply isn’t practical in the Highlands of Scotland where we struggle to get a mobile signal let alone wifi.
I have not been a fan of the subscription model, and being tied into a monthly contract for 12 months, ever since it was launched. Whilst I do appreciate it spreads the cost, you are then tied to it. I also resented being tied to Photoshop when I only need Lightroom, which was always the much cheaper free standing package.
So, what will I be using? Affinity Photo.
I have this on my iPad Pro and it’s superb. It almost makes me want a bigger iPad, as in one with more storage, so that I can use the pencil features. The desktop version I will have to get used to, and after over 25 years with Adobe it will be a big shift.
I might regret it, or it might be liberating. If I regret it then I can always take a new subscription with Adobe in due course, but at least I would do so knowing that I had given it a go without.
I have to say that after a couple of days processing two shoots (from Raw) with Affinity it is a good replacement for Photoshop but it doesn’t replace Lightroom. It is very difficult to accurately assess images without opening each one individually as it has no catalogue feature. I have downloaded Adobe Bridge, which is free, but it feels like too much of a compromise and increase in workflow.
I also find Affinity is very power hungry on the computing front and this means I have to wait for transitions to take place more than I did with Lightroom.
It has slowed my workflow down, and sometimes I am not noticing things until well into the edit which I would have seen immediately and corrected (like minor lens distortions). It probably doesn’t help that I have just moved to the D800 and am dealing with bigger files with more definition.
I have now downloaded a trial of On1 Photo Raw 2018 for 30 days to see if this is better suited. I still like Affinity on the iPad Pro, and I can see uses for it, but more for Photoshop than Lightroom type edits. I, as an ‘right in-camera’ type shooter that doesn’t use special effects, don’t really use Photoshop that much, it was Lightroom that I used most so I feel there is more work to be done.
There is an old saying that something is only worth what someone else is willing to pay for it. Sadly, in the age of digital photography that means nobody is willing to pay what you think it’s worth. Rarely now will they even pay you what it cost you to take the photo.
Let me give you an example:
I have some images from a recent trip on Shutterstock. They have sold quite well so far and I have amassed the grand sum of $2.25 for them. Yes, you read that correctly, I have sold my images and received $2.25. Now, how much of a loss am I at here? Well, petrol is the equivalent of $6.67 a gallon for starters.
Let’s say the trip consisted of 300miles at 54mpg (the average I get from my VW Polo), then I used 5.56 gallons at a total cost of $37.08. Without accommodation, food, or any other expenses (camera costs, insurance, or my time of course) then I am already facing the prospect of at least another 16months of consistent sales to break even on fuel alone.
Shutterstock, and they are just one drop in the competing ocean, pay just $0.25 per image sale on subscribers downloads until you get reasonably well known.
For many people this is a non-starter: Sure, over the years you might see a return on your money, and if you have several thousand images on several sites you might see a profit, in time. But, what you live off in the meantime and how you fund trips and creating new images is another matter.
What about selling your images as fine art prints? Well, you have the initial outlay of the print, framing, and then finding someone to sell it for you in a shop or gallery. You then you have to hope it sells and you get your money back plus a little profit, and after you’ve paid the commission to the gallery. You also need somewhere as storage to put them, between displays, if they don’t all sell. Which they won’t.
For many people this is a non-starter: Again there is the investment need, you have to spend to accumulate is the old saying, but where do you accumulate in order to spend?
So, what can you do to sell your images or make money from your photography in the 21th Century when everyone has a camera? I honestly don’t have the answer, but I do know that the number of people making a sustainable living is ever decreasing. Look in any magazine and you will see the same faces, and very frequently the same rehashed articles – if you want an example take a look at the excellent photos from Fukushima.
This is now the third magazine I’ve seen them in. They’re good, but I am not buying yet another magazine with them in so I missed buying this edition. You can’t blame the photographer for spreading them thinly to get a return on their investment, and you can’t blame an editor for wanting to use good images.
Getting in with magazines requires you to be able to write now as well as take excellent photographs, with the odd exception of art or photography magazines which will take your images only. But even then, often now you get a ‘gift’ instead of money – a camera rucksack for publishing your portfolio anyone? Not me, got one, and I can’t bank another rucksack. I could sell it on eBay I suppose but that won’t bring me a return anything like what it costs me to get those images.
What about getting your work noticed in the first place? Exposure, that fateful word…the one that to 99% of outlets means they ain’t going to pay you a dime. Have you tried to get a plumber to work for ‘exposure’? Have you tried to buy your lunch with ‘exposure’? Art industries are the only industries where ‘we’ (and not me actually) accept exposure as an excuse or licence for not paying a fair price, or even any price.
What does that say about how we value our own work? Aren’t we making a rod for our own backs? If I, we, are going to accept $0.25 an image what are we telling people we are worth? If some of us are happy to see our name in lights (or rather print) and have a swanky new camera bag in return for our hard won images what are we saying about the value we place on our images and our industry?
But, and here is the but, what choices do we have? The answer is very little because if we don’t then we don’t get a look in anymore. Unless you are already well known and established then I fear that the days of the full time photographer are sadly numbered, and even the most well known and respected professionals are diversifying and now make as much money (if not more) from teaching other photographers, either one-to-one or on group workshops and holidays as they do from selling the actual images they shoot. The best of the best – National Geographic – has shed staff and freelancers since the buy out by the horrible Murdoch lead group. Most newspapers now buy in images from freelancers and don’t employ their own photographers anymore.
We are bombarded with visual content, and for every images you have to pay for your can find a dozen that are almost as good for free, or for very little. Photography is now becoming a race to the bottom, and an industry that many dream of entering either as students or dream of turning hobbies into their living. Want my advice? Don’t do it.
There was an interview on my local news station the other day with a retired press photographer and he was asked what advice he would give budding photojournalists today. He said; ‘buy a guitar, there’s not money in photography anymore’.
Is there a future for photographers? I guess we wait and see. We continue to try to elevate our work to the highest standard, we continue to push new markets and new directions, we try to get our work noticed by those who still value the craft and the art of photography and we do so with thousands snapping at our heels who are happy with $0.25 an image or working for ‘exposure’ that they hope will lead to bigger things but usually just leads you to more payment free job opportunities or being passed over for the next hopeful.
I really wanted to move to mirrorless cameras. I was keen to explore a lighter, smaller, more compact and cartable photographic experience. But, I needed to retain the same quality, or improve on what I had. It didn’t quite work out as well as I had hoped and so I’m now back with Nikon, well over a grand down in the pocket for the experience, and a whole lot wiser.
What I am going to say will be controversial to some readers, and that’s ok. Please remember that it is my very personal experience that I am relating, and not a statement of fact condemning any manufacture, cameras, or whatever. Please don’t see it as an invite to send me nasty messages or comments. They might even get published so you will only embarrass yourself. Oh, and all the images are Copyright of me so keep your mitts off.
For me, it started with Fujifilm – the X-Pro 1 came out with two free lenses, the 18mm (not really wide enough), and the 27mm (hmmm, ok as a standard). I loved it, and I took some great photos. But I wanted convenience of a zoom, because I spend a lot of time in wet conditions and I have a tendency to drop things…
I also wanted consistent f2.8.
I had a little trouble holding the very flat body when I was used to a more hand friendly shaped grip. My back and shoulders loved the experience and the photos were top quality, but I would have liked a wider wide angle and I would have liked better focussing, oh and longer battery life. And a zoom with f2.8…
A zoom, any zoom, didn’t feel good on the rangefinder body, at least to me. It made the whole camera holding experience even worse. The X-Pro series is designed for fast primes, it is what they really excel at. But, I am not a street photographer, I’m usually found in fields, up to my arse in mud, frequently in the rain; I live in Scotland. The X-Pro 1, I don’t think, is weather sealed. I didn’t tempt it.
The lens range simply wasn’t there for me, not at that time. I do object to being forced to buy lenses just from Fujifilm. Ok, I have had Nikon bodies with Nikon lenses, but I have also really enjoyed some Tokina lenses and one (and only one) Sigma lens before.
So, anyway, it went away and was replaced by a Nikon D7100, which was all I could afford at the time. But I hadn’t quite got away from really wanting something smaller and lighter, especially at the end of 15mile hike. So that went away to be replaced by the Fujifilm XT-1, which was so much better suited to the zooms than the rangefinder bodies. I still struggled to find a zoom that met my needs, until in the end I got the 16-55mm/f2.8. It is an amazing lens, except that it is actually about the same weight and size as many DSLR lenses, which makes it very front heavy and somewhat unbalanced on the XT-1. I bought a grip, it was better, but now my camera weighed what a DSLR did and took up more space in my bag than my Nikon D7100 did!
It felt like it always wanted to fall forward, even on a tripod, and I had to really make sure it was secure. The lens weighed more than the body and it was huge by comparison. I wasn’t saving much weight, it was awkward to hold, but the results were great and I persevered. I love Fujifilm’s film simulations, nobody does it better, but…
Then the Fujifilm XT-2 came out, and it offered (allegedly) a number of improvements over the XT-1. These, to me, included a flip out screen that went in two directions so you can use it in portrait as well as in landscape, and a jog-stick thing for moving the focus point. Believe me, it was a bit of a pain moving it on the XT-1. Unbeknown to me, my (bought used) XT-1 developed a row of dead pixels, and so I was delighted to part with whilst still under its used warranty (by three days, phew) and so I got a decent deal. It wasn’t very old, and it hadn’t take that many shots so this worried me, and it sat like the elephant in the room over my decision to stay with Fujifilm. I have used Nikon camera’s for years and never experience a dead pixel issue. Jammed shutters on Canon cameras have blighted all three I have owned but never had an issue with Nikon…(and hopefully that hasn’t just tempted fate).
I got my XT-2 brand new. It was like “hens teeth” to get one new, and it would be months or even years before any appeared on the used market. I was concerned by the amount of money I had now invested, and that dead pixel issue reared its head again when I found the XT-2 came with an option for pixel re-mapping in the menu. I wonder why they put that in….? Perhaps there had been complaints.
(Incidentally the OM PEN-F has that option too)
Anyway, more great pictures followed. Although to me, they weren’t actually as great as the ones from the XT-1. The new camera gave me 24MP but to me, there was something I can’t define that was missing from these images that is there with the lower 16MP images from the XT-1. Maybe it’s colour, dynamic range, I don’t know. Sometimes you just find something you like in a camera and moan when they change it. I had the same thing with the D200, the last of the CCD sensors. I still to this day like the look of a D200 image over a D700 image, and I shot both at the same time.
But back to my story – I now wanted more lenses, and the ones I wanted were all large, heavy, and to be frank they are darned expensive. You still have to stick with Fujifilm or go fully manual with a very excellent Samyang. The other odd thing that kept striking me when I picked it up and used the dials was that the XT-2 didn’t seem quite as well made as the XT-1 and I had concerns bit were going to drop off it. They didn’t but I was worried…
I know there are reports online of dials breaking so maybe my concern wasn’t totally unfounded. I didn’t see these until after I’d parted company with it, so they didn’t influence my decision.
If I had the money, and the desire, to go out an buy a mirrorless camera today then I think I would choose the XT-1 over the XT-2. It really does feel better and I actually preferred the results.
I personally think that 16MP is the peak of perfection for a 1.5x crop sensor and that 24MP pushes it too far. But that is me, and every time I post a negative comment or review I get hate mail, but there you go. That’s the internet for you!
To me, with the big lens and with or without a grip, it still felt unbalanced,. You put a heavy, big, lump of fast glass at the front of a body which ways less and has a small hand grip then it is going to.
I really began questioning my missing of the DSLR lens to body balance. I certainly wasn’t saving that much in weight, or size.
To be honest, I have never thought that size is much of an issue. It is more to do with the weight of what you are carrying that determines how pleasant that 10mile hike is going to be. My camera bag remains the same and so I just move padding around to accommodate the size of the items within. I think there is where actually mirrorless manufacturers are going wrong. Having a decent size gives you a secure and comfortable grip in use, and this doesn’t change because hands are, basically, still hands. It isn’t space that’s an issue for me, it is weight.
Also, I am used to carrying my DSLR one handed, it’s just the way that I work. My Fuji’s both really required me to get neck straps because they weren’t comfortable in the hand for very long, and I have real neck issues. My neck issues were one of the reasons I wanted to lighten the load, so I definitely didn’t want my camera back around there again. Without having something to tuck your fingers around it isn’t comfy to single hand hold and wander about with. So it the camera goes around your neck, or in your bag. If it’s in your bag you take less pictures.
I figured that if I was going to go light, then I wanted to be balanced and really light. I wasn’t convinced by the argument that a bigger sensor is better, I think it’s down to the number of pixel balanced with the size of the sensor. A bigger sensor can take more pixels of the same size as a small sensor, if that makes sense. I think, from my personal experience that there is a optimum point. With a compact it’s 10MP, with a 4/3rd it’s probably around 12MP, with 1.5x crops it’s around 16MP, and with full frame 35mm then its around 24MP. That’s my best guess. Yes, if you are printing big enough to notice the difference it will be important, but most of us aren’t.
I also don’t buy the whole thing of needing lots of pixels even when you do print large. I’ve printed to 6ft x 4ft fine art print from a 10MP Nikon D200 native file, converted to jpeg from the raw, and I have printed A3 dps* brochures from a 3MP Nikon/Kodak camera (back in the 1990s) that was a lot worse than 90% of current mobile phones! But, the quality and ability to render colours and tonality is vitally important, more so than how many you have.
I firmly believe that dynamic range is very important, because if you increase that then you already reduce the noise in the shadows and reduce the chance of burned out highlights. You reduce the compromises, and you reduce the need for external filtration. I want cameras to see the range we see, and we are still a long way from that. The human eye is very adaptable, not so much as some birds and animals but way better than a camera.
So, anyway, I thought I’d switch to Olympus (and if you’ve read my other posts then you know how that turned out…)
I guess in the end part of it was that I really missed the familiarity that comes with years of using Nikon. The menus are familiar, the buttons are (largely) in the same place. I favour Nikon over Canon for two reasons (and here I start another fight) – firstly, in over 25 years, I have only ever had three cameras pack up mid-shoot and they were all Canon’s and all with terminally jammed shutters. Secondly, they move the controls and buttons about and I can’t be doing with relearning a new camera as you’ll also know from my things-i-dont-like-about-the-olympus-pen-f post
Ten minutes with any Nikon and I can use it, in the dark, or at least without looking. I take more photos because I’m not messing about in menus, trying to find things. It feels good in my hand. It feels like an extension of me, and that allows me to get on with the creative art of image making.
I keep more images, because I take more images, and because I am not messing about in menus and not getting the results I think I’m going to get. Or missing the shot because I haven’t found the settings I want.
So, I am going back to big and heavy.
Back to a weighty DSLR. Back to big heavy lenses (not that I went very far away with that bit).
I went to my local used dealer and played around with a Nikon D600. Yes, they have a reputation for dust but to be honest if you pick one up now then they’ve either not had an issue, been back to Nikon for free to have it sorted, or the original owner would have got it replaced by a D610 by Nikon F.O.C. So it’s probably now a bit undeserved, unless you get one from a really lazy owner. It does however make them daft cheap, for what you’re getting.
I played with it for ten minutes and it felt like coming home. It sounds silly but I didn’t need to look at the controls more than once or twice, and, within minutes I had the settings the way I wanted them and saved to custom memory. It was just comfortable…
And, I now I also have full frame! And with my ideal of 24MP.
I also now have balance! I can use the camera with one hand again, even with the bulbous wotsit (Nikon AF-S 14-24/2.8). The lenses, even the big ones, balance on the camera. I’ve gone a generation back to get the body, and spent the real money on the glass (always the best plan because you’ll change your bodies every few years but good glass lasts, well almost, forever).
My osteopath won’t like it….
But I do.
And hey, my DSLR with a little 50mm/f1.8 prime even weighs less than my XT-2 with the zoom.
*double page spread, ie. an A3 centrefold in an A4 product