The Photocrati Blog

Olympus E-620 Four Thirds DSLR Two-Lens Kit Review

A versatile, compact, and competent 12.3 MP Live MOS DSLR in the Four Thirds format, with lenses to match.

With the Olympus E-620 in hand, I combated intermittent bouts of pouring rain to photograph a league soccer game played in a local park. The rains here in New York had been incessant over the past few weeks, and who knew when I’d get another chance, since games are only played on weekends!

I began with the 40-150mm f/4~5.6 lens (= 80-300mm in 35mm format, given the 2X sensor factor)–one of two lenses that came in the kit. I progressed on to the 12-60mm f/2.8~4 SWD (= 24-120mm)–this one was added. SWD stands for Supersonic Wave Drive, designed as a faster and quieter technology driving AF functions. The other kit lens was a 14-42mm f/3.5~5.6 ( =28-84)–a lens I had little use for, given that this focal length range was covered by the more encompassing SWD zoom.

Olympus E-620 with 12-60mm SWD lens (front view). The E-620 proves that the Four Thirds format is not simply a fly-by-night attempt to improve the genre. This digital format will be here for a very long time. The 12-60mm SWD lens is a good choice as a first lens. But I do think it's overpriced. Copyright ©2009 Jack Neubart. All rights reserved.

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The Tuesday Composition: Blacks, Shadows and Silhouettes

Sunset Flames, Second Beach — Sunset Flames. Second Beach

If you like this article, you can now get the book! Joe has expanded the “Tuesday Composition” series into an inspiring new ebook on composition, especially for nature photography. Check it out: The Tuesday Composition.

Two weeks back we looked at how our eyes tend to behave around photographic highlights. This week we’ll spend a little time looking at the flip side of that coin, dark areas in an image.

Silhouettes provide the clearest examples. Much as our eyes seem to want to dwell in highlights, our eyes avoid dwelling in the blacks of featureless silhouettes. I believe that this is one of the reasons that in general, (and I once again must remind you that all of these compositional “rules” are really statements about what tends to happen, not what always happen, not what must happen) we don’t find featureless black areas problematic in color photographs nearly so often as we find blown, featureless highlights.

The featureless black of silhouettes seems to push the eye to the edges of the object being silhouetted, where our eyes will will tend to trace along the edges of the silhouette, emphasizing the shape of that object. Thus the studio lighting maxim, “front-lighting for color, side-lighting for texture, back-lighting for form.” (more…)

Video Review: Reichmann and Resnick’s “Where the #%*! are My Pictures?””

Whirlwind Rainbow, Seljalandfoss, Iceland. Image Copyright 2009 Joe Decker — Whirlwind Rainbow. Seljalandfoss, Iceland. Selecting the right keywords for this image will be critical to helping me sell this image as stock. Image Copyright 2009 Joe Decker

Several times a year I teach a one-day workshop on optimizing images using Adobe Photoshop Lightroom 2 at the local art league, and in doing so I’m often asked for a good book recommendation for someone learning Lightroom. As I’ve mentioned in my previous review, my usual recommendation has been Martin Evening’s book The Adobe Photoshop Lightroom 2 Book: The Complete Guide for Photographers.

In the process of keeping my eyes open for new resources, I recently purchased and watched “Where the #%*! are My Pictures?”, a three-hour video series by Michael Reichmann and Seth Resnick which focuses on the the file-handling, digital asset management (roughly speaking, the Library module) aspects of Lightroom. I’ll be adding this to my list of top recommendations for Lightroom resources, I think it’s particularly appropriate for folks who have a basic familiarity with Lightroom but are ready to take their understanding up a notch and really make their workflow sing.

The question “Where are my images?” creeps up on most photographers as they continue to work over years. Three years ago I was convinced that that this “digital asset management” thing was quite possibly overkill for me. After all, I knew most of my images and I had everything organized in directories by year and location. How hard could it be for me to find an image someone might want of Death Valley? My first lesson came when I got a request to see all my flower macro work. I spent hours putting together that request. “Where the #%*!…” reinforces that lesson while at the same time showing that the cure for that disease is a lot less imposing than it might seem at first. Good habits and good presets go a long way toward making Lightroom file management easier, and this series does a great job of helping photographers along that path. (more…)

Wedding Photography Lighting – Find the level that’s right for you

I was talking with a friend of my wife’s yesterday and she asked, “Can you help me pick out a new camera? I want to take better pictures of my kids.”

I get this sort of question all the time and it’s a tough one to answer. Most people don’t understand that good photography comes in levels (like Donkey Kong). Sure, it starts with a decent DSLR but then it moves up through many different levels of skill. The real question you have to ask yourself when you want to take better pictures is: How much time am I willing to dedicate towards learning to take good photographs? Then I can help you choose your equipment.

The same question applies to wedding photography. Search the web and you will find prices from $500 – $5000 for a wedding photographer. How can that be? Well, it’s all about the levels and like Donkey Kong there are several different ladders you can choose to climb if you want to reach the big gorilla. So, with that in mind, let’s talk about the “Flash” ladder. (I’m a wedding photographer in Tampa, FL) (more…)

Q and A: What’s the deal with the new Micro Four Thirds format?

Question

Can you explain the new Micro Four Thirds format? What is the point of a camera like this compared to one that fits into a shirt pocket like my Lumix FS25 with 29-145mm lens? I see that both Panasonic and Olympus are making Micro cameras now, but they’re not very small and they are very expensive. Why would anyone want one of those? J. N.

Answer

JN, yes, Panasonic was the first to introduce a Micro Four Thirds camera, the Lumix DMC-G1 Panasonic Lumix DMC-G1 12.1MP Digital Camera with Lumix G Vario 14-45 mm f/3.5-5.6 ASPH Mega OIS Lens (Blue)($623, with 14-45mm zoom lens). Their more recent model, the brand new DMC-GH1 ($1500 with a 14-140mm lens that’s perfect for video capture), includes some upgrades and an HD Movie mode.

Olympus recently announced their new contender, the E-P1 Olympus PEN E-P1 12.3 MP Micro Four Thirds Interchangeable Lens Digital Camera with 14-42mm f/3.5-5.6 Zuiko Digital Zoom Lens (Silver Body/Black Lens) ($800 with 14-42mm lens); this model also features an HD Movie mode. (more…)

When the Light isn’t Right

Rhododendrons and Redwood Trunks, Damnation Creek Trail — Rhododendrons and Redwood Trunks. Damnation Creek Trail

Sunday the light just wasn’t working for me.

Don’t get me wrong, it wasn’t ugly out. It was a beautiful blue-sky day in far Northern California, where I was just finishing up a much-too-short run to spend a couple days in the redwoods, in part as part of the Save Our State Parks effort. The trip was amazing. But yesterday, full sun and 30 miles-per-hour winds left me uninspired.

Now, I’m far from the first photographer to observe that “the light isn’t right” is often as much a statement about the photographer as the light itself. Yes, it’s likely that a sufficiently creative photographer will find a way to make great images in any light she or he ends up with. On the other hand, it’s also true that some types of light really fit my photographic vision better than others. And no matter what the cause, the question remains, what to do with a day like that? (more…)

Epson Stylus Photo R2880 Inkjet Printer

A 13×19″ pigment-ink printer that is a dream come true.

In the past, my purchase of printers was largely focused on dye-based inkjets. The dye-based (not to be confused with dye-sub) printer, you might say, is the consumer-friendly version: Dye-based ink technology is typically found in popular 8×10 and many snapshot printers. The technology is aimed at consumer-friendly papers, namely glossy, greeting cards, and the like.

Many snapshot printers employ dye-sublimation printing technology for longer-lasting prints, often on virtually indestructible paper-but with less punch and pizzazz than what we get off inkjet. Thermal ink technologies use preloaded cassettes loaded with a ribbon, and will deliver a number of prints matched to the number of sheets of paper provided in the package-in other words, when you buy a dye-sub pack, you’re getting the complete package–nothing more to buy in consumables. Do the math-you’ll see it’s simplified.

With inkjet snapshot printers, the ink comes in a cassette, along with paper, but it’s not an exact match-you may have a few sheets of paper left over when the ink runs out. And it’s a dye-based ink. (more…)

The Tuesday Composition: Edges

Snowy Pinnacles at Dusk, Ã˜ Fjord, East Greenland (Image Copyright Joe Decker) — Snowy Pinnacles at Dusk. Ã˜ Fjord, East Greenland (Image Copyright Joe Decker)

Much like our eyes are attracted to highlights in an image, our eyes and brains are not only attracted to edges in an image but they also help us in seeing them, allowing us to perceive those edges even when they’re weak or incomplete. This makes edges (lines, contours) an important element of composition.

(That we respond to edges, even minimal ones, is not simply a cultural artifact: The detection and exaggeration of edges in scenes is a function of the brain, in particular, it is one of many functions of the primary visual cortex. This part of the brain operates much in the same way that software sharpening does, if you look near a defined edge between a light and dark area in an image, the lighter area appears even lighter right next to the boundary, the dark edge appears even darker on the other side of the boundary.)

“Snowy Pinnacles” provides a simple example of these principles. As we discussed last week, many viewers of this image will first have their attention drawn to the moon because of our “attraction to highlights”, but from there, it’s likely that many viewers will then begin to look down and to the right, along the edge of the taller pinnacle until they reach the lower pinnacle at the lower right. (more…)

Making and Using a Watermark Brush in Photoshop

This video will teach you how create and apply a watermark for your photos in Photoshop. You will learn how to apply your logo to your photos wherever you desire.…

Lessons Learned… Again. I hope.

Having had this happen once before you would think I would have learned my lesson.

A few years back, one of my external hard drives decided to take a sabbatical and never come back. Unfortunately it took a lot of information with it. Was the information vital to my business? Not really; but still it was part of the cyber attic pile of crap I decided to keep and never part with, it was so important that today, I have no clue what was on the drive and really don’t care. After that, I got into the regular routine of backing up, and backing up often. After a shoot, I usually pull the images off my card, put them on my HD, and then burn them to disc, and then and only after they were safely on disc, view them. Well let’s just say I got out of my routine…

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