Why I abandoned mirrorless cameras and returned to a Nikon DSLR

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…

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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…

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Ardvreck Castle. XT-1, XF 16-55mm f2.8 R LM WR
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Quirang, Isle of Skye. XT-2, XF 16-55mm f2.8 R LM WR

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).

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Fairy Pools, Isle of Skye. XT-2, XF 16-55mm f2.8 R LM WR

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.

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XT-2, with XF 16-55mm f2.8 R LM WR

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…)

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Olympus PEN-F, 9-18mm f4.0-5.6 (in camera jpeg)

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.

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Nikon D600, Nikon 14-24mm f2.8 nano coated bulbous wotsit

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…

…welcome home.

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….

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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

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End of Summer

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End of Summer

The wind was blowing off the sea, waves crashed on the shore, the beach was empty aside from a couple walking their dog.

Fleeting Summer has…

…gone.

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You can buy a little piece of paradise

Tunes rattled around my head as the wind blew my hair into interesting configurations.

Phil Collins
Don Henley

and

Led Zeppelin

 

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Stairway to Heaven?

Things I don’t like about the Olympus Pen-F

If you’ve been reading my blog you’ll see that I reviewed the Olympus Pen-F a little while ago. Since then I have used this camera on a trip to the Isle of Skye, which I have also documented, and which sadly resulted in my having some serious second thoughts about my relationship with this beautiful little camera.

I love it’s size, I love it’s weight. It makes really excellent 8×10 prints (I haven’t printed bigger yet). But, for me, personally, as a landscape photographer, there are some real issues that have come to light.

Firstly, the Olympus menu system; I shoot raw and jpeg because I like to have the option of reverting to the raw file later if needed, but I also like the convenience of having a jpeg which meets my requirements as a finished image. My problem with this on the Olympus is controlling the jpeg in camera. I got spoiled with the Fujifilm system where you selected a film replication and knew exactly what you were getting. You didn’t need to tweak the colours, it was simple and effective. Now, I know this is down to me not having got the settings right as yet, but trying to delve into menus and options in the middle of a field in gale force winds is just not happening. Trying to see a tiny little adjustment colour wheel on a highly reflective screen, with even smaller nodes and really sensitive operation of the knobs and dials, whilst standing on top of cliff, in sunlight, is nigh on impossible. Trying to make valid adjustments with gloves on, totally impossible.

I know this is me, and that there is nothing wrong with the camera. But, I don’t want to take a degree in computer nerd to operate my camera.

In the end I decided I had had enough of messing about with the jpegs and set the whole camera to shoot raw only and fully manual. I’d deal with the processing after. The trouble is, that isn’t what I bought the PEN-F for, and it’s a waste of its extensive talents.

They say familiarity breeds contempt but with equipment that isn’t true. I have used Nikon cameras for over 30 years, right from film and through the first digital cameras which were Kodak/Nikon hybrids. Nikon, unlike a lot of manufacturers, keep pretty much everything in the same places from one body to the next. The menus have the same titles, and the same order. Sure they add new things but it’s logical. Sure, sometimes buttons moved or can be programmed, but its logical and it takes only a few minutes to find where the stuff has gone to or what’s new. I can operate a Nikon in the dark, like an extension of my own being. It is familiar to the point that I can pick up any body and lens combination and make it work without thinking about it.

This means that I am concentrating on my composition, on actually taking the photo, and not operating the camera.

Anyway, as I said, I switched the camera to raw and manual which kind of turned it into a Fuji…which leads me to the second thing:

I like to use filters to get shots right in-camera, first time. This includes graduated neutral density filters. Now, I’m not a complete numpty and I did leave the 100mm filter system at home (and there is no way to get rings to attach it to the tiny filter sizes of the Olympus lenses anyway). I took a Cokin P sized system with me, with three hard grads, two soft grads, a polariser that didn’t fit the holder (which is another story…), and stepping rings to take the 52mm filter size from the 9-18mm lens down to the 3something-mm of the standard lens. The soft grads were unusable as the graduation change covered more than the actual diameter of the biggest lens, so you couldn’t get the effect at all, just a graduation across the whole scene or a very weak transition of grad over around half of it. This was pretty useless, really. It was also a right bastard to line anything up because the viewfinder is small and the screen is hard to see in bright light. Why can’t they make screen matt?

So, I, and I do mean me, can’t get to grips very quickly with the jpeg options in the field, because I find that they’re too fiddly and too annoying. And, I can’t use filters. And, I’m shooting mainly landscapes.

When I get home, in spite of the issues and how much the Olympus annoyed me in use, I did enjoy the result and was impressed, to a point.

Point three – 4:3 ratio images are odd, to me. They are not quite square and not quite rectangular enough. I ended up turning most of my images into squares. I found that cropping the image to create a more landscape shaped landscape meant a very small file size ensued or, because I had composed the shot with the full size of the sensor in view, I was cropping out bits I actually wanted. Printing onto normal paper sizes also meant cropping off part of the images, which changed the image composition in ways I didn’t appreciate. It was sort of like shooting 6×6 film knowing you’re going to crop to a rectangle so you leave a portion of the frame as unimportant to the composition as you know you’ll loose it. The thing is, with a small sensor like the micro 4/3rds, you don’t have a lot of room for aggressive cropping.

Fourth and final point – the lenses are have are impressively sharp, and they are tiny, which has advantages when hiking, no denying that. Chromatic aberration is well controlled although distortion with the 9-18mm isn’t in raw and there is now automatic adjustments available with a Lightroom profile. This means manually fixing each image, which is fine. It’s not a big job and you do expect that with any ultra wide, especially if its a zoom.

I know the Pro lenses are better, but they don’t suit the PEN-F build. Putting a standard zoom on the front of it makes it front heavy. This doesn’t bother some people, but it does bother me. I had the same issue with the Fujifilm system; the pro fast lenses are the same size pretty much as DSLR lenses but the body is half the size. I found the XT2 with the 16-55/2.8 uncomfortable in use, and weirdly balanced on a tripod, requiring a heftier tripod that I would have liked. This was why I moved to Olympus. To get a balance between the lenses and the body. Perhaps I should have gone for a more traditional SLR shaped body rather than the PEN-F? Who knows.

So, what is the conclusion, my conclusion to this exercise?

Well, I still have the PEN-F kit at the moment because I do appreciate the light weight flexibility. I also think that for travel, where weight or bulk is an issue they can’t be beaten. I also think that for street photography or walking around in areas where you might need to move quickly or surreptitiously they’re wonderful. I never shot street photography until I got the PEN-F because I felt too self conscious. I have depression, and anxiety issues around groups of people, as readers will know.

But….I did just go and buy a used Nikon full frame (FX) D600 body, and two used lenses. It took me around five minutes to set up the whole camera from a factory reset to the way I like my camera setup. I did it whilst having my sandwich, one handed. I then went out and shot roughly 30 images on the way home, in bad light. I loved the reassuring noises it made, even if they were damned loud to start with compared to the Mirrorless cameras I am used to now.

I was reticent about the weight although, the XT2 with its 16-55/2.8 only weighed around a mars bar less, ok two mars bars. I would carry that weight back in extra batteries because the Mirrorless XT2 would get 350shots a charge compared to 900+ with the Nikon DSLR.

I shot in low light, bright light, with and without a tripod, with and without filters, and I rarely looked at the controls. I shot everything in raw, in 14-bit, and then I sat at my computer and admired the detail in the trees and leaves that I simply don’t see in the Olympus images. Yes, I was pixel peeping, because I wanted to do a detailed examination of the files. Then I printed one image out and it fitted to the paper without loosing more than a few millimetres. The whole image, 3:2 ratio.

It has more tonality, it has more detail. Even just printing on an A4 sheet.

Where does this leave the PEN-F? To be honest the jury is out. If someone makes me a good offer then it will go because I need the money back. I will take the Nikon out for a few days and see how I feel about carrying the weight and bulk again. If I decide that actually, with a few manual primes the set up will be just as light and efficient, or near enough, then there is a very good chance I will switch back to a DSLR system completely. I don’t know yet. I’d like to keep both, but that’s not really an option.

An alternative to ‘real’ food? (Updated)

According to Huel there are now over 7billion people on the planet and, from a food point of view, that number and the expected growth to 9.7billion by 2050 isn’t sustainable. We, the westernised humans, also throw away a lot of food while at the same time eating badly.

They offer us a simple, singular, solution: Huel, a complete food in powdered form that requires some water and a vigorous shake. What you end up with a sort of milk shake, although there is no milk in it. There are in fact no animal products at all, making this option completely vegan.

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The starter pack with added flavour sachets
But, is it realistic not to eat food? Are we denying ourselves a fundamental pleasure or is it just social programming from an early part of our lives?

I am going to find out.

Today, I embarked on a Huel conversion programme as my starter pack arrived. Firstly, let me tell you what is in the pack: You get two big bags of the complete food powder which equals (at the recommended measure) 28 meals. You also get two scoops (and I ordered a spare, which was free) so I have three of them as I always loose these things, a booklet on how to get started, a drink mixer/bottle, and a promotional free t-shirt so you can identify other weirdos around where you live.

This little lot costs you £45 including delivery, unless you have an IV or AB postcode in which case you’ll be penalised for an extra £3 delivery charge, and your delivery will take twice as long…

I should also point out at this stage that as far as I am aware I have no food allergies. I also don’t have a colon, which means that a vegetarian or vegan diet in the traditional sense is very difficult for me. To be frank, it comes out like it goes in, and my body struggles to benefit from food, especially vegetables, beans, pulses, and all the things that are part of that diet and/or good for you. I am supposed to take a vitamin and mineral supplement but most of the time I forget.

This is another reason I wanted to try Huel. I actually have a lot of trouble eating, well no that’s not true, I have no problem eating, but I have a lot of trouble digesting food. I am hoping that my body will like Huel, that I will feel better, perhaps loose a little weight from the bad stuff I can eat so very easily (and also digest), and maybe my consciousness will be better because I won’t be contributing to the suffering of animals.

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My first Huel experience
I had a nice email conservation with the founder of Huel about my specific diet issues, and the lack of a colon, and he recommended that I start with replacing one meal a day and use a blender rather than just shaking the mixture in the bottle. So this is what I am doing. I also started with the sweetened Vanilla flavour as recommended on their website.

I made up the recommended amount following the simple instructions, and took a sip. Not too bad, I thought. It doesn’t taste, as some allege, like cold Ready Brek. I actually like Ready Brek. I had a few more sips, and was fine until the sweetness become rather overpowering and I started to gag a little. In preparation for this I had bought some cocoa powder, unsweetened straight cocoa rather than drinking chocolate, and thought I would add a teaspoon of that to it. Whilst this did improve the flavour quite considerably, I was still getting this slightly queasy feeling that I really didn’t like at all. By the time I got around 4/5th of the way through my bottle I felt quite nauseous and so stopped at that point and the rest went down the sink.

Now, I am expecting some ‘bloating and wind issues’, as they are quite well documented on their forum’s and especially during the transition phase. Perhaps the bloating was starting very quickly, even during consumption, and that was the source of the nausea? Or, maybe I just should have ordered the unsweetened version. I feel that I may make my “meals” a bit more watery, and therefore hopefully less sweet, by using a bit less powder to water. The recommended ratio is 5:1 but I might go for a good bit less. This was actually recommended, to me, by the founder, but I wanted to try the authentic initial experience like everyone else first.

As well as ordering the standard starter pack, I also ordered a sample pack of all the supplementary flavours that Huel provide. Some sound more tempting that others; chocolate and coffee sound good, not sure about the custard one. I might also try adding some fresh fruit which should give it more of a kick, and make it more like a smoothie. Hopefully taking away some of that ickyness. There is a definite ickyness to this stuff as it comes.

Half an hour after consuming I feel like I have had a small meal, but I still fancy a biscuit. I’ll be good, and I will experiment more with the next meal option. Perhaps a flavour or fruit? Perhaps if I get around to consuming this lot and ordering more I might try the unflavoured and unsweetened version as I thin this make actually suit my palette better.

I feel a little dizzy and odd, if I am honest, but I can’t say for sure that’s the Huel although I do feel a little disorientated which is most weird. Others have also reported this, but usually after three days when their body is protesting at the removal of some of our naughtier addictions, such as sugar and caffeine, but maybe there is more to it that that?

Watch this space…

 Day 2

I have to confess that I didn’t have any Huel today. To be honest I couldn’t face it. I was put off not only by the sickly flavouring but by the strange after effects, but mainly the over sweet flavour. I would certainly order the non-sweetened and non-flavoured one in the future.

Day 3

Made myself some Huel today, but made it thinner (2 scoops instead of the recommended 3) in an attempt to make it a bit more palatable. I also added some of Huel’s Mocha flavouring which really improved the flavour. The thing is, I had three good mouthfalls and I started to get a headache in one spot. Then the nausea hit me! OMG. Then, worse was yet to come, my mouth started to feel weird and I couldn’t stop salivating. I had to sit down. I can only assume I was having a proper allergic reaction to one or more of the ingredients. My blood pressure dropped and I was unable to get out the chair without hanging on to something. I had to go to the bathroom on my hands and knees, as it was upstairs there was no way I was going to do that vertical. I couldn’t believe it at first. But I was fine yesterday, and absolutely fine moments before. 

Once I started to feel better, a pint of water and an hour later, I did some research. The only ingredient I have not exposed myself to before, at least as far as I am aware of and which constitutes a significant part of Huel is flaxseed. Although rare, it is possible to have the reaction to flaxseed that I have described above. I cannot see that is it anything else, although I would need proper allergy testing to be certain of course. 

I read on the Livestrong website that people who have digestive disorders, such as Ulcerative Colitis which was the route of my surgery, should avoid or at least be very careful with Flaxseed but that is mainly due to its laxative effects. 

It can however, evidently, cause reactions in anyone with an autoimmune related disorder. UC, and Crohns, are thought to be caused by the body attacking itself – an autoimmune response. This would make sense to me then that Flaxseed again could be the cause of the issues I am experiencing. Now, obviously, you can’t trust half of what you read on the internet and you need to check things out with multiple sources and get information from recognised respected and peer reviewed websites, but Livestrong has a better reputation that it’s founder (sadly), and there were others which collaborated this evidence including several state sponsored medical ones. 

I had had some real hopes for the Huel diet, but sadly, it has proven not to be for me. And, I now know I have to avoid flaxseeds! Or at least until I can get proper allergy tested.

Olympus Pen-F – first impressions

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On my first outing with the PEN-F (shot on my iPhone)
The whole point of going to a mirrorless camera, for most people, is to reduce the weight and bulk of their camera, and lenses. Having moved from Nikon to Fujifilm I thought I had done just that, but was it enough? I thought so, until I bought a f2.8 pro’ grade lens for the Fuji, and then I wondered why I had bothered. Yesterday I met the Olympus PEN-F – smaller, lighter, and with relatively inexpensive lenses. Would I be convinced enough to change my whole system again? Let’s see…

Let me give you some facts to consider, based, solely, on my own photographic experience; firstly, when I started in digital photography back in…ahem…1995, we had a Kodak DCS camera in the studio at work. It boasted all of 1.5MP and had a 2.6x crop sensor. This is compared to the standard, 35mm film camera, by which are still comparing our camera and talking about relative sizes to this day. If you want to skip this bit, and I admit its longer than I planned, then scroll on down until you get to the subheading – MY FIRST OUTING below

I used that camera both in the studio and on location, and we were only the 9th fully digital commercial studio in the UK. The reason we were the 9th was simple; a decent digital camera would cost about the same money as a two-bedroom terraced house! I am not joking – £34,000 for the 6MP version, which would quite literally at that time, have bought you my house.

Why am I telling you this? Because we printed our brochures with photos ranging in size from a just couple of inches across right up to A3 equivalent double page spreads, and we did so with images from this camera. Yes, 1.5MP source image was printed to an A3 double page spread, on a commercial press. This is important because whilst I admit the images were nowhere near as good as scanned 35mm transparency film, and I was more used to 5″x6″ positive film, we were doing it in 1995.

So for me, the great megapixel race has never been of interest. I also think it was over around the 16MP mark to be honest, but there you go.

This is relevant because I now have more megapixels in my phone and I (almost) never print those images. I also have a tiny sensor driven Nikon P900, as you’ll see from other posts, and I am more than happy to print the images from that at A4. I also sell them via a stock agency. Yes, little bitty sensor generated files are accepted, if they are good enough, by quite a lot of places contrary to what the full frame fans will try to have you believe. It is also relevant because I used to be a full frame fan – I had a Nikon D700 full frame 35mm equivalent digital camera, and to be honest, the images from the second body 1.5x crop sensor Nikon D200 frequently outsold it. Sure, the D200 wasn’t a quick, wasn’t as good in the dark, but if you worked within the known constraints the images were fine and frequently got printed to canvasses over 4ft wide. I think the CCD was far superior for image quality than the ‘MOS sensors but like Betamax and VHS it was commonality not quality that won the war.

What has this to do with the Olympus Pen-F? Well in order to get smaller bodies, and smaller (and cheaper) lenses, as well as smaller and lighter cameras, the sensor really has to be smaller. I am odd in the photographic world because I have gone from 5×4″ film, to 6×6 film, to full frame digital, to APS-C , and then to Micro 4/3rds. Most people go in the opposite direction, but maybe without the film.

The Nikon D700 was a 12.1MP camera and the body weighed in at 995g. I used it with a 24-70/2.8 and a 70-200/2.8 lens, which weighed 900g and 1,430g respectively. That means, aside from accessories, I was carrying 3,325g or 3.32kg of just bodies and glass. This is why I have two trapped nerves, one in my neck and one between my shoulders. As well as carrying this, I was often shooting with a second body (the D200, 10MP by the way).

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My XT-2 combo
Due to my original neck issue, I then played around with a Fujifilm X-Pro1, but went back to Nikon because it wasn’t doing what I wanted, and got an APS-C sensored D7200. At the time the focussing was too vague and often s..l..o..w.. and the lens choices were far too limited. After doing myself no good carrying the weight again, I then went back to Fuji for the XT-1. By this point there were many more lenses, although still only offered by Fujifilm and Samyang. Exceptional though all those lenses are, you are still very limited compared to Nikon/Canon. Eventually after a number of false starts with some primes, that I nearly dropped in the soup a few times, I ended up with the Fuji XT-2 and the Fuji XF16-55/f2.8 lens. I do not like to miss shots changing lenses, or try to find places to put things down in the, generally, muddy environments I often work.

My quest to reduce weight had now only been partially successful – I now had a body which weighed 507g and a lens which weighed 655g. Yes, that is correct, the lens weighed more than body and two totalled 1,162g or 1.162kg. It was also not that much smaller than my mirrored DSLR body and favourite lens combinations had been. Most of this was down to that lens. Gorgeous thing that it is, and image quality to die for, it is big and heavy. I also wanted more lenses but simply could’t afford them. I analysed my shots and found I shoot a lot of image as wide as I can with the 16mm end. I would like wider, and I would like longer. I don’t actually shoot much in the middle funnily enough.

Now, don’t get me wrong here. I am not going to dissuade anyone from buying into the Fujifilm system. It is a professional workhorse system with very professional quality images. I have, quite honestly, never seen images bettered by any other camera I have used. I have sold countless images from the XT-2 and the XT-1 before it, but these were images that were shot when I could be arsed to carry it, and there is the nub of the problem. Most of the time I just couldn’t be arsed. I didn’t want it around my neck, because frankly it hurts, and if it went into my bag then it very often stayed there. Putting all the stuff down to get out the camera would often mean I had missed the shot anyway, and after 10miles I rarely had the energy left to try. I love walking, but I do not like walking when everything hurts and you fear putting down your bag because you know you don’t want to pick it up again.

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Lunch break on the Isle of Skye 12mile day hike
Here is my kit in a rare moment on the Isle of Skye. I haven’t stopped to take photos, I’ve stopped for lunch. I did take some photos, as you’ll see from my previous blog entry, but I feel I have become someone who is shooting out of necessity, for documentary, and not because it is actually ‘fun’ anymore. I miss the fun. I want to feel inspired and to try things again.

That Gitzo tripod is super wonderful too – and it weighs in at just under 3kg. It was overkill for the camera really, but I like stability in high wind, especially when on cliff/mountain tops. That rucksack, required for all the kit, accessories, waterproofs, lunch etc, also weighs 3kg (empty).

I worked it out that on an average days hillwalking and shooting, I would be carrying at least 18kg, and I just stopped wanting to do it. I wasn’t enjoying being out and worse still I wasn’t enjoying my photography or feeling creatively inspired and that is the crux of the matter.

When I first moved from the Nikon gear to mirrorless I went with the Fujifilm system based on image quality alone. At the end of the day a camera is a tool for taking great images, and to me, hopefully selling them.

At the time of my change over from the Nikon, I did look at the Olympus OM-D system. I had loved Olympus’ film cameras from the OM range. I had several and I really coveted the OM4Ti, although I could never afford one. Sadly by the time I could Olympus appeared to be on their uppers, they had stopped making the OM series, and so I moved to Nikon.

When I moved from Nikon to Fujifilm, as I said, I did look at the OM-D range but I just wasn’t convinced. I didn’t like the feel of the OM-D cameras in the hand, they were actually just a bit too small. In spite of what a lot of people claim, I wasn’t convinced by the build of the original OM-D cameras, they felt, well…cheap.

Funnily enough, the PEN-F, despite being a rangefinder style actually feels more substantial than the OM-D bodies I have looked at, even though it (probably) isn’t. It is also gorgeous to look at, OM4Ti gorgeous, and its really REALLY well made. I actually have more confidence in the build of the PEN-F than I did the XT-2. I guess its those machined dials. I know I said they are tools, but ask a mechanic if he wants a spanner from Snap-on or B&Q. If you enjoy using your camera, you will use it more. Like anything I guess.

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My Olympus PEN-F with 9-18mm lens (shot with my iPhone 6s)
So, let us also look again at that weight again – the PEN-F body is 427g, saving me just 80g on the Fuji XT-2. Not worth it really, given I would lose a fairly big lump of money from my investment changing systems. But, here is the real difference. You see that lens? Well that baby weighs just 155g. The Olympus 4/3rd is a 2x crop sensor, so a 9-18mm is an 18-36mm equivalent. The Fuji X series has a 1.5x crop factor so the 10-24mm, Fuji’s nearest equivalent, is a 15-36mm. The Fuji weighs 410g. So now I have saved 80g on the body and 255g on the lens, a total of 335g. But it gets better still when you look at the other lenses I might need – because I don’t really need a f2.8 with the excellent image stabilisation offered by the PEN-F body, I went for the kit option with the 14-45 lens to replace my Fuji 16-55 coverage. This means I am now comparing 93g to 655g, saving, well, you do the math and you can see where this is leading.

Because I’ve also reduced the lens sizes and weights, I also don’t need a heavy weight tripod, so bye bye Gitzo to be replaced by a MeFoto (bargain used) and my tripod, and head, has now gone from just shy of 3kg to 1.6kg. My filters are smaller too. In fact, everything, aside from the bag is smaller and lighter. Now before everyone says I’m comparing a Ford Focus ST to a bog standard 1.2 version, yes, I get your point, but they both get me from A to B. This is only my comparison and my decision, based on what I have owned and what I own now, for my type of photography, need. I do not expect everyone to agree, but you read this far so want to see what I did, why, and importantly if it works, for me. It may not well work for you because I don’t know you or what you need for your photography.

Anyway, that is the reasoning behind going to the PEN-F and it took a lot longer to get here than I planned, but what follows is my very first outing and my first impressions. I should say that I tried a demo PEN-F first, thanks to Ffordes Photographic Ltd of Beauly, where I have shopped since before they were even in Scotland!

Anyway, enjoy the photos.

MY FIRST OUTING

I confess that the PEN-F is, as the advertising says, a beast. So also is the full manual, the menu system, and all the options. For the first time, ever, I actually had to read all of it, before I could attempt to take a variety of images and understand what it (and I) was doing. I was still reading it at 3am this morning!

So, I traded in my Fujifilm kit based on the demo one, yesterday and I took the PEN-F for a walk this morning. I went local, to the coastal/dune/woodland path parking in Lossiemouth. To be realistic for the future explorations and longer walks, I went with all my landscape kit, plus the Nikon P900 for any chance wildlife encounters, and also took my new used MeFoto tripod. These are the shots from this morning and my comments on them:

I started out with the camera in Aperture Priority because that is what I use most, and I left it there the whole walk. Normally I would use this and Manual for almost all shoots. I also started with the infamous front mode knob set to the I setting and left the menu settings for the colours for this in default. This was the first shot of the morning –

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Unedited out of camera Jpeg with the 14-45mm EZ pancake lens, Aperture Priority, normal shot mode, ISO200, lens at 14mm (28mm equivalent) 
I stumbled across this wonderful use for something long since dumped. The colours in the sky and the heather are rendered accurately and the tones were good enough on the in-camera jpeg I didn’t require the RAW image. I shot both Raw and Fine Jpegs throughout, as I wanted to experiment with the modes, filters, and effects, but I also wanted the ‘negatives’ too if you get what I mean (film pun).

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I decided to get a little closer to the subject, physically, and this in-camera jpeg initially came out a little too light so I have increased the contrast, reduced the highlights very slightly, and increased the vibrance very slightly in Lightroom (to the jpeg). All alterations were under 10%. I am pleased with the result, remembering this is the kit lens that adds just £99 to the cost of buying the body only. The detail is superb, and all the tones are there. I could have improved the in-camera processing when taking the image by using the plentiful adjustments that are available, but it was very difficult to see the screen in the bright sun. People often ask why I sometimes take an umbrella when it’s sunny – it’s because it helps you see the screen, although you do look an idiot using it. (Try it, somewhere quiet…)

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I took a few shots wandering around, and in both portrait and landscape orientation, and at a variety of lens lengths, all on the kit lens, before I had a look at concentrating on the heather.

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I had read on several reviews and forums that you loose some of the depth of field with the Micro 4/3rd systems and so f8 becomes more like f11 or something along those lines. With that in mind, and knowing the reported sweet spot of the lens, I tended to stick around f5.6 as with this shot of the heather, and sadly it didn’t end up with the depth I thought I would. That isn’t actually a bad thing as it means I know I can stop down further now to get it. I also think this heather is a little too pink rather than purple and would adjust this from the raw file if the shot was worth keeping. I put this up unaltered to show you the straight from camera shot.

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Having used the normal shot settings I decided to play with some of the Art filters that come from using the now famous knob on the front the camera. This is Pin Hole III and I liked the colours of that one for the situation, and with the colours around me, although it does move the heather to the pinker tones again.

Because the filters only work on jpeg image files, obviously, where these settings are used here, these are all out of camera jpegs without any Lightroom alteration unless specified.  I had set the Mono one set-up to give me the maximum grain, and at the time of shooting, I adjusted the ‘colours’ to produce was would happen with a ‘red filter’. Although I liked the contrast in the sky, which would have required at least a polariser on this bright sunny day to achieve without that in-camera adjustment, I do find the grain a bit too much. I have now set my mono up with +1 contrast, +1 sharpness, and the lowest added grain setting instead. I look forward to seeing the difference.

I really like option to display the real time exposure, without screen correction, in the Olympus system. This was actually a huge selling point for me because although I don’t do a lot of long exposures now, because they are a bit too common and almost a cliche, I imagine it will save a lot of effort. I like the idea of being able to see what you get with the Live Time mode, and stop a Bulb exposure when you like what you see. Trying to work out exactly how long to time a long exposure, and then to physically time it, in the field, is hard work. Often it is frankly a bit “hit and miss”, and so to cover all bases you shoot several images with slightly different durations. You can’t see what you’ve really got then until you get home. Knowing what you’re getting during the process is a revolution that I can see many manufacturers following, and also something that would only be available on screen or with an EVF. You simply couldn’t do it with the viewfinder on a DSLR because you aren’t looking at what the sensor is actually doing.

I imagine it is the same set-up, within the camera’s programming, that also enables you to see the difference that filters would make at the time of shooting on the screen also. I look forward to seeing how it works, especially with ND grads and polarisers. You do have to play in the menu though, as the default setting appears to have the screen and EVF compensate to produce the image for ‘best viewing’. I turned this off, and now it is set to show me what I am actually getting, which to my mind should really be the default setting on a camera that is squarely aimed at the enthusiast/professional photographer.

At this point in the walk I moved to the 9-18mm wide angle lens for the remainder of the walk.

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I like monochrome work, I specialised in it as a wedding photographer, so I will be experimenting with these settings quite a lot. I really like that you can personalise all the settings, save a number of options, and manipulate the art/colour filters for each individual shot if required.  Love that Olympus, really love that a lot. It goes with my way of working and getting it right ‘in-camera’. I want to spend my time taking photos, not working on my Mac. So, I guess it was worth reading the manual…

I was warned online that there really is an awful lot to learn about the operation of the Olympus cameras because they put so much in, option wise. I don’t want them to change it, but I imagine it scares the hell out of novices who probably don’t get to see or use half of what the cameras are capable of. For someone with 30 years as a photographer, many of those as a professional, and 20 years digitally, I did not expect to have to read the manual hardly at all. I would say, that aside from looking a few things up, I didn’t read the manual for the Fujifilm cameras and certainly not for my Nikons. If I hadn’t have customised the PEN-F I feel I would have been frustrated with it, and disappointed with the operation and the results. It was worth the effort, but you have to be aware you need to make that effort. Of course, you have four saveable Custom options which could reduce work in the future, and some settings will now stay as they are.

One thing that does concern me though: I did my custom settings to the main menus, then I did the Firmware upgrades for the lens and body as directed, and in spite of telling it to save and then restore my settings, it didn’t, so I had to troll through all the menus and do it again. It may be that normal menu settings don’t save unless specified as the Custom options on the dial, but I hope not. I don’t want to sacrifice C1 (Aperture Priority with my settings) and C2 (Manual with my settings) for my normal operations.

I also don’t like the way Olympus installs its upgrades by connecting directly to the camera. On more than two occasions with firmware upgrades on the Fujifilm X series, the download corrupted at some point. As the file is then being saved onto a card, which is then installed into the camera, it didn’t compromise the camera by failing part way through. If the file was corrupt, the camera simply didn’t accept it, and the update procedure was cancelled without loss. I have a nasty fear that if the download is direct to the camera via the app, and it corrupts, I may be stuck with a camera that effectively has no functioning operating system installed! This may be unjustified, and it may be recoverable in the event, but it is scary. Anyway, back to the images…

Neither of the two lenses I purchased, the 9-18mm or the 14-45mm are macro lenses. But this is what you can with the 9-18mm, which happened t be on the camera at the time:

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Who needs a macro lens? 18mm on the 9-18mm @ f7.1/1/125sec
Again, I was expecting slightly more depth of field, based on what I had read, and so I apologise for the out of focus forward mushrooms in the shot. I will know in future I need to set a smaller aperture value for these types of images. This was shot with Color mode II on the front knob and has been cropped very slightly in Lightroom. The uncropped version is below:

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Please remember all these images are resized to a maximum of 2000pixels on the longest edge and are therefore NOT displaying at full size. So, if you’re impressed, imagine what the full size ones look like! I don’t often pixel peep but I couldn’t resist with a new camera and I was impressed.

If anyone wants the full size images please let me know and I will add them as linked attachments. I don’t do this routinely as it can make the site slow to load, and it’s time consuming for me.

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I was really enjoying getting up close and personal again with such a wide angle lens. Something I had enjoyed with the Tokina lens I had on my Nikon. This image is cropped to emphasise the flowers nearest the camera and the vignette (lost when cropped from the original art filter – Pinhole III again) was then added back in Lightroom.

The PEN-F is so much fun to use that I found myself doing more experimental shots than I would previously have taken. I got into the mud for this one and the thing sticking up is really only around 10″ tall. I like the gunky face which I only actually spotted on the monitor back home. This could have suited the Diorama setting more than the Pinhole and I wish I had done a shot in both modes. I was however very pleased with the reflections.

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My biggest immediate impression of the PEN-F is – what a lot of fun photography is, again. As I said in the first section, if you were with me, the Fuji X series provide an excellent workhorse for capturing a vision you have already, but the PEN-F whilst being also a fully capable workhorse, inspires you to re-visialise things and try experimenting more. It is a workhorse capable professional camera, with added fun.

These are, bar far, not the greatest photos I have ever taken, but in total I was out for just over 2hours and I shot 38 images. This is pretty much what would have been a roll of film, and a traditional quick test for a new camera. I enjoyed the short trip and I would have been out longer if it hadn’t not only rained, but also lost the nice clouds decent light. I can work with and in this, but I didn’t want to. It was nearly lunchtime and the forecast wasn’t showing it improving. I feel that I still need to finish reading the manual to fully get to all the features and options of the PEN-F, so I was happy to come back in.

My bag was more of a pleasure to carry, and you can see my basic set up for this trip was somewhat lost in that expanse of Lowepro loveliness. On that note, I wish Lowepro would pay more attention to their hiking pedigree and put a bit more effort into their more economical ranges. Sadly the quest for the perfect camera bag has never been fulfilled, by any photographer, as a far as I am aware.

Just to finish; if you are doubting the capabilities of a smaller sensor camera then I would ask you to question what the marketing bods have told you to get you to buy newer, pricier, and more gear. How much do you really need? I mean, look at these!

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Think that’s, even mildly, impressive? Well that isn’t from the PEN-F, it isn’t even a 4/3rds sensor, or a camera anything like as featured or sophisticated as the PEN-F. Remember I said I took the Nikon P900 along with me? Well these are from that tiny weeny sensor! Imagine what I am going to do with the PEN-F…

I know I am.

Lupins at Spey Bay – a test of the Fujifilm XF WR 16-55 f2.8 lens clarity and close-up abilities, and the XT-2’s colour rendition

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1/250sec, f7.1, 16-55mm @ 53mm
Today I was out at Spey Bay, one of my local haunts, and the opportunity to shoot these marvellous delicate flowers presented itself. I hadn’t gone out with the idea of shooting these flowers, or anything with sky in it as we shall see.

Although I had shot all my images in Fine+Raw, the excellent rendition of the in-camera JPEG set on Velvia meant that when I returned to the office I didn’t have to do a thing with the image aside from cropping.

All the images were shot at ISO200, and thankfully, although it was overcast it was also very bright which meant I could get a decent depth of field to work in close-up, whilst retaining a fast enough shutter speed to get over the constant subject movement.

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1/250sec, f7.1, 16-55mm @ 53mm (again)
I am a fan of cropping square for two reasons; Instagram, and that when the image is then printed and framed it can go on any wall space. Landscape pictures really require a landscape wall, and portrait photos either need hanging in pair, or a portrait wall (or they look too small) – square goes anywhere. Which is why I loved my ‘blad and its 6×6 film format I guess.

Shooting blue or lilac blue flowers (such as Lupins and Bluebells) is notoriously difficult, and I have had considerable trouble with getting this colour correct when I was shooting with Nikon cameras and lenses, and even more so shooting with Sigma lenses. For some reason that a tech’head might be able to explain, this is hardest colour for digital cameras to render correctly, or so my experience tells me. With Fujifilm’s Velvia setting there wasn’t any issue at all.

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1/250sec, f7.1, 16-55mm @ 55mm
I specifically wanted to get the pebble beach into shot as the colours worked so well together, but I did expect to have to work on the raw tile and perhaps tweak this a little. The colours straight from camera, using the Velvia setting, in-camera Jpegs were fine for for every shot shown here, and I doubt I could do much better with the raw files.

I was equally impressed with the contextual shots, although I would probably go to the raw file for this one if I was printing it for the shot directly below. The sky has lost the colour accuracy slightly, and this wasn’t helped by me as I didn’t take the ND graduated filters with me. I wasn’t intending on shooting anything with sky in, but to be shooting details in black and white for my backgrounds and frames series of stock images.

With the raw file, which I have, I would be able to balance the sky more, but I wanted to show you the in-camera jpeg version to see the one time I did feel it either needed to post process. It was down to me not using a grad and not the camera though.

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In-camera JPEG as shoot – 1/125sec, f11, 16-55mm @ 16mm
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RAW with added LR grad to the sky and no other adjustments
As you can see, the image from the raw file is better in terms of the sky, although I think the Lupins loose a little of their oomph. This is a quick edit, and I am sure I can get them to look exactly as the great colours of the in-camera jpeg file.

The only time I have issues with the in-camera jpeg files from the XT-2 is when presented with situations just like this. Here below you can again compare the in-camera jpeg, which I wouldn’t manipulate as it would degrade the image, and the processed raw file which I am happy to work with as it won’t degrade.

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In-camera JPEG – 1/250sec, f11, 16-55mm @ 28mm
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Raw file edited in LR (grad added, plus a little lightening of the shadows) 
Although I prefer the balance now, I do feel that the heavier sky detracts from the Lupins which are the main subject. Even thought this is a contextual photograph i want the intent of the image and the main subject to still be the Lupins so  although I have restored more of the sky, for balance, I would now probably crop more sky out to then restore the intent of the image.

This of course changes the composition and the shape of the final image:

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Processed raw image cropped for emphasis on the Lupines
The images show that Fujifilm XT-2 does a fabulous job of the colours and the lens does an even more impressive job of helping to retain the colours accurately with its coatings, and being so absolutely pin sharp all the way through that every aspect of every image is presented as I envisaged.

Given that the 16-55mm is not a macro lens I was very impressed with how the flowers came out in the close-up photos, and the amount of detail this lens captures blows me away every time. I have had a lot of cameras and really good expensive lenses over the years, but this lens is way up there with the very, very, best of them. It isn’t cheap, but it is worth every penny and is my main lens.