Category Archives: Paintings

Without paintings we are nothing

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

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.

To get ahead ….

…. get a hat.

“To get ahead, get a hat” was a famous slogan of men’s hat makers in the middle of the last century when every respectable man wore a hat. Come to think of it, a lot of not-very-respectable guys wore them, too.

Speaking for myself, I wear a hat, more correctly mostly a cap, 365 days in the average year, more in a leap year. My choice is one of many English Tweed (sorry, Scottish Tweed) caps in my collection, though now and then you might find me under a Trilby or, on particularly eccentric days, a Sherlock Holmes Deerstalker. This one is ideal for taking street snaps as everyone writes you off as a harmless nut which, of course, you are. Summer, as often as not, finds me sporting a Borsalino linen number and I confess to always having had a hankering for a straw boater but have yet to own one. For years you could have found a Greek fisherman’s number gracing the old noggin and if I ever owned a bowler I am most certainly not admitting that here.

The milliner is a special kind of hat maker, catering solely to the gentler sex. No finer expression of his work – or his clientele – exists outside Degas’s priceless renditions.

And it’s not like he did it once. There are many renditions.

So show me a hat shop and you can bet on one thing. I’m going inside.

Here’s one in San Francisco’s Little Italy and, yes, you know who I was thinking of:

In the hat shop. Panasonic G1, kit lens 1/3rd sec., f/6.3. ISO 320.

1/3rd second, hand held? Yup. Sometimes you get lucky, and no way I was letting this one get away. No time to mess with the wretched little buttons on the Panny to increase the ISO, so 1/3rd it was. Snapped at the Goorin Brothers Hat Shop on Washington Square in Little Italy, San Francisco, which has been selling hats since 1895, when Degas was still doing his thing.

The embrace

Edvard Munch lives!

The embrace

Date: Feb 6, 2011
Place: The Embarcadero, San Francisco
Modus operandi: On the BikeCam.
Weather: Just perfect.
Time: 2:07pm.
Gear: Panasonic G1, kit lens at 28mm, f/5.6, 1/160th, ISO320
Medium: Digital
Me: Seeing Edvard Munch
My age: 59

While the gender rôles may be reversed, Edvard Munch saw the same vampiric behavior in the enamored lover in his painting Vampire (1893) and I confess that was my sole thought when pressing the button:

Edvard Munch – Vampire – 1893.

High tech Hockney

Art and technology.

Painter and photographer David Hockney has migrated from a paint brush and camera to an iPhone and iPad to create new works of art.

He creates images on his iPad and sends them to friends. The app he uses is named Brushes – click the picture below for more:

As this fascinating article from NPR relates, Hockney is so intense when using the iPad and Brushes that he occasionally wipes his finger on his smock, forgettting that he is not using a real brush loaded with paint!

Most intriguingly, his current Paris show is displayed on iPads to any of which he can simply send a new image when he feels like it – a dynamic, ever changing exhibit which will make multiple visits worthwhile and is surely the right way to display photographs in the modern age. I wrote of this concept over four years ago suggesting that ever cheaper LCD televisions would be the display ‘canvas’ of the future. LCD displays have halved in cost since I wrote that earlier piece. though it seems like the iPad beat the TV to the punch in Hockney’s capable hands.

Were I a photo gallery curator, I would chuck out all the frames, fire the framers and printers and museum guards, buy 50 iPads and 50 big screen TVs and advertise “See our latest show – no two days alike. Come as often as you like with a show pass allowing any number of visits for just 50% more than the regular price. See photographs in their true splendor and dynamic range.”. Result? Costs halved, revenues up 50%. Gallery saved at a non-recurring cost of $60k. Further, sell each show as a download at the conclusion of the exhibit and really clean up. Oh! yeah, and sell all those dumb ass prints to collectors to pay for the hardware and severance costs.

There are still those who maintain that the iPad is a device purely for consumption. Disregard these luddites.

The original bad boy

aka Michelangelo Merisi.

No painter has so influenced photography and photographers as has Caravaggio, whom NPR amusingly and accurately refers to as the first of the “Bad Boy artists”. An exhibition in Rome is celebrating the 400th anniversary of his death and you can read more of this master by clicking the picture below.

I prefer the version that has him dying in a sword fight as it seems so in character with the man. Brawler, debauched party goer and totally original genius. His use of light and shade is as fresh today as it was four centuries ago.

On of the best episodes of Simonn Schama’s ‘The Power of Art’ illustrates Caravaggio’s life with some stunning recreations of his signature pieces, not least ‘The Calling of St. Matthew’. You can rent it from Netflix. It’s clear that while his commissions came largely from the Catholic Church (who else had money back then?) his art is about as secular as it gets. Another reason to adore his work.