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    • By Dallas
      Two Monday’s ago a fortnight of digital agony began as I set about upgrading the Fotozones software. Usually the software upgrades run smoothly, but in this instance it was anything but smooth. More like a ride on one of those amusement park gravity modifying apparatuses. I am told it is because I didn’t upgrade for such a long time that I ran into problems. Because of previous issues with early upgrades I guess I am averse to major changes, so upgrading software isn’t something I rush into these days. My bad. 
       
      Anyway, that episode of digital nausea has passed so today I thought I would take some time out for myself to go and play with a new, old camera I got recently, but because of all the software dramas of the past fortnight, has sat on my desk looking expectantly at me like a rescue puppy might. The camera in question is the late 2013 Panasonic GM1 and 12-32mm kit lens. This is a Micro Four Thirds camera. 
       
      As those of you who follow my writings and videos will already know, I recently sold the Canon 200D I got last year. I don’t have any pressing need to make more videos, but browsing through the classifieds on a local forum I saw an Olympus E-PL5 up for sale at a really keen price. I decided to get it because I actually like the Pen cameras and that model has a flip up selfie screen that would come in quite handy if I wanted to make more videos. So I got it. The cost was less than $100, but it didn’t come with a lens, so I was on the lookout for something I could use for it. I had my eyes open for the Olympus 14-42mm EZ kit lens, which isn’t found used that often. In casual conversation about my lens quest my buddy Peter mentioned to me that he was selling his Panasonic GM1 with the Panasonic 12-32mm kit lens. I wanted the lens only, but Peter made me a really good price on the body too, so I couldn’t pass it up. There went another $180 or so. I should mention that I was still up from the sale of the 200D though.
       
      What follows isn’t a review, so don’t expect any in-depth analysis, just some thoughts on cameras in general and how I got along with this particular one on my first outing with it. 
       
      The GM1 is a really small camera. I mean, it’s ridiculously tiny. If I am out and about on a less than balmy day it will go into a jacket pocket without any issue. Today wasn’t exactly jacket weather, as you will see from the photos, so I put it into a larger bag (the ThinkTank Turn style 10) with some other camera stuff, just in case a Pulitzer Prize winning news moment presented itself to me, you know.
       
      I’m of the firm opinion that almost all cameras made since 2013 are good cameras. If you can’t get a great result out of a camera made after that year there can only be one (or more) of 3 factors at play. One, you have a terrible lens; two, you have terrible technique; three, somewhere along the line the camera you bought was dropped and the innards are not operating as they should. 
       
      The sensors we have been getting in most cameras made after 2013 are brilliant capturing devices. You just need to know what you’re doing with them to get a good result. In fact, I’d go so far as to say that the future for camera testing outfits like Dpreview and various others who play in measurement based camera appraisal systems are probably superfluous to all but perhaps a handful of very discerning photographers these days. The attractiveness of cameras is, I think, going to come down to just how well you can integrate yourself with the way they work, not whether or not they have 18 stops of dynamic range or can blast off 100 frames in a second, or shoot at ISO values that exceed the bank balances of the average Monte Carlo resident. 
       
      So, getting a good result out of your post 2013 camera is highly dependent on coming to know that camera and working with it on a regular basis. Like in my case I have been using the Olympus E-M1’s since I got my first one in late 2013 (about the time the GM1 got announced) and after nearly 5 years of professional and personal use I don’t even have to think much about it’s operation. I switch it on and if I need to make changes I know instantly where to make them. The once confusing Olympus menu system is second nature to me now. The only things I have to think about, settings-wise, are the advanced features that I have used maybe once or twice, such as the Live Time long exposure thing, or anything to do with JPG settings (which I never use).
       
      I’ve only ever owned one other Panasonic camera, the GF1, which I liked, but ended up selling because at the time I had 2 Olympus Pen cameras that I thought were just a bit easier for me to work with. Whilst Panasonic and Olympus share the same Micro Four Thirds lens mount, their approach to operating the camera itself is very different. Kind of like the differences you’d find between Windows and macOS. They both do the same thing, just differently. 
       
      The Panasonic interface is, I think, very intuitive and easy to learn unlike the Olympus, which admittedly took me a while to get used to coming from Nikon. That said, I do find some things on the GM1 a bit of a fiddle. Like this morning I was trying to change the aperture (in A mode), but kept changing the exposure compensation instead. Turns out that you need to press the command dial button for compensation again to toggle it off (there is only one dial on this tiny little camera). On the Olympus Pens it’s a similar process, just slightly different. You have to press the same button, but you can program the camera to move either the aperture value or the exposure compensation when turning the dial after that button is pressed. The GM1 doesn’t have that level of customisability so if you have burned a neural pathway into your brain from using your Olympus MFT camera a certain way, getting used to a Panasonic like the GM1 might test you a little. Fortunately it’s not an insurmountable hurdle. A bit of practice will make new neural pathways.  
       
      Without an EVF I found using the rear LCD in this morning’s bright conditions not too difficult. The one thing I do struggle with is the amount of icons that Panasonic show on this LCD screen. Unlike the Olympus method of putting them along the side of the LCD screen, Panasonic have most of them along the top, which together with the row on the bottom can make the screen seem very crowded. It is easy to turn the top row off though by toggling the Info button, which leaves you with the bare bones of exposure settings on the bottom.
       
      I think I will be getitng along quite nicely with the world's littlest MFT camera, in spite of the differences between it and my Olympus stable. That they use the same lenses makes it a perfect black sheep cousin. Different, but lovable all the same. 
       
      Here’s some of the shots from this morning's outing. All with the 12-32mm lens, processed in Lr 7.2. 
       

      I'm usually showing you photos of my city from the piers we have, so today here's a shot from the North looking towards a couple of the many we have. 
       

       

      This is the designated fisherman's pier. It's usually inhabited by subsistence fishermen who spend most of the day (and night) with their lines in the water. 
       

      There is a space between the sand and the promenade that the city is trying to keep healthy with indigenous dune vegetation we get around these parts. 
       

      The beachcombers are always out there, scouring the sand for buried treasure. 
       

      The promenade is modeled on Rio's famous Copacabana beach. You are allowed to ride anything on wheels along there (except for motorcycles and cars). There is an outfit that offers Segway tours. Lazy! 
       

      This is one of many outdoor gyms that have sprung up around the city in the past few years. I don't know how effective those machines are, but they certainly do seem to keep the users happy. 
       

      After the beachfront I took a slow drive back home, stopping off at the marina. It was low tide, so I walked out a bit. Shooting almost into the sun here, so not the best result. 
       

      These tug boats appear to be chasing this Greek tanker out of the bay! 
       

      Four shot panorama of what was once a vibrant watering hole, but is now sadly neglected by the city's denizens. This was where my younger son played at the Durban Blues Festival. 
    • By Dallas
      It’s almost like I could hear it’s heart beating from miles away. A slow, steady rhythm drawing me closer and closer. It wanted to seduce me with its svelte outline and cool, irresistible metallic finish. 
       
      I had no idea it was there, but something inside me (or maybe outside of me) was being pulled towards the electronics goods shop, where a few years ago I had purchased not just one, but three Panasonic Micro Four Thirds lenses for my new little camera system. It must have been a sixth sense of sorts drawing me there this past Saturday. 
       
      I walked into the shop specifically to ask a question about whether the proprietors were going to be getting the new range of Panasonic MFT lenses in, seeing as Panasonic has decided to start redistributing their photography products in South Africa again and this particular shop has traditionally always carried their stuff. I was particularly interested in the new Leica designed 8-18mm f/2.8-4.0 ultra wide angle lens. With the increase in the amount of real estate photography I am doing, it would be nice to have a top end lens to do this sort of work instead of the mid level one I have been using. It’s a confidence thing, you know. 
       
      Bootie manages the Pavilion branch of Govan Mani (the shop I was in) and he was busy checking his computer for a Panasonic price list when I looked up at the glass cabinet behind him and almost swallowed my tongue on the spot. There on the top shelf were four brand new Panasonic lenses and one of them was the very one I was asking about! Providence for me to enter the store and make such a discovery? More like The Last Temptation Of Dallas, a man crippled with financially debilitating photographic GAS for almost 20 years! 
       
      The moment I held this 8-18mm lens in my hands the first thing that flashed through my mind was that in spite of its chunky, metal appearance, it was actually very light. It looks way heavier than it feels. The metallic finish is exquisite and very Leica-like. The zoom ring turns as smoothly as pate spreads across a canapé. When you touch the finish there’s no tell-tale sign of finger prints left behind at all. I knew then that resistance of such allure was going to be nigh impossible. Oh Lord. What have I done by coming in here, I thought as I immediately contemplated extended overdrafts and accessing whatever equity I might have in the studio equipment I no longer use and might be able to sell to make up the rather large number required to acquire this beautiful lens? 
       
      Unfortunately (or fortunately, if you view the situation from a slightly different perspective), the Panasonic camera they had in the store didn’t have a charged battery in it, so I wan’t able to see the lens in action. Bootie invited me to bring my own camera in any time to conduct an examination of this lens’ charms on a working camera. It’s an invitation that has been disturbing my sleep patterns since Saturday. 
       
      There’s nothing wrong with the Olympus 9-18mm that I have been very happy with since I got it in 2012, but you know us photographers, if there is something even remotely better than what we have, well… the GAS becomes irrepressible. And I have been feeling it building up since the weekend. Something’s got to give! 
       
      But why do we lust after these things the way we do? Do we somehow believe that by possessing them we will be magically endowed with better photography skills? Experience of my own splurges into gear I couldn’t afford, as well as years spent observing the photos of those who can afford it, seems to suggest that the answer is an obvious no. It certainly doesn’t improve your photography much at all. So why do we do it? Why do we crave upgrades and why do we spend so much time obsessing over the gear we think we absolutely can’t live without? 
       
      I don’t really know. I wish I did but I don’t. There’s possibly a psychiatrist or two out there who does know the answer but they will likely charge me more than the cost of the gear I lust after to provide an answer, so logically speaking… I suppose it will be cheaper to succumb to the GAS than getting therapy for it. 
       
      Anyway, getting back to the lens in question; 
       
      From what I have read online by a variety of reviewers (some of whom are actually photographers), the Panasonic/Leica 8-18mm lens is very good, but it also suffers from the same problem that most ultra-wide angle lenses do, namely flare when pointed in the direction of a bright light source. If there is one thing that prevented me from buying the Olympus 7-14mm f/2.8 PRO that was it. The flare was something that would cause me a problem in most shooting situations and if you know how much I hate editing photos, you’ll know that anything that causes me to do more editing than is ordinarily required is going to be frowned upon. 
       
      The 8-18mm apparently has better flare resistance than most other wide angle lenses because of the “nano coating” that it has on the elements. Sounds like snake oil, doesn’t it? That said, if there is any truth to the matter, then the lens becomes something that will actually improve my photography if I don’t have to worry about losing contrast in photos where I have a broad range of brightness in the scene (i.e. real estate interiors) and there are fewer element ghosts to worry about cloning out. The 9-18mm Olympus I have doesn’t do too poorly in this situation, actually it does a lot better than the supposedly superior 7-14mm PRO lens does where flare is concerned, but where it falls short of gaining the all important Fotozones Stamp Of Outright Approval (10/10 in any review I do) is its handling of barrel distortion at 9mm. And I suppose it could be a tiny bit sharper too. It certainly isn’t soft though, don’t get me wrong. Far from it. 
       
      This is a developing story. Stay close to find out if I am able to resist the GAS or succumb to it! Did I mention that they also have the 45mm 1.2 Nocticron sitting right next to the 8-18mm? Let's not even go there... 

      View full article
    • By Dallas
      It’s almost like I could hear it’s heart beating from miles away. A slow, steady rhythm drawing me closer and closer. It wanted to seduce me with its svelte outline and cool, irresistible metallic finish. 
       
      I had no idea it was there, but something inside me (or maybe outside of me) was being pulled towards the electronics goods shop, where a few years ago I had purchased not just one, but three Panasonic Micro Four Thirds lenses for my new little camera system. It must have been a sixth sense of sorts drawing me there this past Saturday. 
       
      I walked into the shop specifically to ask a question about whether the proprietors were going to be getting the new range of Panasonic MFT lenses in, seeing as Panasonic has decided to start redistributing their photography products in South Africa again and this particular shop has traditionally always carried their stuff. I was particularly interested in the new Leica designed 8-18mm f/2.8-4.0 ultra wide angle lens. With the increase in the amount of real estate photography I am doing, it would be nice to have a top end lens to do this sort of work instead of the mid level one I have been using. It’s a confidence thing, you know. 
       
      Bootie manages the Pavilion branch of Govan Mani (the shop I was in) and he was busy checking his computer for a Panasonic price list when I looked up at the glass cabinet behind him and almost swallowed my tongue on the spot. There on the top shelf were four brand new Panasonic lenses and one of them was the very one I was asking about! Providence for me to enter the store and make such a discovery? More like The Last Temptation Of Dallas, a man crippled with financially debilitating photographic GAS for almost 20 years! 
       
      The moment I held this 8-18mm lens in my hands the first thing that flashed through my mind was that in spite of its chunky, metal appearance, it was actually very light. It looks way heavier than it feels. The metallic finish is exquisite and very Leica-like. The zoom ring turns as smoothly as pate spreads across a canapé. When you touch the finish there’s no tell-tale sign of finger prints left behind at all. I knew then that resistance of such allure was going to be nigh impossible. Oh Lord. What have I done by coming in here, I thought as I immediately contemplated extended overdrafts and accessing whatever equity I might have in the studio equipment I no longer use and might be able to sell to make up the rather large number required to acquire this beautiful lens? 
       
      Unfortunately (or fortunately, if you view the situation from a slightly different perspective), the Panasonic camera they had in the store didn’t have a charged battery in it, so I wan’t able to see the lens in action. Bootie invited me to bring my own camera in any time to conduct an examination of this lens’ charms on a working camera. It’s an invitation that has been disturbing my sleep patterns since Saturday. 
       
      There’s nothing wrong with the Olympus 9-18mm that I have been very happy with since I got it in 2012, but you know us photographers, if there is something even remotely better than what we have, well… the GAS becomes irrepressible. And I have been feeling it building up since the weekend. Something’s got to give! 
       
      But why do we lust after these things the way we do? Do we somehow believe that by possessing them we will be magically endowed with better photography skills? Experience of my own splurges into gear I couldn’t afford, as well as years spent observing the photos of those who can afford it, seems to suggest that the answer is an obvious no. It certainly doesn’t improve your photography much at all. So why do we do it? Why do we crave upgrades and why do we spend so much time obsessing over the gear we think we absolutely can’t live without? 
       
      I don’t really know. I wish I did but I don’t. There’s possibly a psychiatrist or two out there who does know the answer but they will likely charge me more than the cost of the gear I lust after to provide an answer, so logically speaking… I suppose it will be cheaper to succumb to the GAS than getting therapy for it. 
       
      Anyway, getting back to the lens in question; 
       
      From what I have read online by a variety of reviewers (some of whom are actually photographers), the Panasonic/Leica 8-18mm lens is very good, but it also suffers from the same problem that most ultra-wide angle lenses do, namely flare when pointed in the direction of a bright light source. If there is one thing that prevented me from buying the Olympus 7-14mm f/2.8 PRO that was it. The flare was something that would cause me a problem in most shooting situations and if you know how much I hate editing photos, you’ll know that anything that causes me to do more editing than is ordinarily required is going to be frowned upon. 
       
      The 8-18mm apparently has better flare resistance than most other wide angle lenses because of the “nano coating” that it has on the elements. Sounds like snake oil, doesn’t it? That said, if there is any truth to the matter, then the lens becomes something that will actually improve my photography if I don’t have to worry about losing contrast in photos where I have a broad range of brightness in the scene (i.e. real estate interiors) and there are fewer element ghosts to worry about cloning out. The 9-18mm Olympus I have doesn’t do too poorly in this situation, actually it does a lot better than the supposedly superior 7-14mm PRO lens does where flare is concerned, but where it falls short of gaining the all important Fotozones Stamp Of Outright Approval (10/10 in any review I do) is its handling of barrel distortion at 9mm. And I suppose it could be a tiny bit sharper too. It certainly isn’t soft though, don’t get me wrong. Far from it. 
       
      This is a developing story. Stay close to find out if I am able to resist the GAS or succumb to it! Did I mention that they also have the 45mm 1.2 Nocticron sitting right next to the 8-18mm? Let's not even go there... 
    • By Dallas
      It’s Saturday morning as I sit here typing this run-down of the past week or so in my world of photography. I’ve taken a break from shooting some product here in the studio, which is a nice change from all the real estate I have done this month. So far this month I have photographed 27 homes and I have a small queue of about 5 that I still have to do before the billing cycle ends. More will probably come in next week. I’m not complaining! This work is ideal for me as it gets me out of the house and I get to interact with other living, breathing humans, which is a real pleasure that you can’t explain to people who don’t experience the kind of loneliness that comes with working at home on your own. 
       
      The properties I have done this month range from dilapidated and neglected to spectacular and aspirational. Yesterday I had two homes on polar opposites of that spectrum. One was so bad I almost walked off site. The stink from the bathroom nearly had me retching. The other was an 80’s architecturally designed space that was immaculate and had me longing for a similar space to live and work in. The basement would have made the perfect home office and studio for me. Alas…
       
      Depending on the size of the property it takes me between 20-60 minutes to shoot a listing. The editing takes a similar amount of time and if I could only find a way of automating the Lightroom HDR process I’d probably not have to break much of a sweat when it comes to editing. I did try using the Olympus in-camera HDR features which produce a JPG and .ORF file from about 4 or 5 exposures but they’re not a match for the way Lightroom does it. They tend to come out very flat and look weird. 3 frames taken stop apart and then blended in Lightroom seems to work just fine, but unfortunately I have to tell the program which 3 it has to blend together, so that forms the bulk of my “editing” time. I also apply a few presets, such as correcting verticals and distortion of the Olympus 9-18mm lens. It’s weird that the built in profile doesn’t seem to be able to do this. 
       
      So my typical morning involves photographing up to 3 properties in the same general area, then coming home, having something to eat and commencing the digital output of between 15-40 shots per listing. The rest of the day is spent contacting home-owners and making appointments to do the shoots. Kind of like herding cats. 
       
      During the course of the week I was pointed in the direction of Lumenzia which is a Photoshop panel developed by a photographer named Greg Benz and is offered by him for free. Basically it’s a thing Photoshop experts call “luminosity masking” which sounds frightfully intimidating, but after watching a few of his introductory videos I might just give this a go should I find the time and inspiration to enhance some of the landscape (and property) work I have done in the past. 
       
      The trouble with editing in Photoshop, for me at least, is that I don’t find the interface very intuitive at all and there are so many concepts and hidden shortcuts that are quite daunting. For instance, if you hold down ALT when you click on certain tools or masks, an entirely different set of editing parameters can be activated. Remembering what all this stuff does is difficult for me, but I suppose it will come with practice. But that in itself is another discussion. Do I want to be spending an inordinate amount of time and energy on editing in Photoshop, or do I want to be out and about with my cameras? I think that if I am shooting for myself then yes, I can certainly see the rewards in spending the time and effort learning Photoshop properly, but for cheaply commissioned jobs like real estate and some pack shot work like I am doing today, working with Lightroom is perfectly adequate. 
       
      I like the simplicity of Lightroom. If I could make an analogy between working with the two pieces of software, it would be to say that Lightroom is the smooth highway and Photoshop is the 4x4 track that lead to the same destination. Yes, you can do much more with Photoshop, but getting to your end result requires a lot more technical expertise than that of Lightroom. Just like tackling a 4x4 route.
       

      Regular readers will be quite familiar with this space. This is what it looks like when I am shooting pack shots. I don't do too much of that these days - it seems that most online entrepreneurs are quite content to do it themselves even if they don't get quite the result they really want. It does have me thinking that I might very well develop a short course for this group of people showing them how to get a better than cellphone pack shot. Typically I am using my two Olympus FL-600R flashes, one fired into the ceiling at full power (it's the one attached to the orange clamp on the backdrop stand) and the other through an umbrella (which you can see just beyond my camera closest to the desk). In the past I had the huge a/c strobes set up but in this space it's just too much to trip over. This shot is taken with the Samyang 7.5mm fisheye and then straightened with one click in Lightroom using a lens profile I downloaded from somewhere. If I get more pack shot work I am probably going to invest in a long active USB cable so that I can shoot this tethered, which will make it a lot easier to do. 
       

      This is the outcome of that setup above, deep etched in the dreaded Photoshop. It's not a finished shot yet.

      View full article
    • By Dallas
      It’s Saturday morning as I sit here typing this run-down of the past week or so in my world of photography. I’ve taken a break from shooting some product here in the studio, which is a nice change from all the real estate I have done this month. So far this month I have photographed 27 homes and I have a small queue of about 5 that I still have to do before the billing cycle ends. More will probably come in next week. I’m not complaining! This work is ideal for me as it gets me out of the house and I get to interact with other living, breathing humans, which is a real pleasure that you can’t explain to people who don’t experience the kind of loneliness that comes with working at home on your own. 
       
      The properties I have done this month range from dilapidated and neglected to spectacular and aspirational. Yesterday I had two homes on polar opposites of that spectrum. One was so bad I almost walked off site. The stink from the bathroom nearly had me retching. The other was an 80’s architecturally designed space that was immaculate and had me longing for a similar space to live and work in. The basement would have made the perfect home office and studio for me. Alas…
       
      Depending on the size of the property it takes me between 20-60 minutes to shoot a listing. The editing takes a similar amount of time and if I could only find a way of automating the Lightroom HDR process I’d probably not have to break much of a sweat when it comes to editing. I did try using the Olympus in-camera HDR features which produce a JPG and .ORF file from about 4 or 5 exposures but they’re not a match for the way Lightroom does it. They tend to come out very flat and look weird. 3 frames taken stop apart and then blended in Lightroom seems to work just fine, but unfortunately I have to tell the program which 3 it has to blend together, so that forms the bulk of my “editing” time. I also apply a few presets, such as correcting verticals and distortion of the Olympus 9-18mm lens. It’s weird that the built in profile doesn’t seem to be able to do this. 
       
      So my typical morning involves photographing up to 3 properties in the same general area, then coming home, having something to eat and commencing the digital output of between 15-40 shots per listing. The rest of the day is spent contacting home-owners and making appointments to do the shoots. Kind of like herding cats. 
       
      During the course of the week I was pointed in the direction of Lumenzia which is a Photoshop panel developed by a photographer named Greg Benz and is offered by him for free. Basically it’s a thing Photoshop experts call “luminosity masking” which sounds frightfully intimidating, but after watching a few of his introductory videos I might just give this a go should I find the time and inspiration to enhance some of the landscape (and property) work I have done in the past. 
       
      The trouble with editing in Photoshop, for me at least, is that I don’t find the interface very intuitive at all and there are so many concepts and hidden shortcuts that are quite daunting. For instance, if you hold down ALT when you click on certain tools or masks, an entirely different set of editing parameters can be activated. Remembering what all this stuff does is difficult for me, but I suppose it will come with practice. But that in itself is another discussion. Do I want to be spending an inordinate amount of time and energy on editing in Photoshop, or do I want to be out and about with my cameras? I think that if I am shooting for myself then yes, I can certainly see the rewards in spending the time and effort learning Photoshop properly, but for cheaply commissioned jobs like real estate and some pack shot work like I am doing today, working with Lightroom is perfectly adequate. 
       
      I like the simplicity of Lightroom. If I could make an analogy between working with the two pieces of software, it would be to say that Lightroom is the smooth highway and Photoshop is the 4x4 track that lead to the same destination. Yes, you can do much more with Photoshop, but getting to your end result requires a lot more technical expertise than that of Lightroom. Just like tackling a 4x4 route.
       

      Regular readers will be quite familiar with this space. This is what it looks like when I am shooting pack shots. I don't do too much of that these days - it seems that most online entrepreneurs are quite content to do it themselves even if they don't get quite the result they really want. It does have me thinking that I might very well develop a short course for this group of people showing them how to get a better than cellphone pack shot. Typically I am using my two Olympus FL-600R flashes, one fired into the ceiling at full power (it's the one attached to the orange clamp on the backdrop stand) and the other through an umbrella (which you can see just beyond my camera closest to the desk). In the past I had the huge a/c strobes set up but in this space it's just too much to trip over. This shot is taken with the Samyang 7.5mm fisheye and then straightened with one click in Lightroom using a lens profile I downloaded from somewhere. If I get more pack shot work I am probably going to invest in a long active USB cable so that I can shoot this tethered, which will make it a lot easier to do. 
       

      This is the outcome of that setup above, deep etched in the dreaded Photoshop. It's not a finished shot yet.
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