Category Archives: Hardware

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The new iMacs – 2011

Macintosh

Still a poor choice for photographers.

From a reading of the specs of the latest iMacs, the reasons to upgrade are:

  • You do a lot of moving of large video files. The new Thunderbolt connector is 10x faster than USB but peripherals using it are rare and only just coming to market.
  • You need three displays. Existing iMacs can support two (iMac + 1 external). The new ones can support three (iMac + 2 external) using Thunderbolt. Once again, the only displays currently using Thunderbolt are the overpriced and glossy-only ones from Apple which simply cannot be properly calibrated for serious photography use. Once it becomes available, a good Dell matte display will be half the price of the add-on Apple one, the latter too garish/bright/contrasty, just like the display in every iMac since they went all glossy four years ago.

The modest CPU and GPU speed increases are not a compelling reason to upgrade.

Further, AAPL still has issues with graphics cards overheating (which killed both our white non-glossy iMacs and made me build the Hackintosh – these were the last iMacs with a screen that could almost be properly profiled for photography use). Still? Well, yes. Why do you think the iFixit tear down shows that the graphics board in the latest iMacs is removable, rather than integrated on the motherboard? Because they expect to replace many, testament to the poor cooling of the part in the tight confines of the box. Form over substance design continues at Apple. Plus, as you need to remove the motherboard to access the removable GPU, you need to be very skilled or very lucky. And then where do you get the replacement? It simply does not solve.

Click the picture for the iFixit teardown of the latest iMac.

If you need a good photography machine and must have Thunderbolt, the best bet is to wait for the Mac Mini to add that connector and hook it up to a couple of proper displays from Dell. Or for higher speed, build a Hackintosh.

Save your money unless the above are compelling reasons for you.

The single best thing you can do to make your iMac significantly faster is to add a Solid State Drive for the OS and applications. It can sit externally – internal installation is sheer hell – and you tell System Preferences->Startup Disc to make the SSD the one to start from. Install OS and copy over apps and you are set. You continue to keep data on your existing internal HDD which is big and cheap. The SSD is small and costly but it dramatically increases start-up speed and application loading. I added an Intel SSD (only 128gB) to the Hackintosh and the difference is night and day. I use maybe 50% of it – OS + apps only. Far more real world performance increase than newer CPUs or GPUs. It cost me $225, and prices continue to fall. Once you have used an SSD there’s no going back. Also, an SSD has no moving parts – always a good thing.

The Panasonic G3 – soon?

Micro Four-Thirds

Here’s hoping.

My Panny G1, bought in July 2009 was discontinued about a year ago. Panasonic replaced it with the underwhelming G2. The latter added a movie mode and a touch (more like “push”) screen.

Panasonic G3? I wish!

A far more significant improvement was in the recently introduced and costly ($1,000 body) GH2 which added the second ever MFT sensor. All Panny and Oly MFT cameras have shared the same sensor until now. This increased the pixel count and reviews suggest that the noise and resolving properties are now comparable to the considerably larger APS-C sensor in the best models from Canon and Nikon. A related benefit is the professional quality movie mode which has many pro movie makers dumping their costly video gear in favor of the superior GH2. Impressive.

Now it’s not like the results from the G1 are bad. I have little difficulty consistently producing 13″ x 19″ prints from mine and, with extra care, 18″ x 24″ is possible. That’s larger than 99.9% of users will ever make. As for display on a big TV screen, there are no issues. Everything looks great. However, an even better sensor, especially one with less noise at 1600 ISO, would be welcome. So would deletion of the useless prism hump on the G-series DSLRs, placed there by Panny’s admission to make traditional DSLR switchers comfortable. Or something silly like that.

The reason the mock up, above, interests me is because not only is the prism hump gone, the body also includes the EVF from the G1 which is as good as it gets. Meaning that, unlike the GF1 and GF2 which include an LCD finder only or an add-on EVF which makes them bulkier than the G1, you get a proper, integrated finder. Plus that improved sensor. Anything that allows me to be more careless when pressing the button, in the interest of getting the picture, is a good thing. So faster ISOs made possible by a less noisy sensor means faster shutter speeds. That means a higher success rate in street snapping.

The rumor mill has it that Panny will announce the G3 on May 11, in London. Let’s hope that the recent earthquake in Japan does not delay that.

The G1? Still a superb bargain. I paid $640 for mine and Amazon still sells new ones for $550 with the kit lens. Mint to new ones sell for under $250 for the body only on eBay. If the G3 is too costly or delayed, I have no difficulty recommending the G1 to aspiring street snappers who will not miss a movie mode. And forget the touch screen. No one needs that.

Price? I’m guessing $650-700 for the body only. They may have to discontinue the GF2 as who wants a non-EVF body of comparable size at a like price?

The Fuji X100 – time to wait

Fuji

Not ready for prime time.

I have been reading David Pogue, the New York Times’s technology columnist, for ages. What he lacks in sheer technical knowhow he more than makes up for in his ability to get to the point of the real world user. Sort of like Consumer Reports. Neither may know exactly how fuel injection works, say, but both will tell you straight whether the car can be guaranteed to start when the ignition key is turned. That’s what users need.

So while his review of the Fuji X100 is replete with a howler or two which will make ‘experts’ cringe (he describes it as a great portrait camera, despite the short lens, etc.) he does hit the nail on the head in disclosing what is now a worryingly frequent complaint on chat boards from those lucky enough to have got an example of this rare beast. And as I am more likely to believe Pogue than I am the average chat board aficionado, here it is, plain and simple:

“You should also know that the camera doesn’t focus quickly, especially in low light.
It does have an autofocus assist lamp that comes on in dim rooms,
briefly providing enough illumination for it to focus,
but time is going by meanwhile.”

First, forget using an autofocus lamp. This camera is meant to be stealthy, not a walking advertisement. Next, with my jarring experience with the 20mm Panasonic for the G1, which I returned almost as soon as I bought it, I am super sensitive about fast autofocus. The Panny was simply unable to focus fast enough for street snapping, delivering a 30% focus failure rate in the almost 500 exposures I made with it, and I don’t propose to relive the experience with the X100. I suppose you could use the camera for landscapes or whatever, but fail to see what it adds compared to the regular DSLR in that regard. The fact that the X100 is small, has a real optical finder and is quiet and unobtrusive, is what turns my crank, and street snaps are what I mostly do.

Yes, there are several other quirks in the design which can be cured by Fuji tweaking the software (button assignments, menu layout and the like), but speeding up the focus operation is not, I would guess, one of them. Your focus motor is either fast or not. In this case, it increasingly seems not.

This is not the low risk prospect that buying the iPad on Day One of availability was. Apple had several years of touchscreen development under its belt with the iPhone so screwing up the iPad was not a big risk. By contrast, what we have in the Fuji is a camera with a massively complex EVF/OVF eye level finder from a low volume manufacturer not known for making like products. That’s high risk in my book. The X100 Mark II will likely get it right, and I’m also hoping that the likes of Panasonic come out with something as good or better by then, at a saner price.

So, for now, I will either cancel my X100 order or flip the camera on eBay if it still commands today’s 50-100% black market premium at my date of purchase. Free money is never a bad thing. The latter option will, at least, allow me to try it for myself.

The cost of gear

Hardware, Leica

Never lower.

Selling off my Canon 5D outfit gave me pause to reflect on the cost of photography gear. While it’s not something I pay much attention to, my ‘investment’ in hardware has, for many years, been less than zero. That is largely attributable to selling off my Leica equipment a few years back, most of it bought before the lunatic increases in second hand values seen in the late 1990s. Most items sold for at least twice what I had paid, some of the older ones for five times my cost. So even after splashing out on my 5D, a bunch of lenses and the HP DJ90 printer, I was well ahead of the game. While I denigrate the collector mentality which saw my Leica gear rise so greatly in value, living free is not so bad either.

My Leica M3. That was then ….

In 1971, when I got serious about street snapping and bought my first Leica, a used M3, a new M4 could be had for some $940, complete with the greatest 50mm lens ever made, the f/2 Summicron. If film is your thing you cannot improve on this combination forty years later. Today a new digital M9 with a similar optic will run you $9,000, or $10,000 with the even more street-suitable 35mm lens. That’s an annual compounded inflation rate of almost 6%. By contrast, the US CPI has an annualized increase of 4.5% over the same period, which makes Leica’s price inflation look reasonable. Stated differently, that M4 + lens, inflated at the US CPI rate, would cost you $5,200 today. Yet, when someone tells you that a modern M9 + lens runs you the price of a good used car you blanch and look elsewhere.

The M9 is a far more capable body than any of its predecessors and for the over-and-above-inflation price increase you get a full frame digital sensor, a ‘motor drive’ as there’s no film to advance, aperture-priority exposure automation, extremely high ISO capability, a thousand shots a roll and instant gratification. All missing from that M4 of yesteryear. That’s a lot of value added for the incremental $4,000 or so over an M4 at today’s prices. And you still get that dumb-as-it-gets removable baseplate.

Yet why do so few serious photographers buy it? The reason is simple. It’s not that the M9, in some abstracted sense, ‘seems’ expensive. It’s that everything else is so much cheaper. And if you take function and flexibility into account, the single-use Leica (street snaps only, please) pales when compared to like priced modern megacomputers in the guise of the big Canons and Nikons. Indeed, for just a few hundred dollars you have a choice of any number of DSLRs from the likes of Nikon, Canon, Pentax, Samsung, Olympus, Sony and Panasonic which will outperform that M9 in every respect – speed, automation, flexibility and so on – while yielding results indistinguishable in quality from the Leica’s to all except those who have shelled out the price of entry for the latter. The Leica has migrated from tool to fetish.

I’m thinking about this as I contemplate what to do with all the excess proceeds from my 5D sales. My little G1 outfit with 9-18, 14-45 and 45-200mm lenses, which ran me all of $1,650, can deliver 13″ x 19″ prints with ease, 18″ x 24″ if I try a little harder. I tried the 20mm f/1.7 pancake and returned this poor optic one day after purchase. It was, arguably, a luxury purchase, meaning I really did not need it, but I had all that cash burning a hole in my pocket, so blowing $400 of it on a toy seemed the thing to do.

Panny lists a 45mm Macro with Leica branding (right, pull the other leg) which helps them justify $800 for the lens. But my macro days are over. Been there, done that.

…. this is now. G1 and friends.

There’s also a tempting Panny fisheye lens which may entice me should I get the hankering to do QTVRs again, but the 9-18mm Oly satisfies my ultrawide needs for now.

On the software front simplification has also been the order of the day. Lightroom and Photoshop CS5 are a powerful team for just about everything I need, absent QTVRs. Panoramas, perspective correction, selective blurring, you name it. Plus LR’s superb cataloging and keywording. So no way to blow some cash there.

And when it comes to heat mounting my big prints, the old Seal press has about a thousand years left on it and the last I checked, they do still make them like that.

I guess I’ll just invest the excess, setting $1100 aside for the Fuji X100. Now that is one piece of gear I very much do not want to have to return for credit.

Meanwhile, there’s nothing to it. I simply have to take my dirt cheap gear and go make some more pictures.

Panasonic 14-45mm f/3.5-5.6 OIS MFT Lens

Micro Four-Thirds, Paintings

Staring me in the face.

It’s not for nothing that my mother gave birth to me on St. Thomas’s day and duly named me Thomas. For those into Christianity, Thomas was the ultimate skeptic. Judas, unlike his fellow scum in the banking sector today, at least had the courage to off himself. All but one of the remaining eleven apostles took Christ’s wounds for granted, but Thomas was having none of it. He had to check it out. I like that guy, and it took Caravaggio to truly do him justice and, as usual, he pulls no punches.

St. Thomas, that greatest of skeptics, checks for himself.

In a world where everything on the internet is taken as gospel, we could do with more like him.

So, having been duly skeptical about the hype surrounding Panny’s 20mm lens yesterday, and after returning the lens to B&H in disgust after one day and 434 exposures, I think it’s only fair to set the record straight. The good thing about being a skeptic is that you rarely get ripped off; the bad thing is that when something really good stares you in the face you tend to take it for granted. And that ‘something good’ has been staring me in the face for some 18 months now. I admit it. When it comes to the expression ‘kit lens’ I am prejudiced. Prejudiced as in ‘It’s a piece of plastic junk used to keep the price of a basic DSLR low’.

So my ghastly experience with the Panny 20mm f/1.7 MFT lens is a salutary lesson, one which taught me that the Panny ‘kit’ zoom is one of the great optics of our time. It’s appropriate, therefore, to devote a journal entry to that kit lens, the Panasonic 14-45mm f/3.5-5.6 OIS MFT Lens. I have been taking it for granted for far too long.

With some 9,500 exposures using this lens under my belt I can lay some claim to living in the real world of results, not in the theoretical one of chart and laboratory measurements.

Almost everything about this lens is right. It is small, it focuses very quickly, it’s sharp at any aperture and subject distance and it delivers every time. Let’s get the complaints out of the way first. It’s not a large aperture lens, meaning everything will be pretty much in focus at every aperture and most subject distances. You will not be adjusting the zoom ring with one finger because it binds and jerks. And, yes, there’s a lot of plastic in it, if that bothers you, though how that is relevant to the quality of your images beats me. Ever tried dropping your brass and steel (brassy steal?) $3,000 Leica Summicron on the sidewalk to see how well malleable, deformable metal survives gravity compared to plastic?

And, my word, this lens delivers.

You want blurred backgrounds? Hop into Photoshop CS5, use the lasso and ‘refine edges’ tools with Filter->Blur->Lens Blur and you have all the background blurring you need. Takes seconds to do on those special images. For a quicker, less nuanced result, you can just use the localised adjustment brush in LR3 and turn down the sharpness, using the slider, for the highlighted area. Don’t forget to hit Command-Option-O (it’s a toggle) to show the outlining mask as you do your outlining.

Point this lens into the sun, as in ‘the sun is in the picture’, and you will get an occasional flare spot, easily removed in Photoshop. Does the result lose contrast as a result? No.

Use this lens in poor light and you will be struggling with a compromise between noisy high ISO and movement blur. But compromise you can, and you will still get the photograph. At ISO1600 noise from the G1’s sensor is not nice, but a bit of post-processing and you can get a decent 13″ x 19″ print. One that works fine unless you like sticking your nose in the canvas.

So, Panny, thanks for one of the truly great optical masterpieces of our time. I don’t care how you got there, I don’t mind if you used plastic ‘glass’ and polycarbonate this and that, because I have an incredible hit rate with your optic on my G1. And I much prefer to cull images for poor timing/composition/realization than I do for wrong focus or flare. Further, the built in shake reduction (OIS) gets me the equivalent of two stops of sharpness (if not two stops less depth of field) so the f/3.5-5.6 becomes an effective f/1.7-2.8. Where I might use a 1/30th shutter with a non-OIS lens, here I can use 1/8th with the same result. What’s not to like? The 13″ x 19″ prints on my wall tell a story no LCD monitor can. This lens is superb.

When Panny went to the G2 and later models the 14-45 morphed into a 14-42, which sells for $150 less. Whether that’s because it’s a poorer optic or not, I cannot say as I have yet to try one, but I do know that my 14-45 is very much a keeper.

Until the recent Panasonic GH2 camera came along all Panny and Olympus MFT bodies (which is the same as saying ‘all interchangeable lens MFT cameras’) used the same sensor. The GH2 claims to improve on that sensor and, if they are to be believed, the 14-45 kit zoom will only move to strength with the additional benefits of an improved ‘back end’.

The kit zoom is highly recommended if it’s the only lens for your G-body and street snaps are your preferred genre. And I promise never to use the words ‘kit zoom’ as pejoratives again.

Pictures speak louder than words, so I took the kit lens out for a spin yesterday, just to heal the wounds left by the 20mm, and here are a few results:

Click the picture to see the PDF.

All taken at ISO320 on the G1 body with minimal post processing.