Photo walk during Lockdown

In my last post I talked about taking the Sony a99 and Minolta 17-35mm f/3.5 lens out for a landscape shoot during Lockdown. I enjoyed using it, and it takes some beautiful images, but I still think it isn't a very 'portable' setup.

Greymouth wharf from Cobden lagoon. E-M1 with Lumix 12-35mm f2.8G. f/5.6 @ 1/60th, ISO 200

For that, I turn to my own camera gear - and the Olympus OM-D micro four thirds system. For me (and yes, it is very subjective), it offers the perfect balance of size vs image quality. And by that I mean excellent size, and excellent image quality. Many view anything less than full-frame to be a compromise, at least image-wise. I disagree. Strongly.

Sure, if you're a 'measurebator' or 'pixel peeper', then you won't be caught dead with anything less than full-frame (or maybe even digital medium format). But, on the other hand, if you're a photographer who enjoys the creativity of capturing an image, then you'll use any number of tools to achieve your vision. None are better than the other. They are simply different.

'Spicy'. E-M1 with Panasonic 12-35mm f2.8G. f/5.6 @ 1/80th, ISO 200 + Polariser

This isn't another way of saying that 'gear doesn't matter'. I've argued many times elsewhere that I find this an incredibly trite and blatantly untrue statement. Of course gear matters. Give a sports photographer at the Olympics a pinhole camera and ask them to cover the games with this one piece of gear. See how far that gets you - or them for that matter. It's all about having the right tool for the job. And in that regard, of course the gear matters.

But... conversely, the gear also doesn't matter as much as many photographers pretend (or hope) that it does. Yes, certain situations might call for specific functions. But beyond that, for most photographers, it really doesn't matter if the camera is full frame, medium format, or micro four thirds. Especially when you consider most peoples' use-cases.

Sundown, Cobden Tiphead. OM-D E-M1 with Lumixs 12-35mm f2.8G. f/5.6 @ 1/1250th, ISO 400

Ok, rant over. Suffice to say that when I use the Olympus OM-D E-M1 (which is considered by many an 'old' camera), I'm using an incredibly responsive, superbly designed and highly capable camera/computer that captures stunning images. Match that with a professional optic like the Panasonic Lumix G X Vario 12-35mm f/2.8 Aspherical Power OIS (to give it its full name) and the only thing that's holding it back is me.

I firmly believe that pound for pound, and dollar for dollar, nothing comes close to micro four thirds. I've used practically every system, every sensor size, and a plethora of body and lens combinations over the last 36 years of being involved in this fantastic hobby/profession. And when I consider all the systems and weigh up the cost, the features, the functionality and the image quality, my Olympus micro four thirds system stands together with the best of them.

How can I be so bold? Well, in this instance, I believe that a picture paints a thousand words... and speaks volumes for the capabilities of the E-M1 specifically, and micro four thirds generally.

Blaketown Tiphead Sunset. E-M1 with Lumix 12-35mm f/2.8G. f/5.6 @ 1/160th, ISO 400

All the images I took, walking around my neighbourhood to try out the Panasonic Lumix 12-35mm f2.8G, are simply stunning.

Yeah, ok, that sounds a bit self-congratulatory. 'Look at me. Big shot photographer'. But that's not really what I mean, or what I'm trying to say. What I really mean is that the photos from this camera and lens combination really 'pop'. There's a certain quality to them that elevate them a step above your normal everyday snapshot - even though ostensibly that's exactly what they are. Admittedly taken in some quite nice light.

There's a sharpness to all of them, although they're not 'over' sharp. And a clarity to them, although they don't look overly 'digital' (to me at least). The colours are exceptionally captured, yet also true-to-life. And the files are robust and easy to work with in post-processing. What's not to like?

Greymouth wharf from Cobden lagoon at dusk. E-M1 with 12-35mm f/2.8G. f/5.6 @ 1/20th, ISO 1600

Most of this, of course, is due to the superb capabilities of the Panasonic Lumix 12-35mm f2.8 G lens. It is a professionally designated lens, and as such offers professional quality results. It's a solid lens without being heavy (maybe 'dense' is a better description), balances perfectly on the professional E-M1 body, and performs flawlessly. Zooming is very smooth and well dampened, while autofocus is snappy, quiet and accurate.

It comes equipped with Panasonic's Power OIS (Optical Image Stabilisation), although it won't work in conjunction with the E-M1's image stabilisation, so I have turned it off on the lens. Olympus's in-body 5-axis image stabilisation is far superior to the one in the lens, so should be used in preference.

Not much more can be (or needs to be) said about this fantastic lens. I ummed and arred about getting it for a while, and even after buying it (secondhand) I wondered if I'd done the right thing selling most of my other lenses just to get this one. But that was before I had seen the images it produces. Now, after only using it twice, I don't think I've done the wrong thing at all. I did the same thing the last time I owned an E-M1 - selling all my lenses just to get the Olympus 12-40mm f2.8 Pro. I never regretted that decision either. Camera bodies, as they say, come and go. But good glass lasts. And this is very good glass.

Of course all pro-level 24-70mm f2.8 lenses, from all the other manufacturers, are exceptionally good optically. But the Panasonic Lumix 12-35mm f2.8 G is all these things, at half the size, half the weight - and at half the price! DSLR photographers love to gloss over this fact, or find comparison's where this doesn't quite work. But in actuality, the truth of the size/price/weight savings comparison with APS-C and full frame is real. And the benefits of micro four thirds are obvious to anyone who has seriously made the switch.

Swan Lagoon.  E-M1 with Lumix 12-35mm f2.8G. f/5.6 @ 1/8th sec (hand held), ISO 1600

In my last post, after I had used the Sony a99 and Minolta 17-35mm f3.5 on a landscape shoot, I summed up by saying that I was seriously rethinking my choice of system. I think that might have just been the euphoria of getting out and taking some photos after being in Lockdown.

In reality, a simple walk around my local neighbourhood, taking some 'snaphots' in the early evening light, has proved to me without doubt what an amazingly special camera system the Olympus/Panasonic micro four thirds is. Return to full frame? Humpfh!!! What was I thinking!?

1000 steps Lockdown Challenge

Like a good portion of the world's population, here in New Zealand we are currently in Lockdown (as I write this) due to the Delta variant of COVID-19. It may be a few weeks more until regulations are relaxed enough for the general population to start mixing and mingling again. Until then, we stay in our 'bubbles', work from home, and go out only to get groceries, or exercise in our own local area.

Shipwreck at Sunset. Sony a99 with Minolta 17-35mm. f/11 @ 3secs, ISO 400 with ND64

Under the guise of 'exercise', I decided that this time around I would complete a challenge that was circulating a year ago, during the first COVID worldwide Lockdown. Called the '1000 Steps Challenge', it's pretty self-explanatory. Take 1000 steps from your front door, and wherever you end up at the end of those 1000 steps is where you take a photo from. Simple.

At the end of 1000 steps. Photo: Joanna Lorimer, iPhone SE

My wife and I walk around our neighborhood almost daily, so I had a pretty good idea where I might end up after 1000 steps. There is an old shipwreck that emerges on our local beach depending on the weather, tides and time of year. I've seen it from a distance the last few weeks, so I knew that enough of it had emerged to make a good photo. And, if my calculations were right (they were), it would take me about 1000 steps to get there. All I needed were the right weather conditions (outgoing tide and a clear evening) and the challenge was on!

In my last post I wrote about getting my OM-D E-M1 back from repair. I was very excited, and very keen to start shooting with it, using my newly acquired Panasonic Lumix G X Vario 12-35mm f2.8 Power OIS. So that's what I took along with me on the photo walk challenge, right?

Nope. I decided, instead, to use the Sony a99 that I still have 'on-loan' from a friend (thanks Stew). I took this for a couple of reasons. First, I loaned it with the intended purpose of trying it out, and I haven't yet done so. I've only really used it a couple of times. So I thought it was time to actually start getting to grips with the a99 in a real 'out-in-the-field' type landscape test.

And second, I thought that I might like to go quite wide (turns out I was wrong), and use the Minolta 17-35mm f3.5 G lens on the a99, at the wider 17mm end. Since the a99 uses a full frame digital sensor, I was going to be able to utilise the full 17mm ultra-wide focal length of the lens. It's also considered a very sharp, premium landscape lens for the Sony/Minolta system. What landscape photographer in their right mind wouldn't want to try that kind of combination out?

So that's what I decided to take with me to complete the 1000 Steps Lockdown Challenge. And I'm glad that I did, although I didn't end up shooting at the ultra-wide 17mm end of the lens. In fact, due to the level of the outgoing tide, I shot almost exclusively at the 35mm end of the lens - something I could have easily done with my E-M1. Oh well, nevermind....

Abandoned Ship. Sony a99 with Minolta 17-35mm f3.5 G. f/11 @ 1.3secs, ISO 400. ND64

How did the Sony a99 and Minolta 17-35mm f3.5G combination perform? In a word, outstandingly. It is, as I've already suggested, a fantastic landscape photography kit. I'd be more than happy to lug it around with me to capture all of my landscape photography. It's a superbly capable system, that captures detailed images, with some features that I really appreciate.

First the lens. The Minolta 17-35mm f/3.5 G was one of Minolta's premium pro-level 'G' lenses. Something I guess Sony continued with their 'G' master range of premium lenses.

As a pro level lens, the 17-35mm has; a constant aperture of f/3.5, uses internal focusing, has aspherical lenses and uses anomalous dispersion (AD) glass elements to control distortion (somewhat), comes with a large (plastic) petal lens hood, and is solidly constructed. Autofocus on the a99 is decently fast - certainly more than fast enough for an ultra-wide landscape lens, and seems very accurate from the images I have taken with it so far. The lens also has a focus hold button, which can be re-programmed to a depth of field button if you would prefer. Filter size is 77mm - fairly large, but fortunately a filter size that I have a decent selection of filters for. The front element does not rotate when focusing, making it ideal for using polarisers or filter systems. All very positive.

Are there things I don't like about the lens? Well, for a start, it's definitely a full-frame lens. Not that it won't work in APS-C camera bodies, because it certainly will. But why would you, when on an APS-C camera it has a fairly limited 25.5 to 52.5mm focal range (in full frame terms)? I would never consider using this on an APS-C camera as a general carry-around lens. Because of the limited focal range just mentioned, and because of the other negative factor of this lens - its weight.

At 600grams the 17-35mm is a bit of a chunky-monkey. Which is not really surprising considering it's large front element, metal construction and solid build. It's also not weather sealed, which is a bit of a glaring omission for a lens that was most likely targeted at landscape photographers. For an extra few dollars in manufacturing costs, I can't for the life of me understand why Minolta didn't weather-seal this lens? Especially since it was rather pricey when it was first released (over $2200US in today's dollars).

It is also said to have very soft corners at all focal lengths wide-open at f3.5. I say 'said to have', because I haven't tested this myself. As a landscape lens, I don't imagine I'll ever shoot it wide open. And at f/8 to f/11, where I would most often likely to be with this lens, the corners look plenty sharp enough for me.

The other area where the lens is often reported to have a few 'issues' is in flaring and ghosting. With a 77mm filter thread, there's a lot of real estate on that front element, so it may not be surprising that flare can be an issue with the lens.

Having said that, the image opposite (and several others on the night) was obviously taken directly into the sun (something I really don't do all that often) and stopped down to f/22 to produce the starburst. I'm actually pleasantly surprised at the results. And these were taken with no lens hood attached. Yes, there is a little ghosting in the image - but this is a pretty extreme example, and I think it actually handled ghosting extremely well. And as for flaring? Again, not so much. I'm more than happy with the results, shooting directly into the sun - again, not something I do often.

These results may, or may not have anything to do with Minolta apparently updating the front element coatings on later models of this lens. Earlier models are said to have an orange tint, while later coatings were more bluish? My copy of the lens actually looks more orange than blue, but it's also difficult to tell. But be that as it may, I'm not unhappy with either flare or ghosting from the results I've seen using this lens thus far. On the whole, I'd give the lens 4 out of 5 stars (on full frame).

Skeletal remains. Sony a99 with Minolta 17-35mm. f/11 @ 2.5 secs. ISO 200 ND64

And finally, thoughts on the Sony a99.

I've talked a little about it before here, but basically it's a beast of a camera, with a beautiful 24.3MP full-frame sensor housed in a very rugged (and weather-sealed) magnesium alloy body. It is part of Sony's SLT line, which stands for Single Lens Transparent. Unlike traditional SLR digital cameras that use a prism mirror and optical viewfinder for viewing, the Sony SLT system has a semi-transparent pellicle mirror and electronic viewfinder. The semi-transparent fixed mirror diverts a portion of the incoming light to a phase-detection autofocus sensor, with the remaining light passing through to strike the digital image sensor placed directly behind. The image sensor then feeds a signal to the electronic viewfinder, so that changes in exposure can be seen 'real time' through the viewfinder.

Unlike many 'traditionalists', I actually prefer an electronic viewfinder. The amount of information it can relay, and the benefits of seeing the exposure change while composing the image, more than outweigh any perceived negative viewing experience from an optical viewfinder.

The other visual aid that I love (and I mean LOVE) on the a99 is its amazingly flexible articulating screen. There's almost no angle that this thing can't put itself in, and is certainly the most adjustable rear LCD screen I've ever used. I wish the rear screen on my OM-D E-M1 was this adjustable.

I also appreciate the ISO range of the a99, from ISO 50 all the way up to 25600. Again, I wish the E-M1 sensor was as sensitive, instead of the lowest native ISO 200.

Button placement is excellent on the a99, with a plethora of switches, dials and navigational aids placed in very convenient places. Minolta placed a lot of control of their cameras on the outside, at the photographer's fingertips, and Sony have carried this tradition on in their SLT range. I prefer this approach to camera design. Nikon also has this design philosophy with their DSLR's. Canon not so much... 

Battery life is decent, although with any modern digital camera, I'd carry a couple of spares with me as a matter of course. And, as befitting a flagship model, the a99 has dual card slots (SD), shoots at 10fps, a top shutter speed of 1/8000th (and down to bulb), 1200 zone evaluative metering (as well as spot), and a host of other features. Oh, and yeah, it shoots Full HD video (don't care).

What lurks beneath? Sony a99 with Minolta 17-35mm. f/11 @ 1.3secs, ISO 400. ND64 

So what's not to like? Well a few 'niggly' things stop me from falling completely head-over-heals for the Sony a99. First is the size and weight. At 733 grams, body-only, it might not be the heaviest camera ever made, but it's far from the lightest either. Add the Minolta 17-35mm lens and you are looking at 1,333 grams. Add a battery, lens hood and filter and you're probably looking at 1.5kgs. Not the end of the world, I admit. But when compared to micro four thirds there is a noticeable weight difference.

Second is the autofocus spread of the a99. It's not that great. There are 19 focus points, and even though Sony calls it a 'wide' focusing area, in reality they are all very centrally located. It's certainly nowhere near as impressive as the latest mirrorless focus offerings, where almost 100% of the viewing area is selectable. Place your subject roughly central and it won't be an issue. But forget selecting focus at the edges of the frame.

And finally, the system as a whole just feels a little bit 'clunky'. Turn the camera on, and the lens clicks, whirs and bangs into life. The same thing happens with older Minolta autofocus film cameras, since the focus motor is built into the body of the camera and comes to life every time you turn the camera on. Focus isn't what you would call deadly quick either, and it certainly isn't silent. It just feels a little 'old-school'. Which I guess, since it was simply ported across from the Minolta camera technology, is exactly what it is.

Would anything that I've mentioned above stop me from using, and enjoying the Sony a99? Of course not! At the end of the day, when you get home and download the RAW images on the computer, what you really should care about are the images it can produce. And as I hope you can see from the photos above, the images it can produce are just beautiful.

It may be a bit 'old-school', it may be a bit clunky, and it may be a bit on the 'heavy' side (please, no fat-shaming here). But everytime I use the Sony a99, I enjoy the experience immensely. In fact, I may have to stop using it. Because I think I might almost be at the point of seriously questioning my choice of camera system!