While I like to shoot a lot in black and white, I also love taking macro photos of flowers, and delighting in their rich colors. I’m posting three such photos today, shot in my garden, of bright summer flowers.
Technology is constantly advancing to make everything sharper, faster, clearer, etc., which I understand, but my process involves slowing things down and allowing spontaneous events to develop.
From an interview with photographer Michael Kenna. I wrote recently about his book France. His photographs are some of the most stunning black and white photos you’ll ever see.
My name is Max Dubler, and I am a professional photographer who has been working full time in downhill skateboarding for the last several years. I am a well-known person within this little niche: I started an influential website with my friends, was on staff for the only downhill magazine since its first issue, have written extensively about downhill skate safety, and have been hired by almost every major downhill skate brand to shoot photos.
Lately, in an effort to get new riders excited about skating, I have departed from my usual policy of only releasing the most technically perfect pictures of sponsored riders and started posting all of my halfway decent photos from skate events on Skatehousemedia.com and its Facebook page. This is a lot more editing work, but as a skater myself I understand the excitement of seeing a good photo of myself from an event. It also helps drive traffic and engagement.
I don’t put huge watermarks in the middle of my photos or charge individual skaters to use them on social media because skaters are mostly broke teenagers, watermarks ruin the picture and don’t stop people from stealing your photos, and I make an okay living from freelance work and my steady gigs. The second-hand stoke is enough of a reward for me. I do charge for-profit companies a fee to use my photos because they are making money off my work. This is a pretty straightforward distinction.
A few days ago an established, successful small longboard brand downloaded one of my pictures from an event in Canada and posted it to their Instagram account.
FFS. The excuses this company gave for ripping off this guy’s photos are pathetic.
“We’re just a small business, we can’t afford it.” Dude. Man. Bro. Guy. Your company has worldwide distribution and I asked you for twenty five f**king dollars. You can afford it. Think of it as an intellectual-property parking ticket. Pay me.
Today, the weather was very nice, so I went outside to take some photos in my village. I wanted to compare the three different monochrome modes in the camera, because I very much like black and white photos, and it’s a feature that I plan to use a lot.
You can set up the camera to bracket photos, and if you do this with the Art filters, you can choose the three different monochrome modes. To do this, go to the menus, then the second shooting menu. Choose Bracketing and turn it on, the go to the right and choose ART BKT and turn that on. Then go to the right again and select the presets you want to use (and deselect those you don’t want). You can have lots of presets automatically applied to any shot, these aren’t additional shots, like when you bracket for exposure or aperture, but it’s all internal processing from your image. I shoot RAW + JPG, so when I do this, I get four photos.
Here’s just one example of the different monochrome profiles. The first shot is the color shot, then the three next photos are monochrome profiles 1, 2, and 3. I haven’t made any alterations to the photos. Note that I’ve turned off grain for all three profiles; by default a couple of them have grain on.
Olympus describes the first profile as neutral, and it is, soft and smooth. The second is the high-contrast profile, modeled after Tri-X Pan film, and in some shots the contrast is excessive, but here it looks fine. The third shot is meant to look like infrared film; in some photos it does have that look, but not so much here. However, the clouds contrast well with the sky, as if there’s a red filter.
Of the three photos here, I prefer the house in the second profile but the sky in the third. It would be possible to combine these in post production, and since they’re exactly the same photo there’s no problem aligning them. But I find the first photo to be very well balanced, with a softer look.
These black and white profiles are one of my favorite features of this camera, and the ability to bracket all three – together with a RAW file – is very useful. I’ve yet to tweak the profiles, other than turning off grain – I’m not a big fan – but I’ll look into that soon.
Earlier today, I posted my First Impressions of the Olympus Pen-F Camera. (Amazon.com, Amazon UK) At the time, I hadn’t taken many pictures with it, because the weather was terrible. So when the rain stopped, and the clouds cleared up a bit, I went out in my garden to shoot some photos. All these photos were taken with the Olympus 25mm (50mm equivalent) f 1.8 lens.
All the following photos were shot in aperture priority mode, and the color photos were converted from Raw by Apple Photos. The black and white photos are all the JPEGs from the camera. I haven’t made any adjustments to any of the photos, other than cropping some of them, and scaling some of them down so they’re not too big. I’ll explain why for each one.
Please note that it may take a while for this page to load. If you’re coming from the main page of my website, or an archive page, you’ll need to click the link below to see the pictures.
Yesterday, I got a new camera: the Olympus Pen-F, a 20 Mp micro four-thirds camera. I bought just the body, as I was upgrading from an Olympus OM-D E-M10, and have a number of lenses. (Amazon.com, Amazon UK)
I started taking pictures back in the early 1980s, using an Olympus OM-1, and when I bought the OM-D two years ago, I was, in part, seduced by the retro film SLR look. But it also fit well in my hands; I was familiar with that style of camera, and I never really cared for the big Canon and Nikon DSLRs, that are unwieldy. The micro four-thirds standard allows these cameras to be a bit smaller, lighter, and makes them less obtrusive.
The Pen-F is an improvement on the E-M10, having 20 Mp instead of 16, and having a raft of in-camera shooting features that make it a more flexible camera. Its rangefinder-type viewfinder makes the camera lower on top – the pyramidal viewfinder on the E-M10 does take up space – and the dials are laid out in a manner that seems more intuitive.
I can’t deny that I’m attracted to this vintage camera look, and in my hands, it feels better than the E-M10. It’s a tad wider (6mm), and lower (10mm, because of the different viewfinder), but the main part of the body is higher than the E-M10. And, while it’s 9mm thinner, it feels like it’s thicker. At 427g, compared to 396g – body only – it feels heftier, but in a good way. It feels more balanced, more evenly weighted than the E-M10.
There are a number of features that make the Pen-F an improvement on the E-M10, such as a higher-resolution viewfinder, which makes a big difference in the way I look at what I shoot. I rarely use the back-panel LCD to take pictures, and the Pen-F has an articulated LCD that you can shut, showing a faux leather back that looks more like on old film camera (and stays out of the way, and uses less battery).
One interesting feature is the front dial that lets you quickly switch among color modes: you can go from natural color to one of three monochrome modes, and you can use a number of artistic filters. I’m not a fan of the latter, but I do like shooting black and white. All the reviews I’ve seen highlight not only the quality of the monochrome renders, but suggest that you don’t even need to shoot RAW, since the camera’s JPEGs are so good.
The 5-axis image stabilization is an improvement on the E-M10’s 3-axis version, but the biggest difference I find in my first photos is the shutter. It’s softer, requires less push to actuate, and the camera moves a lot less. It’s also quieter; the E-M10’s shutter is fairly noisy.
The camera may not be the easiest to hold, as the front right of the device has no protrusion, and I might get a grip. Olympus sells one, of course, at a high price, but there are third-party grips. (Such as this wooden/aluminum grip, which is quite nice, but overpriced here in the UK. (Amazon.com, Amazon UK)) I’m not that worried about dropping it – I always use a strap – but it might be a bit easier to use in odd positions. There is, however, a curved thumb grip that is more prominent than that of the E-M10, which helps keep the camera stable.
Unfortunately, given the very bad weather yesterday, and Apple’s WWDC announcements – which I had to watch for my day job – I haven’t had time to shoot much more than a few indoor test photos. I did spend a lot of time setting up the camera. While I’m familiar with the hermetic menu system of Olympus cameras, the Pen-F was a bear to tweak. The manual is horribly written, and it was very hard for me to figure out, for example, why some of the information displays changed and why I couldn’t find how to change them back.
I look forward to some better weather, and the chance to try out the Pen-F in my garden, photographing flowers and cats, and getting some landscape shots in the coming days. For now, I’m quite satisfied with the Pen-F. It’s a nice upgrade from the E-M10, and it feels just about right.
Here’s a quick shot I took in natural light, with my 17mm lens at f2.8. I tweaked it a bit, because the light is especially gray today, but you can see nice detail and depth of field.
Update: Here’s an article with a number of sample photos I shot with the Pen-F.
Shooting for a bit shows just how good this camera is. The shutter is buttery smooth, it’s fairly quiet, and the viewfinder is extremely fast. It’s easy to shoot a number of photos in succession manually, and the auto-focus keeps up very well.
Make the most of Apple’s Photos app in macOS Sierra and iOS 10, and on an Apple TV! This book by Jason Snell, publisher of Six Colors and former lead editor at Macworld, explains Photos’ new machine-learning features, like Categories and Memories. It also teaches you how to extend your Photos experience across all your Apple devices–take a photo on your iPhone, put it in an album on your iPad, edit it on your Mac’s large screen, and show it off via your Apple TV!
Jason walks you through the Photos interface and describes how you can organize your images, both with Apple’s automatic albums, categories, and Memories, and with your own keywords, albums, and smart albums.
You’ll learn how to make standard edits like cropping and removing red-eye along with more sophisticated improvements via the powerful Adjustments panel. If you want to go further, Jason explains how how to add third-party editing extensions. For those who are feeling crafty, there’s a chapter about using Photos to create your own books, cards, and calendars.
The book also provides invaluable advice on using iCloud Photo Library, sharing your photos via social media, and working with or merging multiple libraries.
For those new to Photos, Jason covers what to expect from Photos in comparison to Apple’s older iPhoto and Aperture apps, and he guides you through importing your existing libraries.
Get Photos: A Take Control Crash Course for only $10.
our his garden, surveying his world.