3500km Oz road trip in 5 days – Day 4 – south coast of South Australia

Written by Gary on November 30th, 2009

After a well earned nice sleep at the Stamford Grand Hotel in Glenelg, Adelaide, it was off south to Cape Jervis for a possible trip over to Kangaroo Island.

Once we were out of the urban traffic, we drove past Maslin Beach – Australia’s 1st unclad (nude bathing) beach and the basis for an Australian comedy movie of the same title, and headed down the very hilly west coast of the Flerieu Peninsula to Cape Jervis where there is a car and passenger ferry to Kangaroo Island which takes 45min.

Kangaroo Island, in addition to its parks, is renown for its special breed of venomous Tiger Snake – don’t let that worry you – you will only get bitten if you step on one accidentally or try to catch one.

As the weather was moving in fast, and the price for 2 adults and a car return on the ferry at $A340 was a bit steep for a one day journey (it would be worth it if one was spending a few days to explore or relax though), we decided to head for Victor Harbour: horse drawn cart to take you across to Granite Island – or you could walk it – but those clouds would suggest otherwise:

Victor Harbour

Victor Harbour is THE coastal town in these parts where there is an ample range of restaurants (assuming you drove past the wine district of McLaren Vale as we did) – but unfortunately, it was fruit for us as we decided to try and get ahead of the approaching Cold Front storms and drive to pretty little Strathalbyn.

At Strathalbyn, whilst filling up on gas, and buying a few lunch ingredients, a massive cumulo-nimbus storm cell began building before our eyes then moved east in the same direction we were traveling making us feel like we were storm chasers – but no tornado from this one – but a lot of flash flooding in Kingston as we discovered:

storm

Once we had got under the storm cell, the scene looked a bit different, and it was much safer for the camera taking shots inside the moving car, but by this stage of the trip, I was getting pretty quick at getting the camera ready, composing and capturing the shot at 110kph:

storm pastures

We caught the punt across the Murray River at Wellington, and arrived at Kingston S.E. not long after it had been hit by another storm cell and there was significant flooding but the town seemed deserted, so we decided to move onto the popular fishing port of Robe.

By the time we arrived at Robe, it was almost dark and the storm was in full swing with lightning, torrential rain, and almost every motel booked out – except one which we gladly accepted.

 

3500km Oz road trip in 5 days – Day 3 – Flinders Ranges to Adelaide via the coast

Written by Gary on November 30th, 2009

The Wilpena Pound Resort is the main accommodation centre of the Flinders Ranges and provides reasonable accommodation and meals and lies in a very nice forested valley ideal for bushwalking, and in better weather, 4WD through the gorges.

Given its remote location you will probably be out of range for mobile phone coverage even with Telstra but you can pay for internet usage at the resort.

A must see, is the pioneering Wilpena Pound Station with its largely unchanged original buildings and paraphernalia from the 1860’s. Here is a self-portrait at one of the buildings.

Wilpena Station

Given that the 4WD gorge tracks were closed following the flash flooding over the previous 48 hours, we headed north to Blinman and then westwards across a gravel road to almost Outback town of Parachilna. The gravel gorge road was severely flood damaged and only accessible with a 4WD with sufficient clearance to get across the many flooded creek crossings and deep muddy embankments which could easily bog a lesser vehicle. I thoroughly enjoyed this part, interesting scenery, the excitement of 4WD driving on recently washed out roads in a remote region, however, my brother who was driving was perhaps a touch more stressed out through all the required concentration than I was! The video on the Panasonic GH-1 really came in handy here!

From Parachilna, we headed south along the barren plains to the west of the Flinders Ranges, still threatened by storms (taken at 110kph from the car):

Flinders Ranges

We decided to stop at an Aboriginal indigenous peoples cave painting site which required a 20-30min walk up a rocky hill near the town of Hawker:

Aboriginal cave painting

Next stop was lunch at Quorn’s Quandong Cafe – highly recommend it – local Quandong cheesecake was very nice indeed – don’t tell my wife though – bad enough I sat the whole way in the trip instead of doing my usual bushwalking, let along indulging in cheesecake!

We then headed west to Port Augusta (mainly to get into the gap between the low pressure system to our south east and the incoming cold fronts coming from our west) then south to Port Wakefield where I couldn’t resist this large mural of contemporary Caucasian wall painting to contrast with the indigenous cave painting:

Port Wakefield

We were misled by the tourist brochures advertising a car ferry across the Spencer Gulf from Wallaroo to Cowell, and thus a detour across the Yorke Peninsula to Wallaroo was a waste of precious time after we discovered that the ferry has been out of service for months and not due to re-commence until 2010.

Even though it was nearly sunset, we decided to head for Adelaide and after trying to catch a few shots from the car at 110kph with the sun setting behind us:

Yorke farms

my brother took pity on me and stopped for a sunset shot – even though sunsets aren’t really my thing. Thank goodness for the small Panasonic GH-1 as I had to sprint 400-500m up a hill to get to a vantage position for this shot:

Yorke Peninsula sunset

After this very brief interlude and an opportunity to make up a ham wrap for dinner, we were off to Adelaide and as we arrived at 10:30pm when almost everything was closed, we managed to make it to my favorite Glenelg hotel – the Stamford Grand on the beach – one of the few all hours facilities in the region and an ideal spot to recover from nearly 750km of travel – some of it very arduous in the flood-damaged gorge roads.

 

3500km Oz road trip in 5 days – Day 2 – Flinders Ranges

Written by Gary on November 30th, 2009

We set out from Renmark early aiming for breakfast at Tanunda in the wine region that is the Barossa Valley almost 200km from Renmark.

After some 600km of almost continuous wheat fields (we were to travel through a further 400km or so of them up to the Flinders Ranges later in the day), I thought I better request a quick car stop for a photo of an abandoned car in the wheat field:

wheat fields

The Barossa Valley is dominated by German culture from the late 19th century with most of the old building bearing a similar architectural design using sandstone – one could have a field day in rural South Australia taking photos of such buildings.

A pleasant detour across to Eden Valley proved worthwhile as the scenery was much more typical of woodland Victoria rather than rolling hills of vineyards.

We then went north along the Clare Valley and stopped for lunch at winery near Clare (almost 100km north of Tanunda) which is a 1.5hrs drive through hills of vineyards and scattered abandoned sandstone farm buildings.

As the massive low pressure system was traveling south towards us from the Flinders Ranges, and having ascertained we should be able to get through to Wilpena Pound, we decided to continue on and get through the storms head on and managed to reach Wilpena Pound Resort just before dusk on a very overcast but at least now dry, albeit windy and cool evening.

Wilpena Pound

Flinders Ranges just before sunset looking south-west towards Wilpena Pound.

One could spend a week in each of these places but in our Blitzkrieg invasion of South Australia, we only had hours.

Flinders Ranges reminded me of the Grampians in Victoria but more red, much, much, more remote and isolated, and I could imagine much hotter and dryer – one needs to bring drinking water even for a quick trip like this (then again, for anywhere in South Australia as their tap water lacks the taste of purity of Victorian tap water).

Day 2 was over 650km travel, and through some fairly torrential rain near Melrose – another very interesting destination for nature lovers and bushwalkers.

 

3500km Oz road trip in 5 days – Day 1 – time to put the Canon away

Written by Gary on November 30th, 2009

My brother and I had some time off so we decided on a short trip across to South Australia to see what was around.

Although I took a lot of camera equipment, this was not going to be a photography trip in my leisurely pace where I get to drive around slowly looking and letting my eyes search for nice concepts that reflected my mood at the time and the ambiance of the environment.

No, this was more a reconnaissance trip at speed with very few stops and no more than 1-2 minutes at a stop for photos.

For a change, I was a passenger which allowed me the considerable advantage of checking out the scenery but the frustration of not being able to stop to explore and take it all in.

The weather for the trip proved quite unseasonal after a record breaking heat wave in south-eastern Australia earlier in the month (November 2009) when Adelaide had about a week of daily temperatures above 35degC and once day when temperatures hit 47degC in rural South Australia, the weather for the trip was dominated by a massive low pressure system and an extensive cold front which resulted in flash flooding and road closures, particularly in the Flinders Ranges.

Importantly, the passenger seat in my brother’s recently acquired used Range Rover was extremely comfortable – and it needed to be – there was a LOT of driving and thus sitting to be done in the 5 days of driving.

We set out from Melbourne, headed north and after a toilet stop at historic gold mining town of Wedderburn, and a quick lunch at a cafe in remote Sea Lake, we passed through Mildura and decided to head onto Renmark in South Australia – a total of 680km for Day 1.

Renmark sits on the Murray River system and is dominated by 1000’s and 1000’s of acres of irrigated vineyards supplying 3 times more grapes than all the other vineyard regions of South Australia and Victoria combined!

After a bite at the local Renmark Club, we found a cabin to rent for the night at the local caravan park and as it was nearly sunset and the clouds were looking like they might produce a nice sunset we quickly headed up to a vantage point to watch the sun go down on a long day dominated by over 500km travel through wheat fields punctuated by areas of Mallee shrub and Riverina vineyards and fruit trees.

Renmark sunset

The sunset photos were the first and last time for the trip I could be bothered getting my Canon 1D Mark III camera out – this was shot with the Canon EF 24-105mm f/4 IS L lens.

I quickly decided that the Panasonic GH-1 Micro Four Thirds camera with HD 14-140mm lens was the best choice for this trip – easy to quickly get set for a photo at 110kph, faster autofocus than the Canon (as long as it is set to AFS and not AFC), ability to adjust image aspect ratio, 10x zoom, small enough that you don’t keep hitting the lens on the window, or knocking the driver unconscious, and perhaps the most fun – the autofocus HD video mode.

Of course, if I had time to wander around taking architectural shots, the Canon with tilt shift lens would come in handy, likewise if I wanted to do some really nice shallow DOF shots with the 135mm f/2.0 L – but neither of these situations eventuated in the little time I had – so it was to be that the GH-1 was used for 99% of the remaining shots (1% was Olympus E510 with ZD 50-200mm lens).

 

Panasonic GH-1 just brilliant for conferences

Written by Gary on November 23rd, 2009

I attended a very large conference last week and decided I was not going to slavishly attempt to write down short notes from each speaker and their Powerpoint slides ever again – after all, I tended to only get a few snippets down and a few days later I tend to be none the wiser of what my notes mean if I could read them!

So, for this conference, I decided a new approach was needed to maximise my time at the conference, make it more efficient and enjoyable at the same time, so I took my Panasonic GH-1 with 14-140mm HD lens and an Olympus OM 135mm f/2.8 lens with adapter.

HD video of the speakers and for presentations on stage:

The first session of the conference included presentations on stage to some of my colleagues and for posterity I wanted to capture short videos for them. Unfortunately, the stage was a very dark gray which really threw the camera metering so first step was to manually meter and work out an appropriate setting. Here is the only time the OM 135mm lens came into play – the equivalent of 270mm reach was perfect from where I was sitting, but more importantly, the f/2.8 aperture meant I could use a very acceptable ISO 800 and the ideal movie shutter speed of 1/50th sec, but perhaps even better was I could pre-focus with the live view and then ignore focus for the presentations. I could turn the camera off and on knowing that all my settings including focus would remain constant and ready for each video. I also set a custom WB using a piece of white paper to ensure skin tones were in an acceptable range. I took these using Motion JPEG in 720p mode so that they would be easier to give to my colleagues than explaining how to deal with AVCHD videos.

Silent documentation of presentations:

Speakers often flick through the Powerpoint presentations so rapidly that you can’t take them all in let alone write down a little of the information presentated as well as listen to their annotations.

Unfortunately, the GH-1’s camera mode is not as silent as I would like, but the video mode works extremely well for capturing the Powerpoint presentations silently and you get the speaker’s voice as well.

The 14-140mm HD lens is very adequate for capturing Powerpoint presentations, and given that they are only needed as an aide memoire, the video mode can be reduced to Motion Jpeg at VGA size (640×480) to reduce the files sizes.

Documenting poster presentations:

A significant component of conferences I attend are the research posters attendees have submitted, and these tend to contain a lot of detail. The best solution is to simply take a photo of the ones that interest you and really, almost any camera with reasonable low light performance will be fine – don’t use flash as most are glossy!

An advantage of the GH-1 is that you can set the Fn button to change the image aspect ratio, and then you can choose whichever aspect ratio best suits the poster aspect ratio – either 4:3, 16:9 or 1:1 – very rarely are posters in 3:2 format as with Canon or Nikon cameras.

Thus the GH-1 met all my needs and was not too intrusive and not too heavy to carry around.

Of course, any of the Micro Four Thirds cameras with movie mode (such as the Olympus E-P1/E-P2, Panasonic GF-1 but not the G-1) would have managed nicely indeed, and if you really must have an even smaller camera, the Canon G11 might be OK but would struggle to do the video of speakers given the low light conditions and the need for good image quality at high ISO and an aperture of f/2.8 at 270mm focal length (in 35mm terms).

Don’t forget to bring a large memory card or two, and a spare battery, although the one battery sufficed for each day for me, and you may need 16Gb for all the video for a day.

 

New Chinese wireless TTL flash triggers for Canon and Nikon

Written by Gary on November 23rd, 2009

It had to happen, a cheaper version of the Pocket Wizard wireless TTL flash triggers is coming onto the market by Christmas 2009.

Canon version

The new Pixel Enterprises TR-331 (for Nikon) and TR-332 (for Canon) consist of a transmitter only (TX) component and a receiver only (RX) component which use CR-2 lithium batteries but no transceiver to allow use of the speedlight on the camera itself (which is a real pity – I hope they will make a transceiver version).

They differ from the Pocket Wizard Flex TT5 in that they use the 2.4GHz radio frequency and thus do not need different models for each region of the world (but perhaps there may be interference with other 2.4GHz devices such as portable phones), and although they support High Speed Sync (HSS) flash to 1/8000th sec, they do not appear to have Pocket Wizard’s Hypersync mode, and they do not appear to require use of a laptop and USB connection to program them (but I presume they are much less sophisticated devices and thus less versatile).

They have 15 channels, and are said to operate up to 65 metres, support auto-focus assist, and also have a PC sync socket to fire studio strobes or manual flashes

Now if only they would bring out a much needed Olympus model.

More information on their website.

UPDATE March 2010:

Jack from Pixel Enterprise informs me that he can supply these Pixel TR-332 radio triggers directly and currently will cost a very reasonable $US180 for the set of transmitter and receiver for a Canon e-TTL with postage charge of $Us25 by Express mail to USA or Australia (can pay via PayPal) . If you prefer you can search for them on Ebay, or if you are a distributor, you can purchase them in bulk at a reduced price.

 

Ricoh GXR compact digital camera – a novel interchangeable lens camera system

Written by Gary on November 10th, 2009

Ricoh has just unveiled their GXR compact digital camera with a unique novel interchangeable lens camera system.

Ricoh is touting it as the smallest and lightest digital camera with interchangeable lenses – as it is a touch smaller and lighter than the Micro Four Thirds system, but no where near as versatile, and it’s not cheap either!

The unique design stems from an interchangeable lens system which has a sensor and image processing engine integrated into the lens itself.

GXR system

Thus at present Ricoh has announced two lens/sensor options:

  • a GR lens A12 – 12 megapixel APS-C size CMOS sensor (1.5x crop compared to 35mm full frame) integrated with a 33mm f/2.5 macro lens which gives 50mm focal length in 35mm terms and f/3.8 in comparative depth of field. It weighs 263g and results in a camera size of 113.9 mm x 70.2 mm x 77.1 mm weighing 423g excuding battery. Burst rate is 3fps in full resolution.
  • a Ricoh lens S10 – 10 megapixel 1/1.7-inch CCD sensor (4.7x crop factor compared to 35mm full frame) with sensor-based image stabiliser and integrated with a lens which is 24-72mm f/2.5-4.4 in 35mm terms but with point and shoot like depth of field given the tiny sensor – ie. f/12-21 comparative DOF. It results in a camera size of 113.9 mm x 70.2 mm x 44.4 mm weighing 325g excl. battery. It can only do VGA movies and its fastest shutter is 1/2000th sec instead of 1/3200th on the macro lens. Burst rate is only 1.6fps in full resolution.

The body sports a nice 920K dot LCD screen although it is fixed, and gives the options of external detachable EVF, hotshoe TTL flash.

See Ricoh’s website for images

I guess Ricoh is to be congratulated in trying something different but I just can’t see why anyone would really bother paying this much money for a system such as this.

Granted it is small, and the integrated sensor and lens means dust is not such a problem when changing lenses, and theoretically it allows the sensor-sensor filters-lens design to be optimised, but really, the cons of a system like this seem to me to be substantial and far outweigh the benefits:

  • who wants to spend so much on a macro lens which has very limited portrait capability – a 50mm f/3.8 lens is not that exciting!
  • who wants to spend so much and have a bigger 3x zoom point and shoot size sensor lens? why not just buy a smaller, cheaper point and shoot?
  • the main point of having interchangeable lenses is to give one versatility and also not have all their money spent on great quality lenses at risk of rapid depreciation due to integration with rapidly changing technology such as sensors and camera bodies – this system goes against both of these concepts.
  • unlike the Micro Four Thirds system, you cannot use almost any other lens ever made but in this case are forced to ONLY use whatever lens Ricoh comes out with, and worse, that lens will be integrated with a specific sensor.
  • the high price will mean that few would really bother with it unless Ricoh comes up with something uniquely useful.

It does have a few interesting modes such as a continuous shooting mode which will shoot 15-30fps depending on lens and mode but at much reduced resolution (eg. 2mp on the macro lens and VGA size on the zoom lens – hardly an exciting resolution!), and then combine all these images into one MP file, and from this a single frame can be extracted as a jpeg image in camera. Like the Olympus E-P1 and E-P2, it has an electronic spirit level or tilt indicator. A colour bracketing mode allows simultaneous B&W, and tinted monochrome images to be recorded – this could be really handy for IR work. The camera can remember settings for each lens unit.

The macro lens unit allows 720p 24fps HD Open DML Motion JPEG compliant AVI movies but the zoom lens only allows VGA movies.

The camera body itself without lens unit measures 113.9 mm x 70.2 mm x 28.9 mm which is only marginally smaller than the Olympus E-P2 which measures 121mm (W) x 70mm (H) x 36mm (D) and weighs half the weight of the E-P2 body at 160g.

I do like the fact it takes SD/SDHC memory cards and that its uses the DNG RAW format, and hopefully it may have a silent shutter – why can’t Panasonic and Olympus do this too?

Now if they offered an APS-C size sensor with IS and a high quality 50mm f/1.4 lens, and an APS-C size sensor with IS and a high quality 25mm f/1.4 lens, then we would have a decent camera, but would still have to be paying for 2 APS-C sized sensors, 2 IS systems and then in 3 years time when sensor technology has dramatically improved, throw the whole kit away and buy some new lenses with new technology sensors.

I just don’t think this makes fiscal sense for the consumer – although if Ricoh somehow gets sales of these, it would end up with an endless stream of revenue from users continuously having to buy new lenses and sensors as technology continues to improve.

Almost certainly, you would get better photographic results for not much bigger with an Olympus E-P2 + M.ZD 14-42mm zoom + M.ZD 50mm f/2 macro when it comes out (assuming that’s what it will be), especially if you then combine it with a Panasonic 20mm f/1.7.

Or, you would get similar results with a Panasonic GF-1 with Leica-D 45mm f/2.8 macro OIS and a Canon G11 which would give similar options to the Ricoh zoom module.

Now of course Ricoh could really shake the market place up if they created sensor modules with a lens mount.

They could offer a Four Thirds sensor plus lens mount module which would take all Four Thirds lenses, and a Micro Four Thirds sensor plus mount module which would take all Micro Four Thirds lenses, and a Nikon DX-size sensor plus lens mount module which will take all Nikon F mount lenses, and a Canon APS-C-size sensor plus lens mount module which will take all Canon EOS mount lenses, etc.

To really add salt in, there is no reason why they couldn’t add sensor based image stabilisation to the module to make all those Canon and Nikon lenses image stabilised, and furthermore, they could add infrared capable versions of each of these sensor modules.

And if Ricoh could keep the AF and aperture control functionality of all these lenses then they would be on a winner, attracting photographers from all camps, and we would all have a universal camera system where we can just
upgrade the sensor module as technology improves and use any lens we like.

I can’t see them heading down that path not only because of licensing issues, but because they would not be able to sell their own lens modules as people would just use other system lenses.

 

New Micro Four Thirds options – the Olympus E-P2 camera and two new Olympus lenses

Written by Gary on November 5th, 2009

The Micro Four Thirds system gets a much awaited new camera – the Olympus E-P2 which is essentially an E-P1 with an optional EVF and some functional upgrades, but which hopefully will address some of the weaknesses of the otherwise ground breaking E-P1.

Olympus has also announced two new MFT M Zuiko Digital lenses – a 9-18mm f/4-5.6 which covers 18-36mm ultra-wide zoom in 35mm terms, and a 14-150mm f/4-5.6 which covers 28-300mm in 35mm terms.

Although these may not be the top of the list of die hard Olympus fans, I believe they are good marketing options for Olympus wishing to bring point and shoot photographers into the system as they will be much more affordable (one would expect) than the Panasonic 7-14mm and 14-140mm OIS lenses.

They still need to get an affordable portrait/macro lens out there soon though to give a reasonably well rounded starter system. Then they can get to work on looking after the fans looking for very nice wide aperture prime lenses.

The Olympus E-P2 adds the following to the E-P1 feature set:

  • available in black as well as white
  • optional tiltable EVF or external microphone via the same accessory port
  • AF tracking – seems to be a little faster than that on my GH-1 after watching the video
  • two additional art filters – diorama and cross-process
  • a colour-boosting i-Enhance function
  • remote slideshow control via HDMI
  • AVI format movies in 30fps 1280x720p HD resolution with PCM sound – not class leading by any means but will be adequate for most users
  • option to shoot high-definition movies in M (full manual) mode


The big question is – has Olympus improved the AF speed to match the Panasonic cameras?

Of course the majority of initial owners of the E-P1 did not care for fast AF as they largely bought it for its incredible range of lenses that could be used in manual focus and have them image stabilised. The E-P2 will provide the same functionality but adds some extras, in particular, the EVF will be handy in bright sunlight when the LCD screen gets a bit difficult, while the black color makes it look better when mated with the Panasonic 20mm f/1.7 lens which is becoming a must have lens for MFT users.

 

Autofocus and auto metering – some things to consider to get better results

Written by Gary on November 5th, 2009

Most novice photographers set their camera to the default AF and metering modes, and for the majority of their photos, this probably works good enough for them.

But what happens when you want to compose your subject aesthetically instead of having them in the centre of your frame?

The larger the sensor in the camera, the less depth of field you potentially have, and the more precise your focus needs to be – the problems are many, but one of them is that depending on how you choose to focus, your camera’s exposure system may give quite variable results.

If you have a Panasonic GH-1 or other Micro Four Thirds camera set to face recognition AF and it will AF on your subject’s face, then all is probably well because the camera will meter for the face no matter where the face is in your scene.

The problem is quite different if you use an AF method other than face recognition, or you are using a dSLR such as a Nikon, Canon, Sony, Pentax, or Olympus though.

Let’s first look at focusing assuming you do not have face recognition AF available:

If you have a camera with lots of AF points and you have the patience and can remember how to do it, you could set one of the AF points to the position of your subject within the frame. If you do this, then your camera has a reasonable chance of giving you good focus and metering if your camera’s metering mode is set to Evaluative or Matrix Metering.

However, my preferred AF method for relatively stationary subjects (ie. not in continuous AF action mode) is to ONLY use the centre AF point and have a AFL or Function button on the rear of the camera set to autofocus lock.

This allows me to lock the AF by moving the camera so the centre AF is on my subject and pressing the AFL or Function button, and then I can recompose, wait for the moment I want to capture it without having to keep the shutter half pressed (which results in accidental shots and finger fatigue, particularly with a heavy camera kit), then take the shot.

HOWEVER, there is one big problem with this technique – and that is the camera’s metering.

Most cameras have a sophisticated Evaluative, Multi-Zone or Matrix Metering which breaks the scene into many zones, provides emphasis on the selected AF point(s), looks up a database of many thousands of images, then via a secret algorithm determines the exposure with the aim of converting your subject into a mid-grey tone.

Now this should ring alarm bells – firstly, what if your subject is a white stallion – you don’t want it looking a muddy grey tone, so no matter what metering system you use – you will have to make some exposure compensation to adjust this, or use manual metering. This also applies to people, metering on dark skin will give ~1 stop over-exposure, while metering on light skin will give ~1 stop under-exposure.

BUT, the other alarm bell that is not so obvious, is that it will give priority to the selected AF point – all very well if the AF point is aimed at your subject, but will give extremely variable results if you have focus locked (or use MF and the centre AF point is used by default for metering) and recomposed because the selected AF point may be aimed at a very bright or dark element in the scene which will obviously result in under or over exposure.

One solution to this is to set the AFL button to do AFL and AEL concurrently, but this then does not allow for changes in ambient lighting such as a cloud coming over, and there are individual camera implementation issues.

  • Canon 1D mark III implementation:
    • AF-ON button itself cannot be programmed to also lock exposure, you must also press the AEL button (the asterisk button) but you must also set the desired C.Fn IV setting – the options are:
    • Custom Function IV-1 = 0 results in half-press shutter over-riding AFL – not what we want!
    • Custom Function IV-1 = 1 results in deactivating AF-ON button and thus no AFL – not what we want!
    • Custom Function IV-1 = 2 results in half-press shutter deactivated – what we would like but you must go back into menu system to re-enactivate half-press shutter functionality
    • Custom Function IV-1 = 3 results in half-press shutter over-riding AEL – not what we want!
    • Custom Function IV-1 = 4 results in deactivating AF-ON button and thus no AFL – not what we want!
    • unfortunately this camera does not allow you to disable either the acquired AFL or AEL and resort to half-press shutter by just hitting the AF-ON or AEL button a 2nd time as you can with the Panasonic GH-1
    • and worse, once you have acquired AEL, it becomes deactivated if you try to adjust exposure compensation and even worse, you lose the AEL (along with viewfinder information) after about 6 secs of no activity unless you keep your shutter half-pressed
    • a pretty lame implementation of such an important function, but then Canon’s implementation of other functions such as mirror lock up are just as lame
  • Olympus E-510 implementation:
    • my preferred setting is to set focus mode to MF, wrench menu item AEL/AFL to S:1 C:2 M:3 which then means I am forced to use the AFL button to AF while half-press shutter locks exposure.
    • the nice aspect of this setting is that I only need to set focus mode to C-AF and a novice can use the camera as usual – half-press shutter for both AFL and AEL
    • but you can’t use a button to do both AEL and AFL concurrently as you can on the GH-1
    • and unlike the GH-1, you can’t dial in an exposure compensation whilst your finger is on half-press shutter to hold AEL
  • Panasonic GH-1 implementation:
    • this has the easiest to use functionality and by far the best implementation – its awesome!
    • just set C wrench menu item AF/AE Lock to AF/AE and set AF/AE Lock Hold to ON, then you use the AF/AE Lock button as a toggle to lock or unlock, and when unlocked, the half-press shutter button takes over as usual.
    • and, even better, you can rapidly change the exposure compensation using the front wheel AND see the exposure effect in the EVF AND see a live histogram in the EVF all without taking your eye from the camera – fantastic except, be careful you don’t accidentally change the exposure compensation as it is easy to do!
    • of the 3 cameras, the GH-1 is thus the only one you can lock both AF and AE and put the camera down waiting for the right moment, make changes to exposure compensation after locking, see the exposure effect and even better, automatically turn off the EVF while you are waiting, and the EVF will magically come back to life as soon as you put your eye up to it – another nice touch!
    • of course the dynamic range of the MFT and FT sensors is not as good as the larger sensor of the Canon 1DMIII so you have less exposure latitude and thus exposure accuracy is more important, but at least the GH-1 provides you with rapid feedback while you are taking the image – if the histogram is white and part of it is against the far right frame then you will be getting some blown highlights and you may wish to dial in exposure compensation – just brilliant!
    • it also has object focus tracking mode which can be really handy – just half-press shutter with the centre AF markers over the desired subject until AF is achieved, then you can recompose or move in or out from the subject and the GH-1 will re-acquire AF for that subject no matter where in the frame it is, as long as it still matches the initial pattern and is not moving too much. If this is not suitable you just press AFL button to lock a focus and exposure. Very cool indeed.
    • the evaluative metering mode of the GH-1 when not in face recognition or object tracking mode does seem very much centre-weighted so you may need to compensate for this, luckily compensation is simple to do
    • and that’s not all, if you decide to manually focus such as with tilt shift lenses, the MF assist of the Micro Four Thirds cameras (and the GH-1 with its EVF in particular), give the fastest, most accurate manual focus available courtesy of the fact they do not have to put a mirror up to enter live view to do so
    • the GH-1 though is not without its own faults being quirky at times and having a x-sync of only 1/160th sec without ability to over-ride the shutter speed to force 1/300th sec with flash, an AF system not optimised for birds in flight, lack of in-built IS, but the general AF and exposure system implementation is certainly not one of its faults and is fun to use.

The other solution is to turn off the Evaluative or Matrix Metering mode and resort to manual metering – perhaps by putting meter mode into spot meter and exposure mode to manual then adjusting your exposure manually according to the spot meter on your subject prior to recomposing. This gives you the best control but again does not allow for changes in ambient light.

Perhaps this also gives some insights into the variable results one gets with TTL flash and why many pros resort to manual flash exposure for more consistent results.

see also:

 

Olympus OM 135mm on the Panasonic GH-1 Micro Four Thirds

Written by Gary on November 1st, 2009

The Panasonic GH-1 Micro Four Thirds camera comes with a very expensive, unique HD video optimised, 14-140mm OIS lens, so why would I even bother putting a cheap $100 2nd hand Ebay Olympus OM 135mm f/2.8 lens on it?

As nice as the 14-140mm lens is, there is one major problem for me – its aperture at 140mm is f/5.6 which means I am not able to blur the background as much as I would like.

Now I could use the Olympus ZD 50-200mm f/2.8-3.5 SWD which I love, or the brilliant Canon EF 135mm f/2.0L lens, but these are both big and heavy, not to mention expensive.

When I go hiking, I prefer to take a few lens options but still travel light, here is where the Olympus OM 135mm f/2.8 comes in.

The beauty of the Olympus OM lenses are that they are so compact and light – much more so than Nikon F, Canon FD, Canon EF or any other 35mm SLR lens.

Of course, I would not use this for sports or action shots unless I could pre-focus – accurate manual focus even with the very nice MF assist of the Panasonic GH-1 still takes me 1 sec or so.

But would this lens perform wide open?

On Friday, I decided to test it out on one of my bush walks in a mallee tree forest and although the image below is not going to win any prizes, it does show how nice even a busy distracting background can become. There has been no PS sharpening but some toning/contrast applied.

The background would have appeared even smoother had I not applied a bit of contrast, but the image needed a bit of contrast given the overcast day. Also, note that these were taken in the GH-1’s uncropped 16:9 aspect ratio – another great feature of the GH-1, just wish it had an in-built image stabiliser too like the Olympus cameras.

f/2.8

Compare the background with that taken at f/5.6 which would be similar had I used the Panasonic 14-140mm lens wide open:

f/5.6

I was very pleased with the performance of the lens wide open, although it will perform better at f/4.

Remember though, using this lens is giving you telephoto reach of a 270mm lens on a 35mm camera, while its f/2.8 aperture is allowing a fast shutter speed – even in overcast conditions as with the above, shutter speed was 1/2500th sec at f/2.8, ISO 400.

More photos by lens used here.