All posts by Thomas Pindelski

About Thomas Pindelski

The author

Brown bagger

Photographs

A spot of luck.

I was gazing at this fine mural off 24th Street in San Francisco, trying to figure out the meaning of the bubble or raindrop between the fingers, when the pedestrian chanced along.

Mission District at 24th and York. G1, Olympus 9-18mm MFT @ 18mm, 1/800, f/7.1, ISO 320.

He glanced up for a moment and I had the snap.

The Olympus 9-18mm MFT lens is great for this sort of thing; it focuses almost as fast as the 14-45mm Panny kit lens and what distortions it leaves behind are easily fixed in LR3 using my custom, downloadable correction files which you can find here. The lens is an outstanding optical performer, especially given its pocketable size. Optically it is easily the equal of the kit lens, which is to say very good indeed. And at 9mm (18mm FFE) it’s as wide as you need in all but the most demanding settings. While Panny’s considerably costlier 7-14mm MFT goes quite a bit wider, there’s no way to protect the protruding front glass with a filter, so Panny’s glass does not pass my ‘throw it in a jacket pocket test’, given that I have no inclination to futz with lens caps.

The only drawback the 9-18mm Oly has compared to the kit zoom is that there’s no OIS and you have to extend the lens from its collapsed position for use. If you forget to do that the G1 will refuse to work.

The ‘new’ Leica M9P

Cameras, Leica

What a scam.

It’s five years since I sold my first – and last – Leica and sadly the former German masters of design have given me no reason to regret that decision.

You thought $7,000 for a camera body with no lens, no autofocus lenses available and a sixty year old viewfinder design, allied with a noisy shutter was a lot?

You are a piker.

Because for a mere $1,000 extra you can have the 2 cent red paper dot on the front (you know, the one that says you are rich and screams ‘steal me and my owner’s wallet’) removed and the word ‘Leica’ engraved in script on the top plate like they used to do twenty years ago. And lest we forget, Leica has made the LCD glass tougher than the one made of pure cheese on the ‘base’ model. Such a deal.

Here’s the latest blurb from the antiquarians at Leica Camera:

Hey, but “Hang on a minute”, you say. I get one of the smallest cameras out there. The factory says so.

Uh huh. And for a bit less you can get a Panny G3 whose modern sensor will rival the M9’s dated Kodak one (so much for a ‘lifetime camera’), offers auto everything, is super quiet and comes with a great choice of lenses, some even branded (if not made) by Leica. No red dot at those prices, though. But you do get a pro-quality movie mode to compensate. As a point of reference, the red outline of the M9 is superimposed on the G3 body below.

And you can buy 13 of those for the price of one M9P or a mere 11 for the price of one regular M9. That way, when your Panny blows after 50,000 exposures you recycle it and pull the next one out of its box. Better still, get smart, buy one, and upgrade to a G4 in 18 months. It will be even better.

As for logo removal, my roll of black electrician’s tape should last the next five generations in Dr. P’s lineage.

A fool and his money are easily parted.

Inca tribute

Photographs

Well done BART.

A trip on the San Francisco subway system – BART – is not all sweetness and light. While visionary when completed in 1972, the rider is confronted with cars that have seemingly not been washed since that year, carpets of like vintage, and a noise level well over 100dB in the tunnels. Having ridden the Paris Metro (now with quiet rubber tires), the London Underground, the NY Subway (Dante’s Inferno in the summer) and the Washington DC Metro on many occasions, I can only think it’s noise caused by poor engineering. None of the alternative systems is anywhere near as loud.

But one thing that does stand out is that the politicians funding BART did not skimp on art and I cannot think of a better expenditure of public monies. This example is at one of the exits at the 24th and Mission station and whenever I take our son to his cartooning classes at that stop, we always pause and revel in the sculptures which are so fine a tribute to Inca culture.

G1, kit lens @ 23mm, 1/50, f/5.6, ISO 320/

There are many sculptures and murals to be found all over the system and they are a joy to discover.

G1, kit lens @43mm, 1/40, f/5.6, ISO 320.

Pentax Q

Cameras

Aptly named.

Some wag at Pentax must have named their new forthcoming toy camera, for the ‘Q’ designation is nothing less than a loud Question as to who on earth needs this?

The Pentax Q. Or is that Q?

It’s truly depressing to see Pentax make a camera with a minuscule digital sensor and interchangeable lenses. The very thought of the mistaken market research that went into the decision to commit significant amounts of capital to engineering and producing this camera and its five lenses for a market which does not exist boggles the mind.

Look at the specs. The sensor is one eighth the area of the MFT ones found in Panny and Oly offerings. The lens still sticks out a lot. There’s no eye level finder but you can blow another $250 on top of the $800 for the camera to buy a bulky optical one, limited to one focal length. To make matters worse, the standard lens has a full frame equivalent length of 49mm – way too long for most snaps and the zoom alternative destroys what compactness the body offers.

This is what happens when you design cameras by committee and market research – both functions doomed to report the past and incapable of encouraging original thought. Heaven forbid that Pentax might actually ask photographers what they want. That advice would be free and on point. The folks at Pentax obviously do not read their Santayana, denying the wisdom of “Those who deny history are doomed to repeat it”, having made an almost identical error with their short lived, overpriced and ill considered Pentax 110 film camera. This was another toy, using a truly ghastly film format but engineered at a level way in excess of the capabilities of the medium. And while I’m at it, who on earth designed that execrable extending flash in the Q? My boy can do better with Lego bricks.

Pentax’s previous exercise in stupidity, the 110 film camera.

If I were Pentax, a business on its last legs and likely not here for the long term, I would take one last great risk and return to my roots of truly original design. Spotmatic or ME Super, anyone? Forget the me-too DSLRs, Pentax. You have little to offer there. You are RC Cola to Coke, doomed to remain on the lower shelf, scraping for pennies. What Pentax could have done, given the company’s undeniable design skills, is take a hammer to Fuji’s poorly executed, over-priced and over-engineered X100 and made a fixed focal length APS-C or MFT snapper, with a proper EVF or optical finder, a speedy wide angle f/2 or f/1.4 lens and sold the thing for $500. Don’t these people realize that there is an enormous demand from decent photographers (meaning they can take good pictures, not that they are moral!) who are sick and tired of lugging bulky DSLRs around and just want something small, sharp and super-responsive, at a reasonable price?

Pentax Q lenses – two ‘Toys’, a fisheye and a bulky zoom, plus the standard one.

To compound their silliness, Pentax is offering two self-described ‘Toy’ lenses where you will be able to pay hundreds of dollars when you could just buy a piece-of-crap Holga for $10. Better still, forget the $10 and mess up your image in Photoshop. Why, you don’t even have to wait for the processed film to come back that way.

And finally, they are making a fish-eye which, I predict, will sell no more than a dozen world wide. Sure, every snapper really needs one of those.

The picture below shows the size of the Pentax Q (red rectangle) superimposed on the Panasonic G1 (my current snapper) and G3 (on order) – you get a picayune sensor in exchange for a very small reduction in bulk. The thickness dimensions vary little:

Pentax Q outline superimposed on the Panasonic G1.

Pentax Q outline superimposed on the Panasonic G3.

That equation does not solve for this photographer.

500gB iPad

iPad

It’s happening.

The two biggest disabling issues making it impossible for serious photographers to use the iPad as a portable photo processing device are the paucity of good photo processing apps and the iPad’s low storage capacity.

The former issue is being rapidly resolved as new processing apps geared to touch screens seem to be appearing wekly.

The latter has finally been addressed by some clever people at Hitachi.

Click the image for the Hitachi site.

The device, priced at $200 and available in 4 weeks, will behave as a wireless hard drive for your iPad. So, if it works as advertised, that means that you should be able to download your RAW files to the device and then process the images from your iPad. Whether direct download from a USB card reader to the G-Connect is possible is unclear, but if it is and if delivers as promised, I’ll be in line.

Given that the primary (only?) reason to buy a 64gB iPad over the 16gB one, a poky 48gB storage increase, is if you want to store lots of videos or RAW files on your iPad, why not get this device instead? The price increase is the same, the weight penalty minor – it’s likely little larger than a notebook HDD – and you can use it as a wireless disk with any computer.