Learning the Nikon D810 - My Menu Settings

D810's "My Menu"

 

I've been using my new Nikon D810 almost exclusively for shooting birds with my 200-400mm f4 lens so far. Clearly, it's good for so much more in addition.

 

So, I've decided to figure out how to use all of the functions, and how to remember which are important to think of regularly as I change shooting conditions.

 

Among the features are Shooting and Custom Setting "Banks." These allow you to save settings for different applications and quickly switch between them. The big problem (unbelievable, really), is that if you're in a bank and change a setting, it remains changed, even after you turn off the camera. Basically they really only represent whatever your settings were last in that bank! Yes, you can get around this, if you can remember to reload settings each and every time you shoot. This requires not only a good memory, but also that you use the same memory card (where the settings are stored) every time, and don't format it. Not so useful.

 

A better option is to use "My Menu." This feature allows you to identify up to 20 settings from the menu system, which you want quick access to at any time. I went through every menu and selected which features I think I'll need regularly. Here they are:

 

1. ISO sensitivity settings
2. e3 Flash contrl for built-in flash
3. e4 Exposure comp. for flash
4. Image quality
5. Battery info
6. NEF (RAW) recording
7. Manage Picture Control
8. d13 Battery order
9. d5 Electronic front-curtain shutter
10. d4 Exposure delay mode
11. c4 Monitor off delay
12. c3 Self-timer
13. c2 Standby timer
14. b6 Center-weighted area
15. a8 Number of focus points
16. a4 AF activation
17. a1 AF-C priority selection
18. Long exposure NR

 

That still leaves two more features, should I decide to add them.

 

These are by and far the features that I'll use most. By having them in My Menu, I will only have to find them in a list of 18, rather than searching through the entire menu system when I need them. Win.

 

So, while I may not use the settings banks, My Menu will be key for my use of the D810.

 

DMC-365.blogspot.com

 

Some Wildlife From my Kayak - Nikon Df and Nikkor 300mm f4 AF-IF Lens

I have an older Nikkor internal focus 300mm f4 lens. I have been tempted to upgrade it to the AF-S version, but mine is so good, I just haven't seen a reason to do it.

 

Yesterday, I loaded my Nikon D700 and 500mm f4 Ai-P (manual focus) lens and matching gargantuan Gitzo tripod that I picked up very used and very cheap, along with my Nikon Df and 300mm f4 and Tamron AF 1.4X tele-extender into my kayak and paddled out. I ended up never using anything but the Df and 300mm. Instead of setting up my tripod near my favorite osprey nest (even though the birds are on the nest), I decided to paddle further up the creek and explore.

 

Stopping to rest in the shadow of a steep bank, not five minutes later I saw a swirl in the water, followed by a head coming to the surface. Thinking that it was likely a beaver, I started shooting. The sound of the camera clearly alarmed the animal, who quickly went under water, then returned to the surface looking straight at me. It was a river otter! The first one I've ever seen in the wild. He actually raised high out of the water to get a good look at me. I was ready, with my Df set to lock exposure with the rear button, meter set to spot metering, and auto-focus ready to go. Here's one of the shots I got.

 

 

River Otter, by Reed A. George

Nikon Df, Nikkor 300mm f4 AF-IF Lens

iso 1100, f8, 1/1000 sec.

Another otter passed through very quickly a minute later.

I had the camera in auto-ISO mode, and exposure in M. So, I had a fast shutter speed and optimal f-stop already set. The camera chose the ISO. With the Nikon Df, I could shoot with confidence, without worrying about digital noise from the relatively high ISO setting.

 

I've printed this image at about 10"x15" and it looks just great.

 

I've got some more images from the morning kayak trip, and will share them in later posts.

 

DMC-365.blogspot.com

 

Quick Portrait with the Panasonic Lumix DMC-LX7

A subject near to my heart, and light that I just couldn't pass up.

 

Japanese Window Light, by Reed A. George

Panasonic Lumix DMC-LX7, Portrait Setting

 

I've been using my LX7 quite a bit on this trip to Japan. This little camera never ceases to amaze me. I am not one to use the canned settings packages in my cameras, but the SCN settings in the LX7 are extremely good. This is the portrait setting. The image is a jpg, straight from the camera.

 

I used a mini-reflector to fill in the shadows on the right side (her left). They can still use a little increase in brightness, but the detail is there.

 

DMC-365.blogspot.com

 

 

Panasonic Lumix DMC-LX7 - Jpeg Settings

I have only spent a little time with the LX7 so far. I started off by shooting some Jpegs. You have lots of image options in Jpeg shooting with the LX7, under "Photo Style." I started with STD, with default settings (for contrast, sharpness, color, and noise reduction). I have to admit I was not very pleased with the look of the jpegs at these settings. So, I had an assignment - see how to optimize Jpeg settings, if indeed it's possible to get what I want.

 

Just so you know, the raw images look pretty good to me. In the past, with my DMC-LX2 and DMC-LX5, I always shot raw. I may end up in the same situation with the LX7, but let's see what contributes most to my disappointment with the default images.

 

I decided to shoot a set of images on a tripod, using iso 400, f5.6, 1/60 second (manual exposure), and manual focus. I wanted to minimize all of the other variables, so that I could focus on Jpeg processing. I also shot both STD (color) and MONO (black and white) jpegs, since I'm interesting in optimizing both.

 

Here's the scene I shot:

 

Overall Scene, by Reed A. George

Panasonic Lumix DMC-LX7

iso 400, f5.6, 1/60 sec.

 

The tight crop below shows close up what I saw with the default STD jpeg settings:

 

Crop - STD, Default Settings

 

You can see some processing artifacts, especially along the edges of the lamp shade at right, and in the shaded area of the wall, directly under the leaves.

 

Based on my experience, these artifacts could be due to one or a combination of the following variables:

1. Jpeg compression algorithm
2. Oversharpening
3. Excessive noise reduction (NR)

I was hoping that it wasn't number 1; there's nothing you can do about that as a user. So, I tested Sharpness and NR, independently and in combination. First, I turned down Sharpness to the minimum (-2).

 

Crop - STD Photo Style, Sharpness -2, Default NR

 

In this, I see a distinct drop in the artifacts, and the expected reduction in sharpness. Much better. I can always sharpen in Lightroom.

 

Next, I brought sharpening back to default level, and reduced NR to the minimum (-2):

 

Crop, Default Sharpness, NR -2

 

The artifacts are back. Looks like Sharpness is the key adjustment.

 

Just for kicks, I combined minimum settings for both Sharpness and NR:

Crop, Sharpness -2, NR -2

 

 

The artifacts again disappear, but I don't think NR had much to do with it. Default Sharpness level in the LX7 creates Jpeg artifacts to a level that I find unacceptable.

 

Now let's look at the same series in black and white.

Crop - MONO, Default Settings

 

In black and white, I think the artifacts show up worse than in color. Look at the right edge of the moulding at the edge of the window.

 

The next one was shot with Sharpness set to -2:

 

Crop, Sharpness -2, Default NR

 

Much better.

 

For completeness, let's see what default Sharpness and minimized NR do:

 

Crop, Default Sharpness, NR -2

 

Artifacts back. Again, Sharpness is the setting that affects Jpeg artifacts.

 

Finally, minimizing both Sharpness and NR yields this:

 

Crop, Sharpness -2, NR -2

 

Again, the artifacts disappear, but in my opinion that's mostly due to minimizing Sharpness. NR doesn't seem to generate many artifacts.

 

So, what does this tell me? It tells me that I can drastically improve Jpeg from the default settings by reducing Sharpening. Now that I know that, I can decide whether to reduce it to -1 or -2.

 

I'm happy that I can adjust Sharpening to affect Jpeg processing. I'm also happy that it's not a combination effect, which is harder to control.

 

One more thing - I love the iAuto option on the LX series cameras. It allows you to quickly switch from any setting and let the camera make all the decisions. Let's say that you're shooting Jpeg street scenes with manual focus in black and white at iso 400. Just then, you see a person approaching with a gorgeous bouquet of red roses. Rather than trying to work through menus to get back to shooting color, you can switch the top dial to iA and shoot away. Very handy. Unfortunately, I cannot adjust sharpening in iAuto. So, that will seriously limit my use of iAuto with the LX7.

 

Lots more to come on the LX7. So far, so good.

 

DMC-365.blogspot.com

Shooting Rangefinder-Style With Micro 4/3

 

dixeyk's Emulation of Rangefinder Style Shooting on Panasonic Lumix DMC-GF2

Image Source: http://www.mu-43.com/f35/how-approximate-my-old-compact-rfs-27412/

dixeyk has written a post over on mu-43.com about recapturing the shooting style of classic rangefinder cameras with Micro 4/3 gear.

(Click Here) to read the full post.

I have referenced dixeyk's posts before. We seem to have similar interests in our photography. The goal was to set up a modern Micro 4/3 camera to allow a shooting style similar to a classic film rangefinder. Of course, the best way to get that is to have a digital Leica (or perhaps the Fuji XPro 1?), but that was not available.

The characteristics that dixeyk went for, as far as I can interpret, were a compact kit, fast (wide aperture) lenses, and fast focus (as one can achieve through manual focus on a rangefinder camera). For this, he chose to use a Panasonic Lumix DMC-GF2 and the Lumix 20mm f1.7 as his normal lens. He also used Lumix 14mm f2.5 and Olympus 45mm f1.8 lenses, approximating a 28, 40, and 90mm field of view on a classic rangefinder. So far, I would have made similar choices, using my Lumix DMC-GF1 (another Lumix body without an internal viewfinder) and Lumix 20mm f1.7 lens.

Now here's where we go different ways. In dixeyk's case, he decided to shoot with the LCD and autofocus, utilizing the camera's ability to touch focus and shoot. This allows the user to pinpoint where in the field of view they want to focus by touching the LCD screen. As soon as focus is achieved, the camera automatically releases the shutter, capturing the image. I can see how this would feel similar to the fast focus and capture capability of a classic rangefinder.

For my own approach, especially in street photography, my favorite use of a rangefinder, I go in a completely different direction. I turn off the LCD, mount a 35mm optical finder (an old Russian version in my case) in the camera's flash shoe, and use hyperfocal settings to give a lot of depth of field. For information on that,

(Click Here) to see my previous post on setting hyperfocal distance on Panasonic Micro 4/3 cameras.

I find that the 35mm finder closely approximates the field of view of the 20mm f1.7 Lumix lens.
 
I use the exact same finder on my smaller Panasonic Lumix DMC-LX5, which provides for directly setting zone focus in the manual focusing screen. In actuality, the LX5 does a better job of emulating a rangefinder than the GF1, in my opinion. It has a great scale to show the focus distance and depth of field, will allow you to lock the zoom at any focal length and the f-stop at any setting. It is a super-quick little camera for street photography.
 
(Click Here) to see my post on my LX5 street kit.
 
I will give dixeyk's approach a try. I think the main differences are in what each of us is trying to achieve. He's working toward quick response pinpoint focus and capture, while I'm working toward large depth of field, quick response street photography with a rangefinder camera.
 
Fun stuff.
 
DMC-365.blogspot.com
 
 
 

Olympus E-PL1, 14-150, and Lumix 20mm f1.7 Go On A Trip

 

Image Source: http://www.rangefinderforum.com/forums/showthread.php?p=1896778&posted=1#post1896778

User ywenz on Rangefinder Forum posted a gorgeous series of pictures from a recent trip.

(Click Here) to look at all of them. You owe it to yourself to see the other shots, in addition to the one above.

One interesting thing here is that all of the images are jpegs (not shot in raw format). There is a group out there of the opinion that Panasonic Lumix Micro 4/3 cameras don't produce acceptable jpeg images. Therefore, many (most?) shoot in raw format.

I always use raw, just in case I screw something up, like forgetting to change my white balance settings. It has happened. As I have written before, however, I don't like to spend more time than necessary post-processing my images. So, I've been trying different jpeg settings, in the hopes that when I shoot both raw and jpeg together, the jpeg will be acceptable for use, and the raw file will be there just in case.

I have posted a couple of others' ideas for ideal jpeg settings in the past. My latest post on the subject yielded settings that I'm now quite happy with.

(Click Here) to see the post with my favorite jpeg settings for the Panasonic Lumix DMC-G3, contributed by dixeyk on mu-43.com. These are now my standard jpeg settings, and are set up as a custom profile on both of my G3s. They're pretty good, in my opinion. Give them a try.

When I was primarily a Nikon shooter, I always chose very neutral jpeg settings (easy on the contrast, saturation, and sharpening), figuring that I could add all of those things back later, but cannot subtract them. The settings suggested in the post referenced above are very similar. Here's an example, pretty much right out of the camera.

Manassas Memorial, by Reed A. George

Panasonic DMC-G3, Lumix 14-140 f4-5.8 at 95mm

iso160, f5.8, 1/640 sec

I find that there's plenty of saturation here, contrast is well-controlled, and sharpness doesn't suffer.

DMC-365.blogspot.com

 

Final Two Chapters of My Free G3 Settings eBook Available For Download! Get the Whole eBook Here, Free!

Panasonic Lumix DMC-G3 and Nikon Nikkor AIS 28mm f2.8 Lens

by Reed A. George

 
Well, since I'm expecting the announcement of a new Panasonic Lumix Micro 4/3 body (the rumored DMC-G5? DMC-GH3?) any time now, I figured I had better wrap up my ebook on how I use the DMC-G3. In fact, I use two of them.
 
The final installment includes a chapter on setting up custom configurations, and a short chapter on my conclusions on the camera.
 
I learned a lot by working through every detail of how to set up this camera. And the best thing is, now that I've done it, and saved some custom configurations, I can forget about the details of what many of those menu settings actually mean. This camera has so many options, it's amazing. But, I want to set most of them once, and forget them. Custom Modes help a lot, as does the Quick Menu.
 
(Click Here) to download the final two chapters of my ebook, in Adobe pdf format.
 
For ease of navigation, I'm including links to the previous chapters below:
 
(Click Here) for Chapter 1 - Introduction and External Controls
 
(Click Here) for Chapter 2 - Menu Settings
 
(Click Here) for Chapter 3 - Focusing
 
I hope that you'll find them useful.
 
I recommend that you download and save all of them; I will consolidate them into a single file, but cannot guarantee that it will remain available for free forever...

 
DMC-365.blogspot.com
 

Kirk Tuck (of Visual Science Lab) Talks Up The Electronic Viewfinder (EVF)

Image Source:

http://theonlinephotographer.typepad.com/the_online_photographer/2012/05/kirks-take-electronic-viewfinders.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29

Kirk Tuck has written a piece on The Online Photographer, with some witty-but-practical thoughts about how electronic viewfinders (EVFs) compare and contrast to optical viewfinders (OVFs).

(Click Here) to read Kirk's post on The Online Photographer.

Kirk talks up the following features of EVFs:

1. "Pre-chimping" (this term belongs to Kirk :) ). This means being able to see how the camera's settings and electronics will treat an image BEFORE you shoot it. Not possible with an OVF, it can be achieved with live view on an SLR, but not with the camera to your eye.
2. Focus Peaking - I am not familiar with what Kirk describes, about the camera highlighting items that are in focus in your image. I'm thinking Lumix cameras don't do this? Please comment if you can shed any light on this subject.
3. The ability to quickly check an exposure in the EVF after it's taken, without having to take the camera away from your eye.

I certainly appreciate number 3, even though it makes people think I'm crazy when I've got the camera to my eye reviewing an image, not necessarily pointing it at my subject any more. My wife has said - "Why are you taking pictures of the sidewalk?"

On the downside, Kirk talks about the delay of the EVF making it more difficult to "lead" a moving subject (or at least different from the OVF), having to turn "Gain Up" (something I think is the default setting in Panasonic cameras) to see your subject in a dark setting, such as when you're planning to use studio flash, and the fact that EVFs typically represent an image in higher contrast than the true image, making the quick-check less effective.

On that final point, Kirk suggests that raw shooters can set their jpeg settings to low contrast, so that the image in the EVF more closely approximates what will be in the raw file. Nice tip.

I agree with Kirk on many points here. I love the "gain up" behavior of the Lumix EVF, which allows me to see what's going on in a dark scene by increasing the gain in the EVF (bringing up the light levels). I would add that this also allows visualization of the depth of field, if you're using a lens that closes the aperture down before the shutter is released. This is the case with legacy lenses on adapters. This is a feature that makes EVFs a major advantage. Basically, even though the aperture is closed way down (reducing the light getting to the sensor), the EVF adjusts the gain to brighten the image going to your eye. So, you get enough light to see what's going on, and the lens is closed down, so you can see the true depth of field.

Contrast this to the old depth of field preview in an SLR (which makes the image in the OVF so dark you can't see anything), or the conventional rangefinder camera (which has no provision for depth of field preview).

That said, I still really love to look through an OVF. It just looks more "real." It makes me feel like I'm still there, present in the scene. The EVF doesn't do that.

I know that even though this is a Lumix blog, I've been referring to Fujifilm quite a lot. I bring it up here because I wonder just how well their hybrid viewfinder (which allows you to switch between EVF and OVF) gives the benefits and minimizes the disadvantages of both finders. I imagine the hybrid design is pretty well-covered by Fujifuilm with patent protection, but I'd sure like to see it appear on other cameras (especially Panasonic).

Thanks again, Kirk, for a thought-provoking piece!

DMC-365.blogspot.com

 
DMC-365.blogspot.com
 

Memorial Day Tribute - Manassas National Battlefield

On Monday, May 28, 2012, I attended a Memorial Day tribute at the Manassas National Battlefield. The event began at the Groveton Cemetery, established in 1866 to permanently contain the remains of numerous soldiers killed in both battles at Manassas, and buried in shallow graves on the battlefield in the haste of war.
 

Groveton Cemetery, Manassas, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 95mm

iso 160, f5.8, 1/640 sec

 
Of the 266 confederate soldiers buried at Groveton, only two are identified.
 

Groveton Cemetery, Manassas, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 41mm

iso 160, f5.3, 1/600 sec

 
 

James Jerman Palmer, South Carolina

Groveton Cemetery, Manassas, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 54mm

iso 160, f5.3, 1/1250 sec

 
The 42nd Virginia reenactors were present to fire salute to their confederate comrades, and a wreath was presented at the memorial.
 

42nd Virginia, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 140mm

iso 160, f5.8, 1/320 sec

42nd Virginia, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 140mm

iso 160, f8, 1/250 sec
 

Wreath Laying, by Reed A George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 75mm

iso 400, f5.8, 1/1600 sec

Wreath at Groveton, by Reed A George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 32mm

iso 400, f5.6, 1/2000 sec

42nd Virginia, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 70mm

iso 400, f8, 1/800 sec
 

After the ceremony at the cemetery, Manassas' own resident reenactor group performed a cannon demonstration:

 

Cannon Fire, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 32mm

iso 400, f6.3, 1/500 sec

I love the way the camera captured the fuse line still hanging mid-air, and the cannon fire at full extension from the barrel. Lucky shot.


The rest of the event commemorated Union soldiers, who were represented by the reenactors of the 14th Brooklyn, the only outfit named after a city, rather than a state. They were also referred to as those "red-legged devils" by Stonewall Jackson and his troops.

14th Brooklyn (Composite of Two Images), by Reed A. George

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

iso 160, f4.5, 1/160 sec

 
At this point, the activities moved across the road to the 14th's monument on the battlefield.
 

14th Monument, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 140mm

iso 200, f6.3, 1/1000 sec

14th Brooklyn Soldier, by Reed A. George

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

iso 160, f5.6, 1/160 sec

 
 

14th Brooklyn Soldier, by Reed A. George

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

iso 160, f5.6, 1/160 sec

14th Brooklyn Soldier, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 140mm

iso 200, f6.3, 1/200 sec

A final volley was fired by the 14th to commemorate all of the fallen veterans.

14th Brooklyn Salute, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 140mm

iso 200, f6.3, 1/200 sec

Marching to Destiny, the 14th Brooklyn, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 78mm

iso 200, f6.3, 1/800 sec

 

As this event was held in 90 degree weather at noon, it is hard to imagine worse lighting conditions. Okay, I can imagine worse, but the contrast was pretty high, and the shadows were not very complementary to my subjects.

 
You will see that I attempted to use fill flash on the shots taken with the Summilux 25mm f1.4. I did this with my Nissin Di466 flash set on manual, which allowed me to control the flash level better than TTL would have. I have found that even at minimum power, the Di466 can overpower the ambient light. In order to help out in this situation, I used a 3-stop Lumix neutral density filter on the Summilux. This allowed me to find an f-stop where the flash at minimum power was not overpowering, then select a shutter speed to balance the ambient light as well as possible. These are all manual settings, and since the flash power varies as a square to the distance from the subject, it is very hard to find one setting that works for multiple shots. In both of the Summilux portraits shown here, I think I underexposed the ambient, and allowed too much flash power to come through. This is a learning process for me, but at least I'm making some progress.
 
DMC-365.blogspot.com
 
 
 

Chapter 3 of My eBook on the G3 Is Now Available For Free Download!

Panasonic Lumix DMC-G3

with Nikon Nikkor 28mm f2.8 Manual Focus Lens

If you've been following the development of my eBook, you may be interested to know that Chapter 3 is now available for free download. Chapter 3 takes on the subject of focusing - both the extensive autofocus (AF) technologies and the superb manual focusing tools resident in the DMC-G3.

(Click Here) to download Chapter 3 - Focusing

As a reminder, here are the links to the posts for the first two chapters:
 
(Click Here) for Chapter 1 - Introduction and External Controls
 
(Click Here) for Chapter 2 - Menu Settings
 
Writing this chapter helped me to work through some questions I had with AF settings. Probably the most important thing I learned is how cool Pinpoint Focus can be when used in conjunction with the Touch Screen. As a regular user of the Electronic View Finder (EVF), I don't use the Touch Screen often. However, after trying out Pinpoint Focus, I now have it in mind should the opportunity present itself.
 
I hope you're enjoying the eBook! Please comment, drop me a line, or even purchase something on Amazon by clicking through the link below. It doesn't cost you anything extra.
 
Enjoy!
 
DMC-365.blogspot.com
 
 
 

Another Jpeg Setting To Try

 

Here Comes the Sun by dixeyk on mu-43.com

Image Source: http://www.mu-43.com/f43/panasonic-color-26171/

 
I have written in the past about my desire to find great jpeg settings for my Lumix DMC-G3. I normally shoot raw files, but would like to get the best jpegs out of my camera, to minimize the need to sit in front of a computer, post-processing images. Especially given my luck with home computers lately (another story).
 
Poster dixeyk on mu-43.com posted this image, and his settings.
 
(Click Here) to see dixeyk's post.
 
dixeyk uses the "My Film" setting on his Panasonic Lumix DMC-GH2, setting Contrast, Sharpness, Saturation, and Noise Reduction all uniformly to a value of -2.
 
From dixeyk's single example, this looks pretty good to me.
 
I previously tried another user's suggested settings and found the result way too contrasty and saturated. So, for now, I just use the normal film setting, but am not totally satisfied with the result.
 
 
(Click Here) for my earlier post on jpeg settings. Note, again however, these didn't work out for me.
 
 
I'm leaving for a short trip this weekend. I'll give dixeyk's settings a try and report back.
DMC-365.blogspot.com
 
 
 

Free Again! Chapter Two of My eBook for How To Set Up Your DMC-G3 Is Now Available For Download

Image Source: http://www.imaging-resource.com/PRODS/DMCG3/ZURBE.JPG

My second ebook chapter on how I set up and use my Panasonic Lumix DMC-G3 is now available.

This one took a long while to write. In Chapter Two, I go through all of my settings in the Recording, Custom, Setup and Playback menus. These are the settings that most affect my daily shooting.

(Click Here) to download Chapter Two in Adobe pdf format.

Again, if you appreciate this document, drop me a comment, tell your friends, purchase your Amazon items by clicking through from this blog, etc. Any support is always appreciated.

Most importantly, if you see any mistakes, let me know!

My plan is to follow up these initial two chapters with some information about custom settings, and some real applications with the camera. Chapter Two is purely focused on menu settings, which I am glad to be through, to be honest.

I hope you find this useful. Let me know!

DMC-365.blogspot.com

 

Useful Article on Printing Resolution at digitalphotopro.com

 

Table Source: http://www.digitalphotopro.com/technique/workflow/the-right-resolution.html

How do you decide what print resolution to use when printing your digital files? Do you always just set it to 300 dpi and forget it? Just use the native resolution of the image? I have known that you can get by with lower resolution printing for larger images, but didn't really know how to calibrate that. I have also learned the trick of increasing resolution to 360 dpi when I make large prints of smaller resolution images.

(Click Here) to read the whole article, which leads me to somewhat different conclusions.

First off, the table above. This table reinforces the idea that you can get by with lower print resolutions for larger prints. For example, a 3.5" x 5" print is normally viewed from 10-12" distance, meaning about 300 dpi is correct.

However, this article finds that there is benefit in printing to 360 dpi resolution with Epson printers (mine is Epson), 300 dpi for Canon, regardless of final print size. So, conclusion 1 is that you should print at 360 dpi for any print size, even if your file isn't that high in resolution. The article explains how to do this from Lightroom.

The second conclusion is that if your original file is even higher resolution than the Epson native resolution of 360 dpi at the size you want to print, you should NOT decrease the resolution. In fact, you may benefit from increasing the resolution to 720 dpi, if you have an Epson Pro printer, which has a maximum detail resolution of 720 dpi.

This article goes far in demonstrating the differences, yet results in simple conclusions. Very helpful.

DMC-365.blogspot.com


 
 

Free! My First Installment of an ebook on How to Set Up Your DMC-G3!

Image Source: http://shop.panasonic.com/shop/model/DMC-G3KK

 
Ok, folks, for those of you who are Panasonic Lumix DMC-G3 users, I've embarked on a project to document how I set mine up, and share it with all of you.
 
There is a dizzying array of menus and settings on the G3. I worked through all of them, at least to some extent, and documented not only HOW I set them, but WHY. Now I don't expect you to agree with all of my settings, but at least you'll know what you're disagreeing with, if you decide on a different setting.
 
I have completed the first chapter, which I share here with you now.
 
(Click Here) to download the first installment of my G3 Settings Manual in Adobe pdf format.
 
The second chapter, much more extensive, outlining my settings for the Priority, Shutter, and Aperture Priority and Manual modes, is nearly finished. It will be distributed in the same way.
 
All I ask in return is that you buy your Amazon items by clicking through from my site. That really hasn't paid off yet; I think I'm up to about $15 revenue, total, ever. Of course, if you'd like to contribute directly to this blog, rather than buying things from Amazon (on which I make a very small percentage commission), you can always send me Paypal at rgeorge911@hotmail.com.
 
But, I'm really not in this for the money. It would be great to bring in enough to pay my annual flickr and smugmug bills...
 
I sure hope you find this manual useful. I actually learned some things in the process of writing it.
 
UPDATE 5/13/2012: Chapter Two is now available as well! (Click Here) to get it.
 
DMC-365.blogspot.com
 

 

On Critical Focus, by Tesselator of GetDPI

 

Image Source: http://forum.getdpi.com/forum/4-3rds-cameras/35591-achieving-critical-focus.html
Tesselator's DMC-GH1 and Worn Manual Focus Assist Button
Forum member Tesselator on GetDPI posted a recent entry about achieving critical focus. Interestingly, while he uses legacy manual focus lenses almost exclusively, and does not own a single native Micro 4/3 lens, he is a dedicated Lumix DMC-GH1 user. Apparently, he's on his fourth unit.
(Click Here) to see Tesselator's post on Get DPI.
It turns out that Tesselator achieves astonishingly sharp focus not through any tricks or technologies; it seems he's just plain obsessive about careful focus and camera stabilization. The only kind of new tip he shares is using the automatic magnification for assisting manual focus that is available on the Lumix 4/3 cameras. In fact, you can see how he has worn the label on the button away through constant use, in the image above (small button to the left of "Menu/Set").
In this post, Tesselator also describes his extensive use of tripods. This is something we all need to hear again, once in a while. Of course, we all know that tripods are required for ultimate sharpness. But, it sure is easy to leave it at home.
I found it useful to read his experiences, including those with vintage Linhof tripods. I hope you find something useful in his post, as well.
DMC-365.blogspot.com
 
 
DMC-365.blogspot.com
 
DMC-365.blogspot.com
 

Thoughts On How iso6400 Has Transformed Photography

Virginia Ramblers, by Reed A. George

Nikon D700, iso8000

Rangefinder Forum writer BobYIL recently wrote a post about how enabling the ability to shoot iso6400 on the latest digital cameras is.

(Click Here) to see the original post on Rangefinder Forum.

This was a very lively thread, with plenty of good responses. The first of two links included in the post includes a series of sports images. They are great, and deserve a click to look through.

I know that I used to occasionally shoot Delta 3200 film, but only when there was no other alternative (shooting available light in very low light situations). It was very grainy, though I did perfect shooting it at iso 1600, and adjusting the development time, to get very good results.

Now, I shoot iso 1600 with what I consider to be very nice output with my Lumix DMC-G3. I can shoot iso 3200 on the G3, but it takes some post-processing to control the noise. Not a big deal, especially with the excellent noise reduction now resident in Adobe Lightroom. Rather than miss a shot, I will shoot the G3 at 6400, but it's definitely pushing the noise situation.

My Nikon D700 shoots at iso 3200 with no problems whatsoever. I can reliably shoot at iso 6400 (or even 8000, as shown above).

One reply to the post notes that the results certainly look better in images downsized for posting on the web than they do in printed pictures. While I must agree with that statement, I would also submit that has always been true. That said, I recently printed some iso 3200 images from the DMC-G3 for a band I photographed. I was quite pleased with 8x10s, and think they would have held up well at 13x19.

I love the fact that I can shoot in very dark musical venues and not worry too much about image quality. I have found that it's better to go ahead and crank up the iso and shoot at full exposure, rather than underexposing at lower iso settings and trying to bring the levels up in Lightroom. That's when the noise levels really go crazy.

Anyway, it's a great time to be a photographer. The equipment just gets better and better.

DMC-365.blogspot.com

 

 

Panasonic DMC-G3 in Alaska, and Some Information on jpeg Settings

 

Mu-43 Member pjohngren's Image From Alaska

Image Source: http://www.mu-43.com/f43/g3-heads-alaska-14984/

I was attracted to this post on Mu-43.com because, as you probably have noticed, I like to travel vicariously through other Lumix users' photographs. I have never been to Alaska, and the images in this post give me a feel for the place.

(Click Here) to see the full post.

Once I saw the pictures, I wanted to know more about pjohngren's settings, which turned out to be really interesting. He shoots jpegs, instead of raw. Here is a quick summary of the settings he used in this case, and uses most of the time:

"... I actually leave it on Vivid all the time, but have the contrast at -1, the sharpening at +2, the saturation at 0, and the noise reduction at -2. Both Intellignt Resolution and Intelligent Dynamic on high all the time. Both do fine and a conservative and don't ever cause problems."

I find this very interesting. I always shoot in raw+jpeg, so that I can have the most flexibility in editing later on. However, I really don't like spending time editing on the computer, so would like to have great jpeg settings, to avoid editing altogether in at least some cases.

I have to admit that I have accidentally shot only jpeg images a couple of times, and found that the DMC-G3 jpeg processing, even at default settings, is wonderful. So, I will definitely give these settings a try. In fact, I will put these settings into both of my G3s as one of the custom settings.

Update: I tried these settings, and am not at all pleased with them. The saturation in Vivid is terrible for people pictures in my opinion. I have tried bringing saturation down to -1, and it helps. But, I think I'm going to end up concluding that iResolution and iDynamic should not be maxed out. So, my conclusion is that these are not the best settings for me. Your results may vary.

The ideal for me will be to have good enough jpeg settings to avoid editing most images at all, yet still have the raw files to do it well on the rare occasions that editing is necessary.

I am traveling to Japan in about a week. On these trips, I always shoot a lot of images (thousands), and have to deal with the editing load when I turn. Hopefully this will reduce editing to only a small number of images.

DMC-365.blogspot.com

 

 

 

 

More Local Music - Jake and the Burtones

 

Jake and the Burtones, by Reed A. George

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

iso3200, f2.5, 1/50 sec

Last Friday night, I went to see a local bluegrass band play at Market Street Coffee, in Purcellville, Virginia. The first thing I realized was that Market Street is the same shop that closed down a couple of years ago in Leesburg. When I say "the same," I mean "the same," right down to the paint color on the walls and every piece of decor. It literally could have been picked up as one piece in Leesburg and placed back down in Purcellville.

The next thing I noticed is that Market Street is a young person's hangout. They accepted the old man (me) in very courteous fashion, however.

The band, Jake and the Burtones, showed up at show time, moved a table out of the way, and voila! a stage! They played a very nice set of Grateful Dead tunes, including 1/2 Step Mississippi Uptown and Catfish Joe. Very nice welcome for an old Deadhead (me, again).

(Click Here) to see the band's facebook page.

 

After a few songs, bassist Jack Pugh had a seat, and two of the band's friends stepped in to cover bass and add fiddle.

 

 

... and Friends, by Reed A. George

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

iso3200, f2.5, 1/50 sec

After several songs, the originals reformed and whipped up some mighty good music.

Here are a few more shots I like:

Fiddle

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

iso3200, f2.8, 1/40 sec

A Few Laughs

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

iso1600, f1.8, 1/50 sec

Those Shoes

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

iso3200, f2.8, 1/40 sec

This was a very relaxed setting. I got to introduce myself to the band, and hope to see more of their shows in the near future.

The G3 performed very well for me. I am now quite comfortable with iso3200, as long as I expose properly. The Summilux allowed me to shoot at iso1600 some, as well. No flash was used, or necessary.

DMC-365.blogspot.com

All of these images and more are available for purchase at creativeobjective.com.

(Click Here) for a link to this set.

 

 

 

 

 

 

I Haven't Had My DMC-TS3 Underwater Yet, But...

I do find it fun to use at the water's edge and surface.

 

Catharpin Creek, by Reed A. George

Panasonic DMC-TS3, Intelligent Auto Settings

iso100, f3.3, 1/1000 sec

 

This image was taken at the confluence of Catharpin Creek and Bull Run Creek, a place known as Sudley Springs, where 15,000 Union soldiers crossed to fight at the first battle of Manassas (Bull Run). The same place was used in the Union's retreat after a sound defeat on the battlefield.

 

The TS3 couldn't be easier to use. So far, I have been quite pleased the the iAuto setting.

 

DMC-365.blogspot.com