A Little Live Music with the Panasonic Lumix DMC-GX7

I've been working a lot lately, and not getting out for enough shooting. I have roughly kept up with my posts, but it's been a stretch.

 

Last night, after a full day of science, I headed out to see Jake and the Burtones at LoCo Joe's Coffee in Purcellville, VA. Here are my favorite shots from the evening.

 

Forgive the brevity; I'm a little short on time this morning.

 

 

 

 

 

 

 

 

This final shot was made with the Panasonic Lumix DMC-GX7 and Series 2 kit lens at iso 6400. Not bad. The remaining images were made with the Pana-Leica Summilux 25mm f1.4 and Olympus 75mm f1.8 lenses at iso 1600 and 3200.

 

DMC-365.blogspot.com

 

 

 

Winter Doldrums? December is Here.

Sunsets on the Month of November, by Reed A. George

Panasonic Lumix DMC-GX7, Pana-Leica Summilux 25mm f1.4 Lens

iso 200, f8, 1/50 sec.

As I write this, it's Sunday morning, December 1, 2013 (I usually write posts several days ahead). Amazing how fast this year has gone; it seems like yesterday we were in January.

 

Yesterday, I went to visit a friend in Warrenton, Virginia, and captured the shot above, the final sunset of November, with my new Lumix GX7 and 25mm Summilux.

 

Oh yeah, while I was out, I got to handle the new Nikon Df at McClanahan's Camera in Warrenton. It's really, really attractive.

 

(Click Here) to got to McClanahan's. Mr. M. has a Df waiting for your purchase; I;m sure he'll be happy to ship it to you.

 

Winter makes it harder to find interesting subjects to photograph, especially outdoors. This just means that I need to focus my lens and efforts elsewhere. People are still interesting in winter, right? And, it's a chance to focus on cleaning up all of the image files I shot all year round, organize my folders for next year, and maybe even do some post-processing and printing.

Last of the Leaves, by Reed A. George

Panasonic Lumix DMC-GX7, Lumix 100-300mm f4-5.6 OIS Lens at 280mm

iso 400, f5.6, 1/400 sec.

 

If you know me at all, you know that organizing files isn't what turns me on about photography. No, it really is December 1, and that means it's time to select my final lens for my monthly series Whole Lotta Leica (that series will end after this month), and pull a neglected camera out of the closet for my Skeletons From The Closet series. The future of SFTC is uncertain at the moment, but I'm thinking of focusing on a few of my favorite cameras next year, for longer than a month. I may even do multiple cameras at the same time. We'll see.

 

So, time to start thinking about some new projects, and continue on some current ones. I'm sure I'll find some good live music being played in the local venues even as it snows outside, for example.

 

DMC-365.blogspot.com

 

 

Barcelona's Placa De Sant Felip Neri

 

Placa De Sant Felip Neri, Barcelona, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso 1600, f5, 1/320 sec

 
Placa De Sant Felip Neri, located in the Barri Gotic neighborhood of Barcelona, is a special place with a deep history. Originally the site of a Jewish cemetery, a baroque church was built here in the mid 1700s and still stands.
 
On January 30, 1938, during the Spanish Civil War, a bomb fell on the square, killing 42 civilians, including 20 children who were taking shelter in the basement of the church. In the images below, you can see the significant damage that the bomb did to the stone walls of the square.
 
While the shot above was taken with the Lumix DMC-G3, the remaining pictures in this post were taken at night with my Leica CL, Minolta Rokkor 40mm f2 lens, and Kodak Tmax 400 film. I did not use a tripod, and most were shot at 1/15 second exposure.
 
My goal was to capture the feeling that the place gave me as darkness fell. It is not a sinister place, but certainly has a dark history.
 

 

There is still an elementary school in the square. The children in these pictures were meeting their parents, and playing before walking home. While the pictures look dark and threatening (which was my intention), the kids were quite happily running around the square.
 

 

If the soul exists, many have flown skyward from this place. Remnants of those flights persist. Like a tidepool that stays intact after the tide has receded, this place holds memories for those old enough to remember, only vague shadows and moods for those too young.
 
I thoroughly enjoyed trying to capture the impression Placa De Sant Felip Neri made on me. The Leica CL was the perfect tool for it, even though I had to work carefully with iso 400 film and low light levels.
 

DMC-365.blogspot.com
 
 

New Olympus OM Blog

 

Image Source: http://omexperience.wordpress.com/2012/10/03/ren-fest-part-duex/

 
Today I found a new blog. Being a Micro 4/3 fan, I'm always looking for others using Micro 4/3 cameras and posting lots of pictures. Today I found the OM Experience, an Olympus OM-D focused blog, by Matthew, who lives in the Baltmore, Maryland area.
 
(Click Here) to see Matthew's blog.
 
Matthew is posting a lot of pictures - key to a great photography blog. He posted a nice set of images from the Maryland Renaissance Fair, which runs through late October. I guess I've missed it again this year. I have been planning to go for quite some time.
 
Anyway, for my friends out there that use the Olympus OM-D, this will be a great blog to follow. He also uses Panasonic lenses, including the Pana-Leica Summilux 25mm f1.4. So, you Lumix fans won't be left out.
 
DMC-365.blogspot.com
 
 

How Well Does Micro 4/3 Format Work For Landscapes?

 

 

Landscape, by JohnW on getdpi.com

Image Source: http://forum.getdpi.com/forum/4-3rds-cameras/39861-m4-3-landscape-system.html

 

Garnet Lake, by Reed A. George

Panasonic Lumix DMC-G1, Lumix 14-45mm kit lens at 14mm

iso 100, f8, 1/200 sec

 
NOTE: the original picture for this post, from JohnW on getdpi, is no longer available. So, I've substituted one of my own landscapes made with Micro 4/3 equipment.
 
Everyone knows that the tradeoff in Micro 4/3 camera gear is sensor size, which gives you awesome small form factor cameras and lenses in exchange for the small image format. This has been written about, and argued about, ad nauseum. In my opinion, Micro 4/3 cameras started out pretty good in the image quality department (my Panasonic Lumix DMC-G1 produced very nice images, and still does now in the hands of a friend), and have only gotten better. I'm pretty pleased with the Lumix DMC-G3 in terms of image quality and reasonably high iso situations. I understand the Olympus OM-D is even better. Maybe even better than the new products coming out from Panasonic. That last part is a little unclear, as the Lumix DMC-G5 has just come out, and the GH3 is anxiously awaited.
 
Anyway, one of the places where large format has always been king is in landscape photography. Ansel and his ilk carried 8"x10" or even larger cameras, films, and associated hardware (think BIG tripods) into the field to do their best work. So, how does Micro 4/3 fair in landscapes?
 
As usual, it's not black and white (pardon the pun). If you're printing wall-size, the bigger the format, the better. Unless, of course, it's so big that you can't carry it out to that pristine landscape that you want to capture. For those of us who print to 16"x20" or less, Micro 4/3 may just do the trick. Do we want better? Of course. Do we want to carry more and spend more? Well, not so clear.
 
(Click Here) to read a post on the subject by JohnW on getdpi.com. My personal opinion is that JohnW's image above is gorgeous. I see lots of subtle gray levels, smooth transitions, and high contrast in places where it matter.
 
Here's an example of a cropped panorama that I made with the DMC-G3:
 

Rural Virginia, by Reed A. George

Panasonic DMC-G3, Pana-Leica Summilux 25mm f1.4

iso 160, f8, 1/250 sec

 
I have printed this to 18" wide, and am reasonably happy with it. Yes, a larger format would have been better. As it is, I'm quite pleased with the result.
 
DMC-365.blogspot.com
 
 
 

G3 Shots from Springtime in Japan (Sakura)

 

Sakura, by xellz on mu-43.com

Panasonic Lumix DMC-G3

Image Source: http://www.mu-43.com/f56/uploaded-several-sakura-views-30847/#post302139

 
xellz posted a few shots from last spring in Japan, shot with a Panasonic Lumix DMC-G3.
 
(Click Here) to see the whole post on mu-43.com.
 
I think the framing in the shot above is expertly done. The exposure here must have been tough. The sakura (cherry blossoms) in the foreground could be a little brighter, but with the full sun in the frame, it would be difficult to accomplish that without blowing out the exposure throughout the whole sky. In fact, this shot would be an excellent candidate for high dynamic range (HDR) imaging - where you combine mulitiple shots to get the exposure you want in each portion of the image.
 
Here's a shot I took in Japan last spring:
 

Contemplating Springtime, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica 25mm f1.4 Summilux

iso 160, f2, 1/2500 sec

 
I could have benefitted from a slightly smaller aperture on this shot. I would like the hand to be in sharp focus, as the face is. However, I wanted the sakura to be out of focus as they are. In fact, I love how they turned out.
 
DMC-365.blogspot.com
 
 
 

m43photo Blog Reviews the Sigma 30mm f2.8 for Micro 4/3

 

Panasonic Lumix 20mm f1.7 Next to Sigma 30mm f2.8

Image Source: http://m43photo.blogspot.com/2012/07/sigma-30mm-f28.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Micro4%2F3rdsPhotography+%28Micro+4%2F3rds+Photography%29

 
m43photo has issued a review of the features of the Sigma 30mm f2.8 prime lens for Micro 4/3 cameras.
 
(Click Here) to read the review on m43photo.blogspot.com
 
A quick summary of the pluses and minuses are:
 
Plus:

• Simple lens design (no extreme wide angle, super fast aperture, small size) allows decent results in inexpensive lens.
• Price - currently $199 on Amazon

 

• Bokeh at f2.8 (close to subject) looks okay to me. At 60mm equivalent, it could be useful for environmental portraits and the like.
• Autofocus is fast

Minus:

• Size - not large, but certainly not a pancake lens (see above)
• It rattles when it's not powered up
• Time delay on powering up the camera
• No hood supplied with it (this is true of the Lumix 20mm as well)

I have not tried this lens myself, and merely share m43photo's thoughts on it, and my suppositions based on what I see.

 
 
The focal length reminds me of the effective focal length of a 50mm normal lens on the Leica M8, which has a crop factor of 1.33, making the 50mm have the field of view of a 65mm lens (this 30mm has the field of view of a 60mm full frame lens). I have never been pleased with a 50mm lens on the M8. So, I don't think this is the focal length for me on Micro 4/3. I prefer a little longer lens for portraits (like the 45mm f2.8 Pana-Leica Macro Elmarit), and a little shorter one for general use (the Pana-Leica Summilux 25mm f1.4 is a super lens, as is the Panasonic Lumix 20mm f1.7). For reference, the Lumix 20mm is about $300 now.
 
If I were shopping for an inexpensive prime lens, I would give this lens a try. By the way, $199 is not that cheap, when you compare it to say a Nikon AF-D 50mm f1.8, which is faster, offers great image quality, and goes for $135 on Amazon (I've seen it for under $100). Of course, Nikon gets the economy of scale from selling many more units.
 
As it is, there are better alternatives in the "normal" focal length for Micro 4/3, and 30mm is not really in that range, anyway.
 
I generally don't pass judgment on lenses I haven't tried, and realize it's not totally fair or well-informed. However, based solely on specifications, let alone what the post above adds to that, I am sure this is not a lens for me.
 
That said, I'm sure some skillful photographers will make absolutely beautiful images with it.
 
In fact, you can look at some images in a flickr group dedicated to this lens (seems to include other mounts as well, but all Sigma 30mm f2.8 lenses).
(Click Here) to go to the flickr group page.
 

DMC-365.blogspot.com
 
 
 

To Zoom or Not to Zoom - That Is A Question - The New Lumix 12-35mm f2.8 - Is It A Permanent Part of My Kit?

Cooling Off, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 12-35mm f2.8 Lens at 31mm

iso 200, f7.1, 1/2500 sec

 
I just spent a long weekend at a music festival with the new Lumix 12-35mm f2.8 Aspheric lens attached to my Panasonic DMC-G3. So what do I think? I'm conflicted to tell the truth.
 
First off - it was very nice to not have to change lenses much. The lens worked very well for shots of the crowd, dancers, vendors, and those types of things. It also did fine with wide shots of the bands. But, let's talk about that for a second. In shooting a full-stage image of a performing band, I needed to stop down at least a little - f4 at least, more likely f5.6. In daylight performances, not an issue at all. After dark, that required a little flash. But the real point is, if I'm using the lens in this way, why does it matter that it has a maximum aperture of f2.8? The answer is, it doesn't matter at all. I could have done just as well with my Lumix 14-140mm f4-5.8 lens. In fact, I would have had a much more useful focal length range. Yes, it's true that I'd lose the 24mm full frame equivalent field of view of the wide end, but that's not common territory for me anyway.
 
And that brings up another point. As I mentioned previously, the 12-35mm is just a little short of being a great portrait lens.
 
(Click Here) for my intial thoughts on the 12-35mm for candid portraits.
 
Now portraits are where the f2.8 can become important. But, at 35mm maximum focal length, f2.8 just doesn't quite do it.
 
Finally, I've become spoiled by my primes. At "normal" focal length, my Lumix 20mm f1.7 and Pana-Leica Summilux 25mm f1.4 lenses are so fast, f2.8 seems a little slow (in light gathering capability). I'm about to become even more spoiled, when my Olympus 75mm f1.8 prime shows up.
 
So, as you can see, I'm pretty far along in talking myself into returning the 12-35mm f2.8.
 
I think I would rather carry two camera bodies, and a couple of extra lenses, rather than accept these tradeoffs. I though that the 12-35mm may be important for event and travel photography for me. This weekend told me that I would be happier with primes at events. For travel, the 14-140mm f4-5.6 is still a great option for well-lit scenes. It has enormous focal length range, too.
 
Just for balance, you may be interested in reading a post on ePhotoZine about the joys of zoom lenses.
 
(Click Here) to read one author's experience of reducing his Nikon DSLR kit size with a super-zoom (Nikkor 28-300mm).
 
Just imagine the benefit this author would get from Micro 4/3 gear. Weight becomes negligible with a single body, single zoom approach.
 
DMC-365.blogspot.com
 
 
 

Music Festival Photography - Timely Piece on ePhotoZine

 

"The Shakedown," by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14mm f2.5

iso 200, f5.6, 1/60 sec

 
There's an entry on the ePhotoZine blog about festival photography. This is timely, as I'm heading out to Floyd Fest starting tomorrow (by the time you read this, I'll be at the festival).
 
(Click Here) to see the Floyd Fest webpage.
 
It's a five hour drive from home, and I'll be staying for three nights.
 
Okay - so what does ePhotoZine have to say about festival photography? Here are the main points:
 

1. Get a high vantage point if possible.
2. Arrive early - good advice for any event.
3. "Good Zoom" - this means to be ready to use a range of focal lengths to me, not necessarily a zoom. They also mention waterproof cameras or cases at this point. I'll be bringing my Panasonic Lumix DMC-TS3 underwater camera to this show; I hope I don't need it.
4. Steady hands - some tips on minimizing vibration when shooting
5. Have a plan - this one is a must, especially at a large festival. There is no way that I'll cover all the bands at Floyd Fest. In fact, there's no way that I'll cover the whole day, every day, during a four day music festival. My goal is to see the bands that I know and like, and hopefully add a few new favorites.

(Click Here) to read the original piece on ePhotoZine.



My plan for this show is to take only Lumix gear, plus maybe one film camera. I will take two DMC-G3s, Lumix 12mm f2.5, Pana-Leica 25mm f1.4 and 45mm f2.8, Lumix 100-300mm f4-5.6 and Voigtlander 75mm f2.5 manual focus Leica Thread Mount (LTM) lenses, and Nissin flash. I am receiving my new Lumix 12-35mm f2.8 zoom today. If I'm comfortable with its operation, it may replace all the primes for this trip, but I doubt it. It's never a good idea to rely too much on a new lens on a trip.
 
In terms of a film camera, I'm planning to carry a Leica CL and adapted LTM 3.5cm Elmar f3.5. I hope to use that for candid shots of festival-goers.
 
DMC-365.blogspot.com
 
 

Before and After - Tutorial by Roel on roel.me

Roel on the website roel.me has produced a very nice tutorial entitled "Before and After." In this piece, he presents pairs of images, each explaining a photographic challenge he has encountered ("Before") and his solution ("After").

 

(Click Here) to see the full tutorial on Roel.me

Roel's "Before"

Image Source: http://roel.me/before-and-after-improving-your-photography-part-1/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+roelme+%28roel.me%29

 

Roel's "After"

Image Source: http://roel.me/before-and-after-improving-your-photography-part-1/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+roelme+%28roel.me%29

 

Roel has done a very nice job here. In the example above, he's making the point that you should consider including context around your subject. Yes, the bike is the subject. Most of us have been trained to focus closely on the subject, removing anything that is not essential from the frame. In this example, Roel shows that the Chinese characters on the wall near the subject really add to the composition, making it easier to understand the setting of the bicycle.

 

In other examples, Roel makes the following points (see the link above to see Roel's pictures for each):

1. Change your perspective to get a different picture, emphasizing the most interesting part of the scene.
2. "Shoot what cannot be shot." I find this description a little misleading. What Roel really did in this example was to focus on the interaction of a mother and son, rather than placing them within the context of a market.
3. Understand your real subject - in this example, Roel focuses on the hands of a worker in a Chinese silk factory. This is a wonderful example.
4. Focus on finding interesting light first - a good picture will follow.
5. Frame your subject. This one is striking as well. Roel uses a window frame in his hotel room to make a harbour scene in Hong Kong much more interesting.
6. Tell a story. We all know this. We must all be reminded of this.

Roel's bicycle example (shown above) reminded me of a shot of my own. In the shot below, it was the way that the plants had overgrown this old scooter that caught my eye. I am fond of this image. However, I am now wondering if there was any context that would have placed it as being taken in Japan. Hmm. I may get the chance to see this one again, as we go to Japan every spring to visit family. Maybe I'll have an "after" shot next year?

"Before" Shot?, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso 160, f5.6, 1/160 sec

 

DMC-365.blogspot.com

 

DMC-365.blogspot.com
 

Check It Out - My Music Festival Report on Cosmic Vibes Live!

 

Cozy Camper at Shenandoah Riverside Festival, by Reed A. George

Panasonic DMC-G3, Pana-Leica Summilux 25mm f1.4

iso 400, f1.8, 1/1250 sec

 
Last weekend, I attended the Shenandoah Riverside Festival in Berryville, VA, hosted by Earth Korps, an environmental preservation organization.
 
(Click Here) to go to Earth Korps' web page. They do a lot to clean up the river.
 
I was pleased to have the opportunity to write up a review of the weekend for the great live music blog, Cosmic Vibes Live.
 
(Click Here) to read my report on Cosmic Vibes Live.
 
I thoroughly enjoyed the show, and shot a lot of images. In general, I used my Lumix kit during the daylight hours, my Nikon D700 at night. I also shot some film while I was there. I also used fill flash quite a lot, especially the Nissin Di466 on my DMC-G3. I used it in manual mode, which worked well to fill in the shadow under the stage roof, which was considerable in the strong sunny light.
 
(Click Here) to see all of the images I've posted so far.
 
I hope my relationship with Cosmic Vibes Live is a long one. It seems like it's great opportunity for me to practice my writing and photography while adding to their already really informative site.
 
DMC-365.blogspot.com
 
 
 

Waiting For The New Lumix 12-35mm f2.8 To Become Available, and Thinking..

Panasonic Lumix 12-35mm f2.8 X lens

Image Source: shop.panasonic.com

 
 
I am watching daily (obsessively?) for the new Panasonic Lumix 12-35mm f2.8 zoom lens to become available for purchase. And, the wait is making me think more about it.
 
 
I have always preferred shooting with prime (fixed focal length) lenses. It's been said many times that primes are smaller, lighter, and generally faster than zooms. It is often argued that they produce better image quality. However, I think this is largely a holdover from the past. Lens technology is so good now that a state-of-the-art zoom is extremely capable.
 
(Click Here) to read a current post on mu-43.com where others are discussing their reasoning for wanting or not wanting the new 12-35mm f2.8 zoom.
 
One of the questions in the post above is whether a kit zoom like the 14-42mm lens minimizes the need for a fast zoom like the new 12-35mm. I say emphatically, no. The kit lenses really are the cheapest lenses out there, and don't fall into "state-of-the-art" in my opinion. Their variable, slow f-stop is a showstopper for all but the very best lighting situations.
 
(Click Here) for a post of one of the rare times I have used my kit zoom. I was not displeased with the results, but the lens was certainly limiting in which scenes I could record. For example, inside the mill, it was nearly useless without a tripod.
 
So, since I have a great set of prime lenses, why am I considering the new 12-35mm zoom? Well, to be honest, it's because I get tired of changing lenses in the field. And, especially at events, I do occasionally miss a shot while I'm fumbling to change lenses. This is why I now regularly carry two bodies - two identical Panasonic Lumix DMC-G3s. One is usually attached to a normal lens (Pana-Leica 25mm f1.4 Summilux, most commonly), and the other has either a short telephoto (Pana-Leica 45mm f2.8 Macro-Elmarit) or wide angle (Panasonic Lumix 14mm f2.5). I even find myself changing between wide angle and telephoto on the second body more often than I would like.
 
Right now, I am working on two long-term projects - 1) the Civil War Sesquicentenial and 2) local live music. Will this new zoom help me in those?
 
Well, I can honestly say that the 12-35mm f2.8 will be great for the civil war project. The majority of that project involves shooting in daylight, outdoors, and at events where things change reasonably quickly. Sometimes in working around crowds of spectators, or composing carefully to not include modern elements around re-enactors, for example, the flexibility of a zoom would be great. And, back to the example of the mill, I could have gotten by with f2.8 (not the f3.5-5.6 of the kit lens).
 
For shooting live music, I cannot see relying on f2.8 to be fast enough for shooting inside dark bars and music venues. I'm sure I'll stick to my Pana-Leica Summilux 25mm f1.4 for that. This is where the other lens I'm waiting on, the Olympus 75mm f1.8, comes in. Many times, I'd like more reach than the 25mm can provide.
 
I also enjoy travel photography a lot. The 12-35mm would be very helpful for that.
 
So, will the new 12-35mm stay on my camera all the time? No. But, I think it will certainly fill a gap for event and travel photography. How's that for rationalizing? :).
 
DMC-365.blogspot.com
 
 
 

A Shot I Just Happen to Like

Small Town at Dusk, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso800, f3.5, 1/40 sec

 
 

I'm not in the mood to search the news this morning, so I thought I'd just share a shot that I happen to like. You know how sometimes you take an image, think nothing of it, but then it keeps popping up in your mind? Well, this is one of those for me.

I was with my daughter in Winchester, Virginia, and we showed up a little early for a music event. So, we walked the pedestrian street downtown, and I convinced her to pose for this shot.

How's that for using leading lines in composition? I like how the line of lamps on the brick wall mirrors an imaginary line from the vanishing point to her face. The line to her face is an implied line, one that's not really even there, but it leads the eye to her. I also like the vertical line of the painted sign on the brick wall. It puts her at an apex, a center of attention. So, I feel that it brings the viewer's focus to her, without having to make her a major fraction of the area of the image. No closeup needed. And, it will always remind me of a pretty carefree evening, walking hand-in-hand with her in smalltown, America.

Someday soon, she'll be too cool to be seen in public with her old man. But, I've got this image to help remember these days.

DMC-365.blogspot.com

 

One of My Favorite Local Bands - Jake and the Burtones

 

Jake and the Burtones, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso 800, f2.8, 1/60 sec, Nissin Di466 flash (bounced)

Jake and the Burtones are a local band here in Northern Virginia. I saw them last Friday night in Purcellville, at Market Street Coffee. If you're in the area, this is a very casual, relaxed place to hang out, and especially rewarding when these guys are playing. They call it "Loudoun's Living Room," which I think is appropriate.

(Click Here) to go to Market Street's homepage for directions and information.

Jake and the Burtones is made up of (left to right) Josh Cava, Jack Pugh, and Tmony Griffin (no Jake among them). They have gained some familiarity with me now, getting used to the old guy with the cameras that always smiles when they indulge him with a set of Grateful Dead cover tunes. I'm still hoping for that "Brokedown Palace" someday...

(Click Here) to see Jake and the Burtones' facebook page.

On this occasion, I took the opportunity to ask them for one posed shot during their break, photographing them from the inside of the door, which included a flyer for their show:

 

Jake and the Burtones, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso 1600, f2, 1/100 sec

 
This is a hard-working band. Be sure and tip them on your way out!

Jake and the Burtones, by Reed A. George

Panasonic Lumix DMC-G3, Leica Summarit 5cm f1.5 LTM (1953)

iso 1600, f-stop not recorded, 1/125 sec

The shot above was made with the first Leica lens I ever owned. The Summarit 5cm is a Sonnar design, from what I understand. It's not the sharpest tool in the shed, but it sure has character. I love the out of focus highlights.

Thanks for another fun night in the neighborhood, boys. See you next time.

DMC-365.blogspot.com

 

The PhoBlographer Tests the Zeiss Planar 50mm f2 M Lens on Micro Four Thirds

 

Image Source: http://www.thephoblographer.com/wp-content/uploads/2012/03/P5112317_lr-1000.jpg

I read an interesting post about using the Zeiss Planar 50mm f2 (Leica M mount) lens on Micro Four-Thirds cameras.

(Click Here) to see the original post at www.thephoblographer.com

The author (Felix Esser) makes several important points. First, he says that while he's satisfied with the Zeiss lens performance on both the Olympus E-P1 and the Panasonic Lumix DMC-G1, neither delivers a certain image quality that he sees using the same lens on the Leica M8. This is difficult to evaluate. Each M4/3 camera has so many settings, I find it a little hard to believe that one couldn't fiddle long enough and pretty much replicated the Leica's color, tone, and sharpness. The Micro 4/3 cameras have more recent sensor technology than the M8. The only differentiating thing I can think of is the lack of an IR filter on the M8 sensor, which is supposed to increase sharpness, but at the cost of color accuracy. I find with my M8 that the add-on UV/IR filters are absolutely necessary to achieve good color rendition, so I any benefit from not having the filter there must be lost.

I also found Felix's comments comparing the Olympus E-P1 and Lumix DMC-G1 of interest. It seems that he prefers the native jpeg output of the Olympus, but finds the Panasonic much easier to use with legacy manual focus lenses. This is mainly because of the increased resolution of the G1's electronic viewfinder (EVF). I bet he'd really like it if he tried the DMC-G3 or DMC-GH2.

Felix also provides a little information on the history of the Planar, which has always rivaled the Leica Summicron, both considered benchmarks for image quality in the normal lens range.

I don't have a 50mm Planar. I do have a Zeiss 25mm Biogon T f2.8, which should make a very nice 50mm equivalent on Micro 4/3. The 25mm Biogon is as well-recognized for image quality as the Planar. On my Leica M8, the Biogon makes a wonderful 35mm replacement (at ~33mm equivalent field of view).

However, I must admit, I rarely use the Biogon on M4/3. Why? A few reasons: 1) manual focus, 2) f2.8 (I prefer faster), 3) the existence of the Pana-Leica Summilux 25mm f1.4. The Summilux offers autofocus, 2 stops of increased speed, and excellent image quality. So, it's just a little hard to grab the Biogon and leave the Summilux behind.

I would be interested in hearing others' opinions about this. For a normal lens, I don't see much reason to use anything other than the Pana-Leica 25mm Summilux on my M4/3 cameras.

DMC-365.blogspot.com

 
 
 
 
 

Civil War Event - John Mosby's Rangers at Mount Bleak, Virginia

 

Paris, Virginia, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso160, f8, 1/250 sec

On Sunday, May 13, 2012, I attend a Civil War historical event at Sky Meadows State Park in Delaplane, Virginia. This is amazingly serene countryside, as the panorama of nearby Paris above demonstrates.

This area was deeply involved in the Civil War, and was home to John S. Mosby, a confederate officer turned vigilante, who constantly tested and perturbed federal forces in the heart of Virginia. Mosby was known as the "Gray Ghost," based on his rangers' ability to appear and disappear seemingly instantly, using local "safe houses" to harbor himself and his men. In fact, the historic home at Mount Bleak in the park was one of those safe houses.

Richard Gillespie, Director of Education for the Mosby Heritage Area Association

by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso160, f2.8, 1/125 sec

The evening's event presented several vignettes of individuals from the period, played by local reenactors associated with the Gray Ghost Interpretive Group. Starting near sundown, we listened to their stories as the sky grew dark, the program transformed to lantern light - wonderful for setting the mood and allowing our minds to go far back in time.

In the Role of Estate Owner and Former Mosby Ranger, George M. Slater

by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso160, f2.8, 1/200 sec

Local Girl and Aid to Mosby's Rangers, by Reed A. George

by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso3200, f1.5, 1/800 sec

Memoirs of a Ranger, by Reed A. George

by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso400, f1.8, 1/1250 sec

Lone Federal Soldier Watches From the Shadows, by Reed A. George

by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso6400, f1.4, 1/15 sec

The Tour Wraps Up After Dark, by Reed A. George

by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso640, f1.4, 1/25 sec

(Click Here) for more information on the beautiful Sky Meadows Park, which is about an hour east of Washington, DC, and is a beautiful natural and historical reserve.

(Click Here) for more about the Mosby Heritage Area Association, who put on this event. They are excellent at bringing civil war history to life.

Here are a few more images of the beautiful scenery in the area:

Cultivation, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14mm f2.5

iso400, f8, 1/250 sec

Whitewashed Fence, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Macro-Elmarit 45mm f2.8

iso400, f2.8, 1/400 sec

Ivy, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica Summilux 25mm f1.4

iso400, f8, 1/80 sec

As you can see from the exposure information, as the evening wore on, I relied on the Summilux for its fast f1.4 aperture, and increased iso to 6400 near the end. It was a nice challenge to capture the event in near darkness. I hope I've done well enough that you can get a feel for this early summer evening in the countryside.

 
DMC-365.blogspot.com
 
 
 

New Voigtlander 17.5mm f0.95 Micro 4/3 Lens

Cameraquest, United States distributor for Cosina (aka Voigtlander) is now taking deposits for a new native Micro 4/3 mount 17mm f0.95 (super fast!) lens.
(Click Here) to see it on Cameraquest's website.
 

Image Source:
http://www.thephoblographer.com/2012/02/06/voigtlander-announces-new-17-5mm-f0-95-lens-for-micro-four-thirds-35mm-equivalent/
 
At $1,249, you may want to make the $100 deposit, then get a loan for the remaining balance. Just kidding. This is a lens for people who love fast lenses (meaning it gathers a lot of light, and can basically take pictures in the dark). Those never come cheap. It is a manual focus lens.
 
At 17.5mm focal length, this lens will have an equivalent field of view that a 35mm focal length lens would on full-frame 35mm cameras. So, it makes me think of a Leica Summilux 35mm (which is an f1.4). The new Voigtlander lens gathers more than 2 times as much light, making it the fastest commercial 35mm equivalent lens I've ever seen.
 
(Click Here) to read a brief user review of the lens, used on a Lumix DMC-GH2, by Daisuki Photo. Note that the author used a 3X neutral density filter to bring the light levels down low enough to open the lens aperture up, very useful for this type of testing.
 
Also be sure to catch the author's note on how he likes the new Fuji XPro-1 versus his GH2. Interesting.
 
I have been thinking about trying a Voigtlander lens for Micro 4/3. They also have the Nokton 25mm f0.95 manual focus lens. But, I'm so happy with my Pana-Leica Summilux 25mm f1.4, which is has autofocus, that I just don't really need to look further. I use the Lumix 20mm f1.7 for a rough equivalent to 35mm, and am also pleased with it. So, I can't really see laying out this kind of money for a manual focus lens. They're both really specialty lenses in my opinion. If you really need that amazing light gathering capability, go for it. I don't think I do. I considered whether either would help my concert photography, which is normally pretty challenging light. But, manual focus would be a bigger disadvantage than the extra speed would be an advantage. In my opinion, of course.
 
DMC-365.blogspot.com
 
 
 

I Love Nice People - the Simplest of Connections

 

Enjoying Farragut Park in DC, by Reed A. George
Panasonic Lumix DMC-G3, Lumix 25mm f1.4 Summilux
iso160, f5.6, 1/125 sec


I am constantly challenging myself to overcome any resistance to ask people for permission to photograph them. On a recent evening trip into Washington, DC, I noticed the beautiful backlight from the setting sun lending to the already attractive profile of this young lady.


Our entire interchange went like this:


"Excuse me. I'm an amateur photographer, and I was wondering if I could take your picture. The light is just perfect."


"Sure."


Click click click (this is the third exposure - the first two featured a trash can at the right, and terrible flare). I used Aperture priority mode, with exposure set to +1 f-stop, to compensate for the strong backlight.


"Thank you so much!"


"Sure."


Perfect. I think I was minimally invasive to her evening, got a shot that I personally really enjoy, and we both made a tiny connection with a complete stranger. Nice people are, well, nice.


DMC-365.blogspot.com