tag:blogger.com,1999:blog-76749270714694825532024-03-14T06:23:04.194-04:00Olympus Digital PenA blog dedicated to the Olympus Digital Pen, a camera that is changing the playing field, a camera that is making photography fun again.D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.comBlogger22125tag:blogger.com,1999:blog-7674927071469482553.post-37811342236187890022010-05-04T09:05:00.000-04:002010-05-04T09:05:27.408-04:00Tip: Yes you can change aperture when using Art Filters !I have noticed a number of complaints on the Internets regarding changing aperture when using Art Filters. Because Art Filters are only accessible using the command dial and the command dial is the only way to enter aperture or shutter priority modes, the assumption has been that there is no way to change aperture. I am huge fan of the pin-hole art filter, so much so that 80% of my pictures are taken using this effect. Since acquiring the Olympus 17mm pancake, I have been doing quite a bit of wide-open shooting @ f2.8 which means my beloved Pin-Hole Art Filter has been left behind for the rather mundane Aperture Priority mode. The other day by accident I noticed that I could cycle through a variety of aperture and shutter combination's as if I was in Programmed Auto Mode (P) allowing me to select f2.8 when using an Art Filter. I was able to cycle through the aperture/shutter combinations by using the vertical command dial on the back of the EP-1 and now my beloved Art-Filters are once again my default weapon of choice.D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com1tag:blogger.com,1999:blog-7674927071469482553.post-53295773276634680142010-04-22T16:03:00.024-04:002010-04-22T16:48:58.309-04:00Making the Switch: DSLR to m4/3rds<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCdLmwFEmiosfToc3tt2DjfCjyuDXBg4q3dyhB6ezFHbnmqNWH1iegTHGkzeYbULGgvaOLZ9Mr75m-kmac4zs0qP0HY5Jj7OsKdNK2el_zOYqPLt7YDdalWWmiI_vOfhwr9JA8mkN_85_T/s1600/decide.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCdLmwFEmiosfToc3tt2DjfCjyuDXBg4q3dyhB6ezFHbnmqNWH1iegTHGkzeYbULGgvaOLZ9Mr75m-kmac4zs0qP0HY5Jj7OsKdNK2el_zOYqPLt7YDdalWWmiI_vOfhwr9JA8mkN_85_T/s320/decide.jpg" /></a><br />
<div style="clear: both;"></div><div style="text-align: justify;">I have seen a growing number of threads on photography forums with same question in mind: Should I do it ? Should I make the switch ? A number of people, like myself, have made the switch while others have clearly stated that they would never give up their DSLR. In effort to provide more food for thought I have decided to write about my story in "Making the Switch'".<br />
<br />
Before I begin I want to preface this story by stating that you can always switch back. Some of the forum posts seem to be from people who are agonizing over this decision and yet they fail to realize that nothing is permanent, nothing is written in stone. If you do decide to switch from one format to the other you can always sell and reacquire what you had (or upgrade to something more desirable). </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">As someone who has owned a few DSLRs over the years: Nikon D50, D200, and Rebel XSI I can tell you one important lesson I have learned: The camera is simply a tool limited only by your imagination. Regardless of brand, model, and design - a camera is (to a certain degree) a camera. Of course your requirements as a shooter truly define what your needs are, but most modern digital cameras have the same basic features. The key reason I purchased my first DSLR was image quality. I wanted noise free, high dynamic range, color accurate, detailed images - something I could not get from point and shoot camera - and something you could only get from an SLR. The migration from a point-n-shoot camera to an SLR was truly a wonderful and rewarding experience though at the same time was also my Achilles Heal. You see with SLR ownership came GAS or Gear Acquisition Syndrome. I needed more lenses, more flashes, tripods, bags and bags for my bags, etc. After a while, the Gear Acquisition Syndrome that comes with DSLR ownership somehow became Gear Burden Syndrome. So to countermeasure the GBS, I begin shooting my D200 with small primes. At first I felt as though I was somehow limiting my capabilities as a photographer running around with nothing but a 28mm prime attached, but I never seemed to miss a shot - it was challenging, yet rewarding and put a little passion back into the process.. The D200 with a small prime attached left me wanting more (or I suppose <i>less</i> would be the more accurate word here) so I switched from the D200 to a Rebel XSI. Yes of course that seems to be an odd migration moving from a Pro body to a Consumer, but my reasoning was quite simple: I wasn't using the D200 for everything it had to to offer: Was I shooting Birds in Flight ? No. Was I shooting sports ? No. Was I shooting in the rain ? No. 90% of the time I was using the D200 with my own no-fills recipe: aperture priority - center point auto-focus, and matrix metering. After a while I reasoned that I could do the same with a Rebel XSI and have a more compact body in the process. Yet even with the purchase of the Rebel I still found myself leaving the camera behind. It was still something I had to worry about, something I had to lug around and something that drew unwelcome attention at times. - it was still an SLR. Then the Olympus EP-1 Pen came onto the market. It was the perfect compromise between an SLR and a point-n-shoot camera. Interchangeable Lenses: Check. SLR image quality: Check. Compact Size: Check. Of course the Pen is by no means perfect The grip isn't as comfortable, no viewfinder, slower performance, limited lens selection, and so on. I honestly begin wondering at first if I had made the right decision, after-all on paper the Pen was no SLR. And then in a moment of clarity I stopped thinking about what I gave up, started taking pictures and realized what I had gained. Taking pictures was no longer a burden. No bags, no bulky bodies, no protruding lenses. No pain around my neck, no unwelcome attention. As Mel Gibson put it best in that movie I can't seem to remember: 'Freeeeeee-dom". I could take pictures and leave all of my worries behind me. Even better the Olympus JPEGs were so good that I could even finally retire RAW which went from being the ultimate control freaks best friend to an often exhausting , repetitive process.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">So am I telling you to "Make the Switch". No. I am simply sharing My Story. Now please share your own.</div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com3tag:blogger.com,1999:blog-7674927071469482553.post-88988400375834662412010-04-15T08:29:00.005-04:002010-04-15T16:22:17.243-04:00Olympus Promises Faster Auto-Focus via Firmware Update<b>Auto Focus Performance</b><br />
This update will improve camera AF performance when shooting both stills and videos with the E-P1, E-P2 and E-PL1 cameras when using any Micro Four Thirds or Four Thirds lens. Auto Focus Lock time when shooting stills is improved by 15%. Auto Focus tracking accuracy when shooting movies is also improved.<br />
<br />
<b>Viewfinder/LCD Simultaneous Playback Function</b><br />
This upgrade also brings additional display functionality to the E-P2 and E-PL1 cameras when fitted with the VF-2 Electronic Viewfinder. Photographers using these combinations can now view menu and recorded images on the LCD while the VF-2 Electronic Viewfinder is in use.<br />
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<b>Movie-Still-Compatible (MSC) Lens Compatibility</b><br />
This update also ensures that like the E-PL1, the E-P1 and E-P2 camera models are fully compatible with and able to take advantage of two recently announced and soon-to-reach market lenses; the M. Zuiko Digital™ ED 9–18mm F4.0–5.6 and M. Zuiko Digital ED 14–150mm F4.0–5.6 lenses. Olympus is designating these two lenses as MSC, or Movie-Still-Compatible. They are optimized for shooting high definition video with accurate and silent autofocus.<br />
<br />
<b>The new firmware will be available on April 22, 2010.</b>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com3tag:blogger.com,1999:blog-7674927071469482553.post-35571584782734221952010-04-06T13:41:00.023-04:002010-04-06T19:03:46.281-04:00The Olympus 17mm 2.8 Review<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ6feY-cULr0AU6CESZTcpYtFVapISTHL-OuFRKBfCswAdqx3FHAW_VDVR7xm4jVeyqr-w9KjLBYdA0qvz3F7QUB1Aw-VGmdUKZkUKPXFy6esmVZ7Ap5BlPzdtCyyXSPZ8qeOfN_ReFoEx/s400/OLY17MM_1.jpg" /><br />
<br />
<div style="text-align: justify;">The Olympus 17 2.8 was announced around the same time as the EP-1. Ever since it was announced the lens has faced quite a bit of scrutiny from users on the web. Even some reviews were rather ho-hum about this optic, and of course once the Panasonic 20 1.7 came onto market, it almost seemed to fade into the shadows. Truth be told I purchased this lens for two reasons: 1) The price was hard to resist and 2) The lenses profile and design are a perfect match to the EP-1. I did of course consider the Panasonic, but I honestly have trouble with the price of this lens which is <i>almost </i>as expensive as the camera body itself and my good friend, author, and professional photographer <a href="http://www.biggstudios.com/">John Biggs</a> stated that the Panasonic had two notable cons which concerned me: 1) Size - with lens cap in place the Panasonic is <i>almost </i>as thick as the kit lens and 2) Focusing - the Panasonic seems to focus a bit slower on the Olympus body. That being said I am not here to contest the two lenses against one another, only provide a <i>subjective </i>review of the 17mm 2.8 itself.</div><br />
<table style="width: auto;"><tbody>
<tr><td><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCozPKVrXDiDZcR21q3Sy5bSD_zl65EHbo97vu8LpNVGpV0mWdg2w_uyLfNvb38YBAknzK_bGtv4tblzAL5mnPTdav_SEsfRjlGYcLMavEBbTwxaqTDOMiDVxQKXM5UfUqVmCZIJPQ80qt/s400/OLY17MM_3.jpg" /></td></tr>
<tr><td style="font-family: arial,sans-serif; font-size: 11px; text-align: right;"></td></tr>
</tbody></table><br />
<b>Design / Build</b><br />
<br />
<div style="text-align: justify;">The Olympus 17 2.8 is quite small and extremely light with the profile only protruding roughly an inch from the camera body. The lens itself is a mixture of metal and high quality plastics all of which feels a bit better in hand than most 50mm 1.8 primes I have used. The focusing ring is well dampened and quite smooth though it should be noted that the focusing ring is <i>by-wire</i> and not truly mechanical, nevertheless in practice manual focus was actually quite a pleasurable experience.<br />
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</div><table style="width: auto;"><tbody>
<tr><td><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibRjLnzn1LLK0MhJwVER3yJrEZKjh4ENd26irYNOiYaMH7mnzGRO5Wvae1Yfo0Pgh0TLF6a5SeuGQd2RRWiajv9ferpu7jkLI2-Td086xVWWIKkN7WqDo9HfTPdpzcPlE8lRhyphenhyphenGTFJDtQi/s400/OLY17MM_2.jpg" /></td></tr>
<tr><td style="font-family: arial,sans-serif; font-size: 11px; text-align: right;"></td></tr>
</tbody></table><br />
<b>Focusing</b><br />
<br />
<div style="text-align: justify;">Thought not scientific, one thing that I took notice of immediately when using this lens indoors was the speed of focus which seemed by all accounts to be <i>significantly </i>faster than that of the Olympus 14-42 kit lens. Focus acquisition was about as quick as I could press the shutter (center point engaged) which was a welcome delight considering that the EP-1 does in fact seem a bit slower at times than an SLR </div><b><br />
</b><br />
<b>Image Quality</b><br />
<br />
<div style="text-align: justify;">I expected the image quality of the lens to be somewhat lackluster after reading several reviews and forum postings on the web all of which had me thinking that this lens was <i>average </i>at best. I suppose the lesson learned here is that one should always take information on the web with a grain of salt as my own findings revealed that the Olympus 17 2.8 was an all-around solid performer. Wide-open @ f2.8 the IQ is stunning from this little gem. Sharpness, color, and micro-contrast are superb. No pixel peeping was necessary to see that this lens is optically <i>superior </i>to that of 14-42 kit (and I do consider the 14-42 to be a very good lens). Out of focus rendition is quite appealing with a very smooth background rendition achievable at fast apertures which is something of an unusual trait that is typically not found in wide-angle lenses, but a welcome bonus nevertheless.</div><br />
<b>Conclusion</b><br />
<br />
<div style="text-align: justify;">The Olympus 17mm 2.8 should in fact be on your short list, especially now that the price has dropped to below $250 (U.S. Dollars). You do give up the convenience of a zoom in the acquisition of a prime, but at the same time you maximize the IQ potential of the camera which for me is welcome trade-off. The lens is such a good performer that I am actually debating selling the 14-42 kit, a lens which I have raved about in the past. Probably the only notable con is the speed of the lens itself with 2.8 looking a bit slow for a prime, though in all fairness we should consider that most 35mm primes are typically no faster than f/2 (save exotics like the Canon 35 f1.4 L, but this lens also costs 5x more) and most likely the speed limitation is by design, after-all remember the Olympus 17mm is a pancake lens (silver dollar edition no doubt).</div><br />
So in summary what does one get for <a href="http://www.amazon.com/Olympus-17mm-f-2-8-Lens/dp/B002CGSYM6/ref=sr_1_1?ie=UTF8&s=electronics&qid=1270564374&sr=8-1">$230</a> ? <br />
<br />
<ul><li>Portable Size and Weight.</li>
<li>Fast and Accurate Focus Acquisition. </li>
<li>Attractive & Well Executed Design matched to the Pen's retro looks and styling.</li>
<li>Constant 2.8 Aperture.</li>
<li>Excellent image quality (even wide-open), a step-above the Olympus 14-42 kit lens.</li>
<li>Delicious Bokeh - did I just say delicious ?</li>
</ul><br />
<b>Samples - Out of Camera JPEGs</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7lKGWgERhPXzPciDrQaZBwQZ08rhIBK1U-CEs9u1s80FVbrsJNJ8_tbHcZmimelTtOyXrWX6kAwmph8WDlMN3NcLwgFT5TvJDtkCo65MxodHNHFn3t-K2rFUK1A9o8OkO8eKWlxi5vOqq/s1600/P4050791.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7lKGWgERhPXzPciDrQaZBwQZ08rhIBK1U-CEs9u1s80FVbrsJNJ8_tbHcZmimelTtOyXrWX6kAwmph8WDlMN3NcLwgFT5TvJDtkCo65MxodHNHFn3t-K2rFUK1A9o8OkO8eKWlxi5vOqq/s320/P4050791.JPG" /></a><br />
Bokeh Test (Click For Larger Sample). Look closely at the texture and detail on the plug itself.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidn2hqm8S1Nm2AcfFKKXF7Bj_P9OrP5QQpZPJCW6LPUm1U99s98K6zhRLPme_Tc6WZNQs7KWnaV5L2ZV1KAEFzMRDM_PqPydc1hWjb8MVh0k-xrrU5UrJ4zfI3JhoAHtWssiwQ90bYTefN/s1600/P4050794.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidn2hqm8S1Nm2AcfFKKXF7Bj_P9OrP5QQpZPJCW6LPUm1U99s98K6zhRLPme_Tc6WZNQs7KWnaV5L2ZV1KAEFzMRDM_PqPydc1hWjb8MVh0k-xrrU5UrJ4zfI3JhoAHtWssiwQ90bYTefN/s320/P4050794.JPG" /></a> <br />
Detail Test - Wide-Open (Click For Larger Sample). Amazing level of detail and texture on the torch.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOPHnVb7zyE6il1lqEKpLbT6teq1pmBq-Pic9w9A7d9JLuj5KiPTIoia9B1p2kmuNUd8cq6YuH8NJx3BHKot0klXZ64WE3qMvXQgiQs1SmUpzGJECMAdU0wQ4aj-bvtF4-j-IjudwN0iYG/s1600/P4050803.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOPHnVb7zyE6il1lqEKpLbT6teq1pmBq-Pic9w9A7d9JLuj5KiPTIoia9B1p2kmuNUd8cq6YuH8NJx3BHKot0klXZ64WE3qMvXQgiQs1SmUpzGJECMAdU0wQ4aj-bvtF4-j-IjudwN0iYG/s320/P4050803.JPG" /></a> <br />
Bokeh Test -Wide-Open (Click For Larger Sample)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1hazB29mU4EjQxS6PQnDGI1y305u2tj5SYTjPkcSr51ieqh8bXHO1iN3QNefWk5cTZlyisgNDwx9bddEYjJ0vNHgtfUrk4zwHEIvsDmz9MiQQeTG41vXYW3bLlOtKAOh7zZugpyTChIzX/s1600/P4050806.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1hazB29mU4EjQxS6PQnDGI1y305u2tj5SYTjPkcSr51ieqh8bXHO1iN3QNefWk5cTZlyisgNDwx9bddEYjJ0vNHgtfUrk4zwHEIvsDmz9MiQQeTG41vXYW3bLlOtKAOh7zZugpyTChIzX/s320/P4050806.JPG" /></a><br />
<div style="clear: both;"></div>Detail Test - Wide-Open (Click For Larger Sample). Examine the level of detail in the Subject's Eye.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhurBdCNWiPYnLUbUKGkUDDF-_Pg-nGsBzj_eNudqp8vMeNqthSS22UtPBHgrbWWJl_ImcdECXoofzGvYCtpYJ-QiezYjnxDcH1AnHK62f2_uzs5s-tPgS9cDWzklq2d8e70YOCwzQ8_5BA/s1600/P4060817.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhurBdCNWiPYnLUbUKGkUDDF-_Pg-nGsBzj_eNudqp8vMeNqthSS22UtPBHgrbWWJl_ImcdECXoofzGvYCtpYJ-QiezYjnxDcH1AnHK62f2_uzs5s-tPgS9cDWzklq2d8e70YOCwzQ8_5BA/s400/P4060817.JPG" /></a><br />
<div style="clear: both;"></div>Wide-Open Bokehlicious<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs-kruElXSX1i_omN_fxPY_j2OrqMU4o-83UMBUymfkta1pk_o5vn8AlwZiHPwlFngBX69QPSc4atXSRQtvUG3bK22lxxDUXu2Exr2h8cBpprVsx0834SPcMwmaU9s-WBCqOGMmZH5sKUe/s1600/P4050792.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs-kruElXSX1i_omN_fxPY_j2OrqMU4o-83UMBUymfkta1pk_o5vn8AlwZiHPwlFngBX69QPSc4atXSRQtvUG3bK22lxxDUXu2Exr2h8cBpprVsx0834SPcMwmaU9s-WBCqOGMmZH5sKUe/s320/P4050792.JPG" /></a><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1KrmyzTh7h77g-Uc72bg5t2N7TJtLp2l5sSxbCNsv-P8mBVfyG83bmJETTUQH7Y7ubQiTJcs0Zpk0magUtNemt6nUFZHm7_0hAgVZSHvRIUm2hvJXZcmvHHDXJ7le6INiTHUmE-dcKoe-/s1600/P4050796.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1KrmyzTh7h77g-Uc72bg5t2N7TJtLp2l5sSxbCNsv-P8mBVfyG83bmJETTUQH7Y7ubQiTJcs0Zpk0magUtNemt6nUFZHm7_0hAgVZSHvRIUm2hvJXZcmvHHDXJ7le6INiTHUmE-dcKoe-/s320/P4050796.JPG" /></a><br />
<div style="clear: both;"></div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com7tag:blogger.com,1999:blog-7674927071469482553.post-46829476315776353272010-04-02T08:26:00.062-04:002010-04-22T16:25:42.353-04:00Completing The Look - Part I<table style="width: auto;"><tbody>
<tr><td><a href="http://picasaweb.google.com/lh/photo/P8M3yt6UsCT7v6dvrOK1KQ?authkey=Gv1sRgCKGapa_H_pHH5gE&feat=embedwebsite"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFufI9blAzI7PBSqpgji6JN7kWqPBLawUUuMXI31TXTXxi12U2JRPuSLcmoL2xXxJddGEbjXy36xBIak8dVVT9u2mdR7pk_WKKBb7kZidGg-w4-j3UoCYCvxCH462i3qo3gdWXXzuucB6x/s288/Picasa%203%20422010%20111939%20AM.jpg" /></a></td></tr>
<tr><td style="font-family: arial,sans-serif; font-size: 11px; text-align: right;"></td></tr>
</tbody></table><i>My Pen with a "Hippie Camera Strap"</i><br />
<br />
<div style="text-align: justify;">If there is one thing that the Pen (or Micro 4/3rds format in general) has resurrected, it's the old school film-era style of photography. When I say 'style' I mean a number of things: Fashion, Lens Choices, and Post Processing. Yes, this is a fad, but it's a good one, one that can teach us a few things in a world lost to automatic technology. So what does one need to 'Complete The Look' and become a true old-school photographer ? Well in the next few weeks I will be talking about everything from fashion, to technique in a series dedicated to bridging the analog & digital divide.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Today I'd like to talk about fashion in relation to photography. Why fashion ? I mean really who cares about the look of the camera ? Well I for one think it does matter, even if the effect is more or less psychological. Our digital cameras are designed to be perfect, automatic, no work required, color output machines. As much as I embrace the technology that goes in digital, one can't help but to feel a bit 'tired' of the cookie cutter look of SLRs and the feeling that once you own one cliche 'soccer mom' pictures of the kids running around and flowers in the backyard are the only things that seem to come natural. Yes, I know I am being a little sarcastic here, but truth be told sometimes the device in hand does in fact become an extension of our perspective. One can't help but to shoot black and white with a Pen, but why is that ? You can shoot black and white pictures with just about any camera, but the Pen seems to provoke the interest a bit more. It's the design and style that plays a role here and regardless of how you attempt to deny it, it works. Put an all magnesium weather sealed Nikon D3 in one's hand and watch what happens: the camera inspires confidence. People assume as it's a pro camera it will auto-magically make them a pro. Now put a cheap, disposable camera in hand - where is the confidence now ? Yes, I know we are comparing apples to oranges here, but keep in mind that we are not comparing specifications, were comparing the look and feel of the machines in hand.</div><br />
So if you really want to go all out and <i>complete the look</i> of your Pen, here are some suggestions:<br />
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<div style="text-align: left;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://ny-image0.etsy.com/il_430xN.52748632.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="256" src="http://ny-image0.etsy.com/il_430xN.52748632.jpg" width="320" /></a></div><div style="text-align: left;"><a href="http://shop.ebay.com/?_from=R40&_trksid=p3907.m38.l1313&_nkw=vintage+camera+straps&_sacat=See-All-Categories"><br />
</a></div><div class="separator" style="clear: both; text-align: left;"><a href="http://shop.ebay.com/?_from=R40&_trksid=p3907.m38.l1313&_nkw=vintage+camera+straps&_sacat=See-All-Categories">Ebay ( Vintage Camera Straps )</a> </div><div class="separator" style="clear: both; text-align: left;"></div><div class="separator" style="clear: both; text-align: left;"></div><div class="separator" style="clear: both; text-align: justify;">Get an Vintage Camera Strap. These straps also known as 'Hippie' camera straps are all over ebay and tend to be dirt cheap. There wide with a velvety finish and actually feel very nice around the neck all the while giving the camera a very era specific look. </div><div style="text-align: left;"><a href="http://farm3.static.flickr.com/2591/4058129781_da8cc88b1f.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://farm3.static.flickr.com/2591/4058129781_da8cc88b1f.jpg" width="320" /></a><br />
<a href="http://shop.ebay.com/i.html?_nkw=olympus+pen+cases&_sacat=0&_trksid=p3286.m270.l1313&_odkw=ep-1+cases&_osacat=0&bkBtn=">Ebay ( Leather Cases )</a><br />
<div style="text-align: justify;">Purchase a leather case (or for a truly retro look, go for a half-case as shown above). Not only does it look good, feel good, and smell good - but it also protects your investment.</div><div><div class="separator" style="clear: both; text-align: left;"><a href="http://www.sgpstore.com/images/olympus_pen_ep1_mahogany_top_title.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.sgpstore.com/images/olympus_pen_ep1_mahogany_top_title.jpg" /></a></div><div style="text-align: center;"><div style="text-align: left;"><a href="http://www.sgpstore.com/index.php/cPath/23_83">SGP Store ( Camera Body Skins )</a></div></div><div style="text-align: justify;">Apply a skin to your camera's body. Again not only does it 'complete the look', but it also helps protect the body. Skins are in everything from leather to wood grain as shown above.</div><br />
<div style="text-align: center;"></div><div style="text-align: left;">Any more tips for "Completing The Look", please share in our comments section.</div></div></div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-42929424564408915052010-03-13T08:26:00.009-05:002010-03-13T09:03:35.018-05:00Life's Precious Moments<div style="text-align: justify;">The Pen being a small and unobtrusive camera was welcome in a setting such as a veterinary clinic because of it's point-n-shoot looks. Yet in this setting, under less than ideal lighting I was able to capture the magic of a dog's emotional first visit to the vet due to the Pen's phenomenal high ISO performance and in-body stabilization - this in itself is a testimate not only to the camera's capabilities, but it's ability to go anywhere and everywhere life's precious moments may be waiting to be captured.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlutIEZoenBJInmG6Qc34F6FTdtUFDrWYDL4xZskDZ_yvw8iyNqrQn90886PWPV1MABy-aUh_bdonYkaKVDqSYsAReLXNxYS3u-y6ln9wr6SrW8DsCUZidYdjS8mn5LFwWOfGWTBqXPo3R/s1600-h/P3090550.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlutIEZoenBJInmG6Qc34F6FTdtUFDrWYDL4xZskDZ_yvw8iyNqrQn90886PWPV1MABy-aUh_bdonYkaKVDqSYsAReLXNxYS3u-y6ln9wr6SrW8DsCUZidYdjS8mn5LFwWOfGWTBqXPo3R/s320/P3090550.JPG" /></a> </div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhlYgcSds9xEnMSn62SM5Z2nkOrMxk3qKpKfBXH_-YXdfzOvW8ipTPhWtedVvf7b9xqoiFk9tplCIsgVTx1F0qIVNQenuka007CAs4wdiolFfOxc20ztbJabI0b0_l6N6xjUeGEsyD6a1L/s1600-h/P3120566.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhlYgcSds9xEnMSn62SM5Z2nkOrMxk3qKpKfBXH_-YXdfzOvW8ipTPhWtedVvf7b9xqoiFk9tplCIsgVTx1F0qIVNQenuka007CAs4wdiolFfOxc20ztbJabI0b0_l6N6xjUeGEsyD6a1L/s320/P3120566.JPG" /></a> </div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCie9Q7x4TAwNLAmTpqNJDeq13b-EgLXiZiQshJAz95-V9sq1H0Vyww4ZKaC3F3lXQCDWdoorJakDMNb11jpj_xQHbHNlN-PDhIjF5wNch2P0E1tFS1yih1n3ebjcWHQndDE8h3XR1nN65/s1600-h/P3120568.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCie9Q7x4TAwNLAmTpqNJDeq13b-EgLXiZiQshJAz95-V9sq1H0Vyww4ZKaC3F3lXQCDWdoorJakDMNb11jpj_xQHbHNlN-PDhIjF5wNch2P0E1tFS1yih1n3ebjcWHQndDE8h3XR1nN65/s320/P3120568.JPG" /></a> </div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLlk9yjfuHClCffqb10Y0yB2tiwEK6nrMUimdf4oB-gur918aFxhAzgpyBJzsKZCfTx8mx6WN8_H8NpozALBbxk2R89sPZ8sifipwwYEcXV7OlW9CeT8RZapcJJhoifuOs3-NOEhx7AD7/s1600-h/P3120571.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLlk9yjfuHClCffqb10Y0yB2tiwEK6nrMUimdf4oB-gur918aFxhAzgpyBJzsKZCfTx8mx6WN8_H8NpozALBbxk2R89sPZ8sifipwwYEcXV7OlW9CeT8RZapcJJhoifuOs3-NOEhx7AD7/s320/P3120571.JPG" /></a></div><div style="clear: both; text-align: left;"><i>14-42 Kit Lens. ISO 800-1600. Out of Camera JPEG. Pin-Hole Art Filter. </i> </div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-30168228290446530372010-03-11T06:00:00.001-05:002010-04-07T08:34:53.100-04:00Lens Choices For Your Pen<div style="text-align: justify;">It's a heavily talked about topic on forums: what lens should you get for your new Pen ? The answer unfortunately is not a simple one. If you are like me and spend time trolling (no pun intended) through the forums, you probably see a re-ocurring theme of 'Purchase the Panasonic 20mm prime'. So is it that simple ?</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">To start, I am going to say something that will shock and awe you, something most people won't admit too, but as a long time photographer I plan to enlighten you with: Most lenses have good optics. Computer aided engineering, advances in optical technology, coatings, etc - you name it, "it's in there" - even in the inexpensive kit lenses. What does this mean ? Well quite simply it means that the inexpensive kit lens that comes with your Pen is going to be sharp, contrasty, and colorful. Reviewers and critics will attempt to find flaws, and on paper these flaws are in fact reproducible, but in the field you'll most likely never see them. So putting charts and graphs aside and equalizing the playing field in terms of the quality of the optics, how do we compare these two lenses ? We compare them in terms of their usability, a factor that at the end of day goes a lot farther in making a sound decision than attempting to figure out which one has the higher MTF number !</div><div style="text-align: justify;"></div><div style="text-align: justify;">So why should I choose the Panasonic 20 1.7 over the Olympus 14-42 kit lens ?</div><div style="text-align: justify;"></div><ul style="text-align: justify;"><li> <strike>It's compact. Much more so that the Olympus kit. </strike> While the pen cameras are in most cases more desirable to carry around than an SLR, the protruding kit lens is still a buzz kill for those seeking a truly 'pockatable' option. </li>
<li>It's fast. The 1.7 aperture + Olympus IBS (In body stabilzation) + Olympus high ISO performance equals a very confident 'no flash required' machine.</li>
</ul><div style="text-align: justify;">So why should I choose the Olympus 14-42 kit lens over the 20 1.7 ?</div><div style="text-align: justify;"></div><ul style="text-align: justify;"><li> It's cheaper. The 20 1.7 is a very expensive lens considering at the end of the day it pretty much is the standard fair 35mm 50 1.8 (ok 40 1.7, but u get the drift) which go for around $100. You pay a premium for the lack of competition in the 4/3rds marketplace.</li>
<li>It's more flexible. A zoom is always more flexible that a prime. 28-84mm is a very good working range that should satisfy most day-to-day requirements.</li>
</ul><div style="text-align: justify;">So what is best choice ? Get Both. I think the 14-42 is a great lens, and really should be your first choice. It's cheap, offers a nice range and to taking a quote from Steve Job's "It Just Works". The 20 1.7 is more specialized and should be considered as a second addition to the family (especially so if you require a faster aperture and/or looking to minimize the footprint of your Pen as much as possible). I myself patiently await more 4/3rds primes !</div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-70103739683744775302010-03-10T06:00:00.045-05:002010-03-10T06:00:09.667-05:00Photographer's Block<div style="text-align: justify;">It happens to all of us now and again, we tire of the subject matter we are shooting. The cliche' flower and landscape just loose their substance after a while. The problem isn't the subject matter, it's the perspective of the photographer.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">It's a problem that everyone suffers from and the issue is deeply rooted in the influences around us. We grow up thinking that the best pictures are those of vivid mountainous landscapes, a winding river, a glowing sunset or a garden full of colorful flowers. The problem is we all don't have the luxury of having those national geographic 'esq subjects in our backyards and even when we do like everything else the interest fades after a while.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Perspective is key in solving 'Photographer's Block', our limitations are bound only by our imagination, not by the subject matter than stands before us. For instance, we may take a stroll downtown through a city and take pictures of buildings, monuments, etc. After a while we become bored with the location after all buildings and the like don't change very often. So how do we bring fresh subject matter to a location that doesn't change ? We change perspective: A Building shot in color, is now shot in black and white. Instead of shooting the building as a whole we instead shoot the windows, the door, or the sign hanging above. We shoot from the round looking up, from the side, or an angle. We shoot a patron smoking right outside the door, or slow down our shutter to capture the movement of traffic in the street. We change, because sometimes our subjects do not. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Every time we visit a place, we need to look at things with a fresh perspective. Our eyes and mind are programmed to look at things as a whole complete product, but it's the little things that truly make great subject matter. When we focus in on a subject, we draw attention to it, we compel the audience and sometimes we tell a story. When our subject is too complex, we sometime loose our audience to the visual overload being presented. Do yourself a favor the next time you visit your proven, but worn hunting grounds - look at things you didn't look at before, attempt to shoot things that you would normally pass by - you will not only overcome 'Photographer's Block', but you will also become a better photographer. </div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-80477518451688438652010-03-09T09:53:00.002-05:002010-03-09T09:56:47.720-05:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM1T6ikWShaAPKGzaR1RaoFOvYcJ7nquYvpF6cen-iYs8CLgCJxusHW-ZjINgIqclx_7sfi8tdTlMyfaa_uC5OcgHGOBnbSGcOApGKIEAJZcsfU0nhfOQsLS2j90jPlRtLubnPpe-CLWUv/s1600-h/P3070537.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM1T6ikWShaAPKGzaR1RaoFOvYcJ7nquYvpF6cen-iYs8CLgCJxusHW-ZjINgIqclx_7sfi8tdTlMyfaa_uC5OcgHGOBnbSGcOApGKIEAJZcsfU0nhfOQsLS2j90jPlRtLubnPpe-CLWUv/s400/P3070537.JPG" /></a> <br />
Alone<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiR1ovpUWUX3Qexh8HEbWbCvLk3FDxAg5yFTaTJc29NyMAovDEcGvbFPUse_pZ1jCZN_cJyCrqIIvf8-dq0IVicQz8THA6oKWaFGma1xCDSCqQn-BtBCcia8r5u9wyLNHSW4EJ8vz5nxBb/s1600-h/P3070538.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiR1ovpUWUX3Qexh8HEbWbCvLk3FDxAg5yFTaTJc29NyMAovDEcGvbFPUse_pZ1jCZN_cJyCrqIIvf8-dq0IVicQz8THA6oKWaFGma1xCDSCqQn-BtBCcia8r5u9wyLNHSW4EJ8vz5nxBb/s400/P3070538.JPG" /></a><br />
<div style="clear: both; text-align: left;">Dead Dog Saloon</div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-12994333168418412502010-03-08T10:22:00.002-05:002010-03-08T10:31:02.921-05:00The Pier<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyT8vr2U3wbV5YTWXkhIo7VVasu0U1naEuSydCMWzYMjE5sBC0KP-rcq3fQC_xAdopA51Gx6bPug1a8c64wZhCjpP24JP6m6Sqo-Ydqw1AkDprhqNL87IDeERmIWkkITYAJL_HIynCYjHK/s1600-h/P3070536.JPG"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyT8vr2U3wbV5YTWXkhIo7VVasu0U1naEuSydCMWzYMjE5sBC0KP-rcq3fQC_xAdopA51Gx6bPug1a8c64wZhCjpP24JP6m6Sqo-Ydqw1AkDprhqNL87IDeERmIWkkITYAJL_HIynCYjHK/s400/P3070536.JPG" /></a>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com1tag:blogger.com,1999:blog-7674927071469482553.post-67202521378235094982010-02-08T17:06:00.003-05:002010-02-09T07:45:36.038-05:00No Flash Required<div style="text-align: justify;">It's probably the biggest complaint I have read about on forums: the EP-1's lack of internal flash. For some people (especially those migrating from a P&S), flash is a critical element of the camera. For me, the lack of an internal flash turned out to be a blessing in disguise. Learning to use the camera under natural lighting conditions and taking full advantage of the respected high ISO performance of the EP-1 has allowed me to produce some of my best work to date. <br />
<br />
</div>No Flash Required ( Tips & Tricks )<br />
<br />
<ul><li>With still subject matter, the EP-1 has built in stabilization to help combat the effects of camera shake. Use this to your advantage. I have hand-held shots as low as 1/16 of a second using IBS.</li>
<li>If you need more shutter speed, raise ISO. The EP-1 has a maximum ISO of 6400.</li>
<li>If ISO 6400 doesn't cut it, you can 'push' the camera ISO. Just dial in a exposure compensation of +1 (or higher) EV. Pushing the ISO will generate more noise, but the look is perfect for B&W.</li>
<li>Select Continuous Mode. The EP-1 has a burst rate of 3 FPS, giving you a higher probability of a sharp picture. </li>
</ul>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-40286601770740706302010-01-27T07:00:00.003-05:002010-01-27T08:08:03.838-05:00Dramatic Black and White In Camera<div style="text-align: justify;">Want a very dramatic black and white picture straight out of your pen ? Want a touch of contrast and some soft vignetting ? Well the formula is quite simple: shoot in color using the PinHole Art Filter and then convert in-camera (using the JPEG editing features) to black and white. The camera of course makes a copy of the original during the black and white conversion process so you'll have both in the event you find yourself indecisive with the desired effect. The Pinhole + Black and White, in my honest opinion, is nothing short of gorgeous.<br />
</div><a href="http://myrtlebeachcrazyhorse.com/pen/phbw_before.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://myrtlebeachcrazyhorse.com/pen/phbw_before.jpg" width="266" /></a><br />
<div class="separator" style="clear: both; text-align: left;">Before Black and White Conversion<br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://myrtlebeachcrazyhorse.com/pen/phbw_after.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://myrtlebeachcrazyhorse.com/pen/phbw_after.jpg" width="266" /></a><br />
</div><div style="text-align: center;"><div style="text-align: left;">After Converting to Black and White in camera.<br />
</div></div><div style="text-align: center;"><br />
</div><div style="text-align: justify;">The above picture was actually a candid of my wife as she sit waiting in the living room - she looked up and I snagged a quick shot under some rather poor, incandescent lighting. ISO 1600 f 5.2 36mm. Studio In a Box ? Of course, no flash is necessary with the pen.<br />
</div><div style="text-align: center;"><br />
</div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com1tag:blogger.com,1999:blog-7674927071469482553.post-89092110811149424082010-01-26T10:45:00.013-05:002010-01-26T10:58:29.686-05:00The "Bleached" Pin Hole Effect<div style="text-align: justify;">I have been a huge Photoshop fan since it's inception, which is why it's very bittersweet for me to state that the Pen has made me Photoshop free. Many of many favorite effects and processing tools are built right into the camera so why should I spend the added time in the digital darkroom when I can spend more time in the field shooting ? To demonstrate the depth of Photoshop-free effects achievable with this camera I will continue to enlighten my blog audience (crickets !) with tips and tricks that provide those ever-popular and fashionable looks people are searching for.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The Pin Hole filter is one of my favorite all-time effects and with a little tweaking you will find that this is not simply a static filter, but one that can be changed to your liking by modifying other camera parameters. Today's topic: The Bleached Pin Hole Effect. The Bleached Pin Hole Effect is very simple formula: Pin Hole Art Filter + Overexposure. That's it, nothing more, nothing less. I recommend as a starting point a roughly +1 stop of exposure, but of course tweak to your liking.<br />
</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="http://myrtlebeachcrazyhorse.com/pen/oe1.jpg" width="400" /></a><br />
</div><div style="text-align: center;">Exposure pushed +1.3 EV<br />
</div><br />
<div style="text-align: justify;">I think this look is somewhat reminiscent of the film era Bleach Bypass effect. I see wedding photographers adding this effect to their portfolio all the time, of course they have sit behind a desk and process each image to achieve this look, us pen owners are fortunate enough to have it built right into the camera.<br />
</div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com5tag:blogger.com,1999:blog-7674927071469482553.post-85697601637768132332010-01-13T08:26:00.001-05:002010-01-13T08:27:30.254-05:00Firmware 1.2 released for the Olympus EP-1Quoted from dpreview.com<br />
<br />
<div style="text-align: justify;"><i>Olympus has released a firmware update for its E-P1 Micro Four Thirds camera. Version 1.2 changes the duration of the enlarged MF Assist view, 'to improve operability'. It also changes the camera's behavior when the screen backlight is turned off. The updates improve the autofocus operation of both the lenses. Firmware updates can be downloaded via the Olympus Master/Studio software</i><br />
</div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-52610598837562403752010-01-08T09:44:00.008-05:002010-01-26T10:59:15.704-05:00Art Filters: Grainy B&W<div style="text-align: justify;">Olympus has some very impressive controls for creating black and white images. You can change contrast and sharpness, select from a number of black and white filters, add a touch of noise, color toning, and even a bit of vignetting, all without ever leaving the camera - truly impressive stuff.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The Pen has several 'Art Filters' built into it's in-camera processing arsenal. Last week we discussed the Pin Hole Art Filter, one of my all-time favorite effects. Today I would like to talk about the Grainy B&W Art Filter. The Grainy B&W filter, as the name implies, produces a rather coarse, contrasty, edgy 'journalistic' look. It might sound a bit rough from the description and truth be told this is one of those most destructive filters I have ever used, that being said the end-result is rather satisfying as it invokes a dramatic response from each image.<br />
</div><br />
<div class="separator" style="clear: both; text-align: center;"><a imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://myrtlebeachcrazyhorse.com/pen/gb1.jpg" width="320" /></a><br />
</div>Last Few Bites<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://myrtlebeachcrazyhorse.com/pen/gb2.jpg" width="320" /></a><br />
</div><i>Thinking Back</i>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-71744132915422792192009-12-31T16:15:00.000-05:002009-12-31T16:25:20.299-05:00Art Filters: The Pin Hole Effect<div style="text-align: justify;">Art Filters are one of those things that I typically disregard on a camera. Let's face it, art filters or 'in-camera effects' are typically pretty nasty looking (I still have never understood the Solarize Effect that Sony put on all of it's cameras years ago to be honest with you). That being said, the Olympus EP-1 has some very usable and likable art filters in it's arsenal. In fact there are several Art Filters which I use quite often, including the one I am going to discuss today: The Pin Hole Effect.<br />
</div><div style="text-align: justify;"><a name='more'></a><br />
The Pin Hole Effect is somewhat reminiscent of the 'Holga Look', a look that is quite edgy and artful in many respects. A touch of nice vignetting, some stronger color and contrast and too my eye (in trying to dissect the Olympus formula) a little warming as well. The reason I love that fact that Olympus included this effect in-camera is that it is probably one of the most replicated effects done via post processing in Photoshop.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The caveat of the Pin Hole Effect, or the Pen's Art Filters in general is the overall speed of operation when shooting with the filters enabled. It can take upwards of six seconds to save an image with the Pin Hole Effect turned on. While this may seem like a deal breaker to some, I must ask you this question: How long would it take you to turn on your PC/Mac, open PhotoShop (or your default photo editing application) and apply the effect via post process ? I can answer this question for you: Longer than six seconds.<br />
</div><div class="separator" style="clear: both; text-align: center;"><a imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://myrtlebeachcrazyhorse.com/pen/ph1.jpg" width="320" /></a><br />
</div><div class="separator" style="clear: both; text-align: left;">Food Photography ? Spice Things up with Pin Hole Art Filter<br />
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</div><div class="separator" style="clear: both; text-align: justify;">The Pin Hole Art Filter is truly full of surprises as it can turn even the most mundane of images into something special. <br />
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</div><div class="separator" style="clear: both; text-align: justify;">Excellent uses for the Pin Hole Art Filter:<br />
</div><ul><li style="text-align: justify;">Give Scenes with Dull Colors or a Lack of Contrast impact.</li>
<li style="text-align: justify;">Turn Boring Subject Matter into Fine Art</li>
<li style="text-align: justify;">Give Portraits a Dramatic Presence</li>
</ul><div style="text-align: justify;">The list of course goes on. Limited only by one's imagination....<br />
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</div>Shot in the Studio ? Nope, just another example of the fine work archived when using the Pin Hole Art FilterD. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-70599046608359563922009-12-30T09:11:00.002-05:002009-12-31T17:12:59.511-05:00B&W MomentsAll of these pictures are straight out-of-camera JPEGs with no post processing provided. Pin-Hole Art Filter. Natural indoor lighting. Lens: Olympus 14-42 m.Zuiko.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.blogger.com/post-edit.g?blogID=7674927071469482553&postID=7059904660835956392" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://myrtlebeachcrazyhorse.com/pen/bw4.jpg" width="320" /></a><br />
</div><div style="text-align: center;"><div style="text-align: left;">F4.9 1/60s ISO 1600<br />
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</div></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.blogger.com/post-edit.g?blogID=7674927071469482553&postID=7059904660835956392" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://myrtlebeachcrazyhorse.com/pen/bw1.jpg" width="320" /></a><br />
</div><div style="text-align: center;"><div style="text-align: left;">F5 1/60s ISO 640<br />
</div></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.blogger.com/post-edit.g?blogID=7674927071469482553&postID=7059904660835956392" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://myrtlebeachcrazyhorse.com/pen/bw2.jpg" width="213" /></a><br />
</div><div style="text-align: center;"><div style="text-align: left;">F5.2 1/25s ISO 1600<br />
</div></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.blogger.com/post-edit.g?blogID=7674927071469482553&postID=7059904660835956392" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://myrtlebeachcrazyhorse.com/pen/bw3.jpg" width="320" /></a><br />
</div><div style="text-align: center;"><div style="text-align: left;">F5.6 1/10s ISO 1600<br />
</div></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.blogger.com/post-edit.g?blogID=7674927071469482553&postID=7059904660835956392" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://myrtlebeachcrazyhorse.com/pen/bw5.jpg" width="213" /></a><br />
</div><div style="text-align: center;"><div style="text-align: left;">F5.2 1/50s ISO 1600<br />
</div></div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-18721793499892579062009-12-30T08:50:00.001-05:002009-12-31T17:11:22.546-05:00Free RAW Converter: UFRawI just made my case the other day for why I shoot exclusively with JPEG using the EP-1, but that doesn't mean I am disregarding the RAW format altogether. RAW is a highly respected and widely used format amongst many digital darkroom aficionados. <br />
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UFRaw has been around a long time. It's an open source project based on the dcraw conversion utility. The converter itself is fairly straight forward in use and provides a plethora of controls, though some important items such as sharpening are in fact missing. UFRaw is also a cross-platform application in that it can be used on Mac, Windows, and Linux platforms.<br />
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<a href="http://ufraw.sourceforge.net/">http://ufraw.sourceforge.net/</a>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-73787399716726086632009-12-30T08:31:00.000-05:002009-12-30T08:32:14.682-05:00Craving More EP-1 ? Check out the Forums @ E-P1.NET<div style="text-align: justify;"><span style="font-family: Arial; font-size: small;"><span style="font-size: 13px;">Want to discuss the EP-1 with like minded individuals ? Do you love talking about lenses and accessories or enjoy showcasing your work ? Then look no more, the E-P1 forums is where you will find this and more...</span></span><br />
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</div><div><span style="font-family: Arial; font-size: small;"><span style="font-size: 13px;"><a href="http://e-p1.net/index.php">http://e-p1.net/index.php</a></span></span><br />
</div><div><span style="font-family: Arial; font-size: small;"><span style="font-size: 13px;"><br />
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</div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com1tag:blogger.com,1999:blog-7674927071469482553.post-33883697922096942242009-12-29T15:55:00.000-05:002009-12-29T16:19:41.280-05:00Save Space: Skip the Super Fine JPEG SettingI understand that we are in fact living in an age in which storage space is rather cheap, but that doesn't excuse us from waisting space simply for the sake of doing so.<br />
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<div style="text-align: justify;">Respected Dpreview author/reviewer Andy Westlake made the following comments on a dpreview thread several months back in regards to the Olympus Super Fine JPEG setting on the EP-1:<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><i>Once you've found where Olympus hid SF compression, I'd strongly advise you take a load of shots at both levels and look at them extremely closely. Then, when you've satisfied yourself there's no visible advantage to using SF, you can set the camera back to Fine and stop wasting your card space.</i><br />
</div><div style="text-align: justify;"><i>Seriously, there comes a point where decreasing the JPEG compression level is pointless, it just gives larger files. For example Photoshop allows settings of 1 - 12 for quality, but most experts will tell you there's little point going above 10. Olympus's SF JPEGs are considerably larger than Photoshop's set to 12.</i><br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><div style="text-align: left;">You can read the full thread @ dpreview.com: <a href="http://forums.dpreview.com/forums/read.asp?forum=1041&message=33357575">http://forums.dpreview.com/forums/read.asp?forum=1041&message=33357575</a><br />
</div></div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-46228618868937614562009-12-29T14:41:00.000-05:002009-12-30T09:00:00.530-05:00Why JPEG is a Solid Choice with the EP-1<div style="text-align: justify;">You probably see quite a number of comments made on the web in regards to the Pen's OOC JPEGs. This is due to the fact that the EP-1 delivers a very well rounded JPEG. Now I am not going to tell you to shoot JPEG, and if you prefer RAW than by all means do so, but I will tell you that the JPEG engine in the EP-1 is good enough that you can safely leave RAW behind if you would like to truly minimalize your workflow. Some people, however, due in fact love the digital darkroom and prefer to change things after the fact. I have no issues with those who enjoy the RAW format, I do however think that their needs to be some clarification in regards to the RAW vs. JPEG issue which seems to be misunderstood.<br />
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</div><div style="text-align: justify;">I don’t need to go into detail of what RAW is. If you’re reading this post than I am going to state before going forward to do a little homework as a pre-requisite. What I will talk about is how modern technology has changed the game and in some cases reduced the benefit of the RAW file format.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">For years it has been known that most DSLRs produced a better result when one shot with RAW and post-processed the images via software such as Lightroom. However the reason was not due to the fact that JPEG was a poor format, it was due to the fact that the processors and in-camera algorithms that convert RAW data in-camera into JPEG were slow and poorly designed.Sharpening often produced artifacts, camera color profiles were often misaligned, tone curves were either too weak or too strong, noise reduction was more a process of smearing the image than actually reducing noise. The end result was a poor quality JPEG with irreversible damage. RAW was the savior in this regard: You could tune everything to your tastes often producing a much better result than the manufacturer was able to achieve and on top of that you could also be a little lazy with things like exposure and white balance as you typically had some latitude to adjust these parameters after the fact. Sounds like RAW is a winner. Well yes and no.RAW is a fantastic format due to it’s flexible nature and I won’t get into the basic arguments of file size and speed as many of these playing fields are now somewhat level – I will however argue that RAW does take time, time away from photography. Processing a picture is a matter of re-creating the image as you remember it in your mind’s eye – this can sometimes be a daunting task. I have sometimes spent hours on a single batch of images trying to get things ‘right’ or as believe they were supposed to be. Over the years I found myself spending more time behind the computer and less time in the field shooting. What started as a very interesting hobby begin to turn into a time consuming animal one that left me wondering if the return on investment was truely satisfying. Once photography begins to feel more like a chore than a creative outlet, it's time to begin investigating the problem.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Over the years, the processing engines in modern cameras have become quite powerful, enough so that sophisticated algorithms such as unsharp masking and the like now can take place in-camera during the RAW-to-JPEG conversion process. The result is JPEGs that leave very little to be desired. Detailed images without artifacts, tone curves that makes the most of dynamic range, natural yet appealing colors, and noise reduction that balances detail and noise in good fashion. The result in some cameras, such as the EP-1, is a fully cooked to order, ready to eat (ah, I mean print) JPEG.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">So what does one loose by leaving RAW behind and shooting exclusively with JPEG ? Well for one, the ability to control exposure after the fact. The 4/3rds sensor doesn’t have as much latitude as APC-S sized sensors, though the dynamic range (noted by some) is actually on par with some mid-range SLRs. Figuring you have roughly about a stop to play with after the fact could mean the difference between a blown out sky and the texture in a cloud. That being said the EP-1s meter is quite good, in fact it’s much better than the meters found in Nikon and Canon’s mid range SLR offerings. White balance would probably be the second issue. Most cameras (including the EP-1) just don’t do well with artificial white balance - something that it’s easy to address in RAW and very difficult to correct shooting JPEG.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">So with the caveats listed above in mind would I still choose to shoot JPEG ? Yes and here is why:<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Live View: Live View provides a pretty accurate representation of the final product, albeit smaller. Using the live view histogram, one should easily be able to address any exposure issues before making it into the final product. Live View also allows you to see the effect of white balance and while I agree it’s not always easy to see a slight color cast, it’s is easier to adjust a minor temperature problem after the fact than a major one.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">To me having a fully cooked (and well cooked to order I might add) JPEG out of camera represents what we as camera consumers have desired all along. Let’s think about this carefully.We spend thousands of dollars on a camera just to have to sit and fix every image?Where is the logic in that? That’s like washing dishes by hand when a perfectly good dishwashing machine is at your disposal. The difference is that camera manufactures have failed (or to be fair due to limitations in technology they have failed) to make that washing machine work, but times have changed. You no longer need to do all the ‘dirty work’ as it is finally being done for you.Photography is about composition, lighting, and subject matter - that's the key elements that I want to concentrate on, not camera curves, color profiles and the like. There is freedom in knowing that when you get home from a day of shooting you can just enjoy your work as opposed to spending hours behind a pc trying to get things right.<br />
</div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com0tag:blogger.com,1999:blog-7674927071469482553.post-19975068883908948742009-12-29T11:14:00.006-05:002009-12-31T17:07:42.327-05:00Review: Olympus EP-1<div style="text-align: justify;">I have been shooting for years using DSLR systems from Nikon and Canon (the former more than the later). The systems I have used have always been wonderful, so why did I sell everything and make a radical change to the EP-1 ? Let's start by talking about my love/hate relationship with the modern DSLR.<br />
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</div><div style="text-align: justify;"></div><div style="text-align: justify;">So what's not to love about an SLR ? Most SLRs have fantastic ergonomics, quick and on-command performance, superb IQ and well the list goes on. All great things aside, SLRs have one notable con and unfortunately for me, it the one thing that gets in the way of my enjoyment of photography: Size. Big, thick, plastic/magnesium bodies, long and heavy lenses – yes at one time I dreamed of having all of this high-end, albeit heavy gear. I mean let’s face it, a body like the Nikon D3 is beautiful, feels wonderful in hand, turns heads, and provides a limitless amount of confidence to the respected owner. A lens like the 70-200 2.8 is a ‘trophy’ when mounted on an SLR with its large front element beaming into crowds, the feel and mechanics of the metal barrel in hand – what’s not to like? Well to be honest with you, once the bragging rights and gear acquisition honeymoon is over there is plenty not to like. The sense of pride and feel of that lovely tactile weaponry in hand quickly subsides to the weight and bulk that comes with the ownership of said equipment. A day of walking around shooting suddenly turns into a chore. Heading out with a few friends for drinks and want to take a few snaps, or taking some pictures of the kids in Disney World – forget it, you are most likely just going to use your point-n-shoot. All of the sudden, that wonderful machine you have been so proudly showcasing becomes your achilles heel: It draws eyes of suspicion whenever you are out and about, or often engages you in rather mundane conversation from people who want to know more about your gear. It gives you a soar neck, it causes the back to ache. It’s a compromise for sure and many would still prefer all the benefits that come along with it - but for me personally, I just want to enjoy photography and by enjoying it I mean without the overhead that sometimes comes along with the equipment purchased.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The Olympus EP-1 turned my head when it was first announced earlier this year, though admittingly I didn’t give it much pause as I assumed that the camera would come with too many compromises, after all the 4/3rds format hasn’t exactly been a class leader. Once the reviews of the EP-1 and its sister camera, the Panasonic GF-1 hit dpreview.com, however, I started to pay attention a little more closely. This was not another point-n-shoot, nor was it a DSLR. It was the Digital Pen, redefined for the modern era. A camera paying homage to the classic looks of cameras from a world lost to a society filled with ‘cookie cutter’ black boxed SLRs and perfectly square point and shoots (with the later coming in various colors making a better fashion accessory than purposeful machine). The digital pen reeks of the term ‘rangefinder’ and in many respects is one (at least on the surface) albeit the mechanical differences therein. The pen truly is what I have been searching for, and as a Mark I camera, it does have its flaws mind you, but also as a Mark I camera it delivers many things that even current DSLRs have failed to address and does so in a rather minute package.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The Olympus EP-1 is a hybrid of sorts, the culmination of the best of the both worlds: The Point and Shoot and the DSLR. From the land of the point-n-shoot we get: Size & Live View. From the land of the DSLR we get: Image Quality, the versatility of changing lenses, and Performance (although the later is dependent upon the operation being discussed).<br />
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</div><div style="text-align: justify;">So how does this camera look ?. It looks good, damn good. Part of this comes from the fact that it doesn’t have the utilitarian looks that plague so many modern cameras, and part of this comes from the fact that the EP-1 is just a well designed machine. From the brushed silver metal body to the faux leather grip, the camera has styling in a marketplace where manufacturers no longer care about setting themselves apart from one another. And while I admit that judging a camera based on looks is rather silly, there is also nothing wrong with shelling out your hard earned cash for something that is both attractive on the inside as well as out. There is something to be said for the confidence that comes from the pride of ownership, and this camera speaks volumes in this regard.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">From a handling point of view this camera is going to unveil some mixed emotions. It’s not an SLR, as it does not have the curved rubberized finish grip that makes one’s hand feel at home when firmly established in its resting place. The pen is a mostly solid metal rectangular box with a slightly protruding faux leather grip. Coming from a point-n-shoot camera, the EP-1 is going to feel more substantial in hand, coming from an SLR first impressions aren’t exactly positive. Handling and Framing, in my honest opinion, go hand-in-hand (no pun intended) as placing an SLR camera up to one’s eye does in fact steady the camera and in some ways help to level it as well. Framing with the EP-1 requires the 'arms out in front' approach which does induce camera shake. Thankfully the folks at Olympus were kind enough to build stabilization into the sensor itself, giving you a virtual tripod of sorts. Add the included digital level gauge to the mix and you no longer have to worry about whether or not the horizon is perfectly level within your frame. In some respects, Olympus addressed the pain with at least some form of alternative medicine, but coming from an SLR will require some re-wiring of the brain. In time, however, handling becomes second nature and with it the revelation that you no longer have a heavy brick and drain pipe hanging from your neck - a liberation which soon makes you forget all about those minor handling quibbles.<br />
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</div><div style="text-align: justify;">So how is the speed and performance? Well there are many reviews on the web that showcase the speed and performance of this camera. One can easily find on the web charts and graphs that give you measurements to the millisecond, but nothing at all can truly replicate how the camera operates in day-to-day usage which I can thankfully state is quite good. No, of course it’s not a match for an SLR – though to be perfectly honest with you this is highly dependent on how one intends on using the camera. As I assume that most of the candidates that will be purchasing this camera are not intending to shoot wildlife or sports, you can safely rest assured that it is good enough for most day-to-day requirements. In good light my overall impression is that in many ways the ep-1 is par with most modern SLRs, save the high-end professional bodies. In lower light, however, the contrast detection based system may struggle from time-to-time, but the good news is that the focusing system always seems to 'get its man' even in those most challenging of situations. From the click of the shutter to the write of a file to the card, the whole process seems pretty snappy with very little to complain about.<br />
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</div><div style="text-align: justify;">What about Image Quality. Again there are reviews on the web with resolution charts, color charts, and is my camera better than your camera charts (the later being a bit of humor of course) yet nothing can truly measure the IQ of this camera without simply using it in the field and enjoying the results in print. Image Quality is good; in fact it’s beyond good by most measures. Somehow, Olympus took the 4/3rds bar which for a while has sat deep in the lowly shadows behind that of APS-C sized sensors and raised it to be on par and in some cases beyond what most modern SLRs produce, especially when comparing the results straight of the camera. A combination of sensor and sophistacted in-camera processing that must be seen to truly be appreciated, the Olympus delivers good results again and again. Image Quality is truly the highlight of this camera and many folks will feel quite satisfied in knowing that their prized optical possessions once adapted to mount on this camera will not be let down by the image processing formula that Olympus has somehow managed to get right. This camera represents the first time in years of shooting that I have abandoned the RAW format for the often discounted JPEG architecture (a debate which I will save for a future blog posting).<br />
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</div><div style="text-align: justify;">There is much more to the camera than just the things I have talked about thus far, however like any camera the meat and potatoes lie in the performance, handling, and image quality all of which we have discussed in one form or another (though of course in very short detail). In later posts, I plan to spend more time on certain subjects which I feel will benefit from there own individual posting such as that of the 'art filters' for example, but for now I'll simply wrap things up with my conclusion.<br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The pens main flaws such as handling, are by design: The missing optical viewfinder and of course the ergonomics a compromise of mating the point-n-shoot camera and the DSLR. At the same time one can at least feel satisfied in knowing that Olympus attempted in one form or another to address some of these limitations using the benefits of modern technology (such as IBS). The EP-1 is a camera that currently is being measurebated by everyone under the sun, as it should being a the new kid on the block, but at the end the day one must realize that this is not an SLR or a point-n-shoot, it’s a Pen (wink) – a camera redefining the norm (thankfully so as the norm has become quite the snooze fest for the last few years). At the same time it should be noted that this camera also inspires a renewed passion in photography, one that admittedly is more psychological, but nevertheless works. These days I find myself enjoying photography due to a more simplified formula: I don’t worry about gear, I don’t worry about when I will have time to post process my pictures. I concentrate on lighting, composition and subject matter - nothing more, and nothing less. I use the pen to ‘write with light’ and I do so in a manor that no longer comes with the overhead of an SLR, of course I don't discount the merits of owning an SLR, I just appreciate the new found love afforded by minimalizing the process by which I take pictures. I am happier photographer having made the switch and in the end isn’t that all that really counts ? Your mileage, of course, may vary - good luck and good shooting.<br />
</div>D. Watsonhttp://www.blogger.com/profile/16051480925760640471noreply@blogger.com1