North Island Holiday - Part Two

In my last post I introduced some images from a holiday my wife and I took recently to the North Island. Our destination for the first three days of our trip was Matarawa, just north of Greytown, in the Wairarapa. We had been invited to stay by my wife's Uncle Bill in the family homestead, where Uncle Bill (88yrs young) lives on land that has been in the family for generations. It's an idyllic, peaceful spot and a great place to unwind and relax.

Matarawa Sunrise. Panasonic Lumix S5 with S 20-60mm. F/8 @ 1/100th, ISO 800

The first morning of what felt like the 'real' start to our holiday started bright and early with a magnificent sunrise. My wife woke me around 6.00am and suggested we might like to get outside with our cameras - right now! It was a beautiful sunrise, and an amazing way to start the photography aspect of the holiday. 

What I love about using the Panasonic S5 is its incredible ibis (in-body-image-stabilisation) and its fantastic low-light capabilities. With the full frame 24MP sensor I will happily crank the ISO up to 6400 if I have to without incurring any noise issues. Hand-holding shots at sunrise gives perfectly sharp results. I'm also amazed at the IQ I get from the 20-60mm 'kit' lens. Some say that it isn't the sharpest lens around, and while this may be true, my copy is plenty sharp for me!

Matarawa Morning. Lumix S5 with S 20-60mm. f/8 @ 1/400th, ISO 800

This is my favorite shot of that first morning. The light is just gorgeous! It was a beautiful location, with beautiful light, so we were spoilt for choice. Great images presented themselves wherever we looked. It really was a perfect way to start the holiday, and I was a bit worried that we had peaked before we'd even begun! (Spoiler alert, we hadn't).

Before going away my wife and I created an itinerary, so we could make the most of our time away and get to the places that interested us the most. With only two weeks away, and at a different place almost every day, we needed to be a bit targeted so we weren't spending time sitting around making decisions.

With this in mind, for our first day with Uncle Bill he had suggested taking us to Castle Point to see the lighthouse there. I'm a sucker for a good lighthouse, so was very keen. And even better, Uncle Bill insisted that he chauffer us so we could just sit back and relax. Sounded good to me.

Castle Point Lighthouse. Lumix S5 with S 20-60mm. f/8 @ 1/1250th, ISO 400

To say that we had a perfect day at Castle Point would be an understatement. The weather was simply amazing - the clouds were incredible - and the lighthouse was stunning. It's a short (but somewhat steep) walk up to the lighthouse, and there are several caution signs along the way that warn of dangerous high winds. As exposed as the lighthouse is, I can imagine it could get pretty fierce up there. We, however, had nothing but the very gentlest of breezes. Amazing.

I loved pretty much all the photos I took at Castle Point, but the above photo captures the place perfectly. Standing at 52 meters above sea level, it is the North Island's tallest lighthouse, and one of only two in New Zealand that is still lit by the original rotating fresnel lens. It's a truly impressive sight, and is super easy to get to, and to photograph.

The Shop - Castlepoint Store. Lumix S5 with S 20-60mm. f/8 @ 1/1600th, ISO 400

After spending an amazing couple of hours exploring and photographing the lighthouse, we drove back into Castlepoint village to have lunch. I noticed this sign on the side of the Castlepoint dairy and couldn't resist taking a photo. It's such a typical image of 'kiwiana' it could have been taken 50 years ago in the 1970s.

I love taking 'retro' images of old stuff (cars, buildings etc), and this would become a reoccurring theme throughout our holiday. We had our itinerary sorted out, but had given ourselves plenty of time for random stops along the way for photographic opportunities. Something I was very keen to make the most of.

Old barn, Tinui. Panasonic Lumix S5 with S 20-60mm. f/8 @ 1/200th, ISO 200.

On the way back to Matarawa, we passed through the little town of Tinui. The name comes from the Maori words 'ti' (cabbage tree) and 'nui' (many). It also claims (apparently falsely) to be the first locality to have had an ANZAC ceremony.

What it did have, was this very old barn that I simply had to take a photo of. As I said, this is my kind of photo. I love the rustic feel of these photos - the colours, the history, the sense of time, and also something of the sadness of these buildings that speak of a bygone era. I also just think they look cool...

Over the last couple of years (maybe even longer) I've been struggling with my photography - or more precisely my photography motivation. I haven't really been that bothered to get out and make images, and I felt that maybe a large part of this was familiarity breeding contempt?

After only one day on holiday in the Wairarapa, I had been pulled out of this 'funk' and felt completely re-energised photographically. In the space of about 10 hours I'd taken maybe some of the best photos I think I've ever taken. Matarawa Morning in particular is right up there with my favorite photos of all time! And some of the Castlepoint Lighthouse aren't too far behind!

Yes, I was 'lucky' with the light and the weather conditions, but it was also about being out with the camera, exploring new locations, and getting inspired by these fresh subjects. And this was just day one in the North Island...

Fujicolor Superia recipe for the X100

My exploration into film recipe's with the Fujifilm X100 OG continues - this time with a punchy, vivid green and blue recipe that I'm calling Fujicolor Superia. Superia X-Tra 400 is (was) a fine grained film from Fuji - which boosted the greens and blues in an image. Something like all the images in this post...

Hill House V2. Fujifilm X100. f5.6 @ 1/680th, ISO 200. Fujicolor Superior film recipe + grain

I like the results, but if I'm being honest, they are a little OTT (over-the-top) for my tastes. I like vibrant colours as much as the next guy, but maybe this is a little 'too much'? I actually prefer my Agfa Optima film recipe for it's more 'natural', slightly de-saturated colours, and I've been thinking that this is probably where I will settle for my three custom recipes. Kodak E100SW, Fuji Acros and Agfa Optima. Sounds like a good mix to me.

Railway Signal Box.
f5.6 @ 1/160th, ISO 200 + grain added

But I digress (slightly), because this is about my Fujicolor Superia film recipe. I may not go for it, but your mileage may vary. So here's the recipe for use with the X100 original.

Fujicolor Superia X-Tra 400

ISO: Auto

Dynamic Range: 100

Film Simulation: S (Provia)

White balance: Auto

White balance shift: +3, -4

Color: High

Sharpness: M-Soft

Highlight Tone: M-Hard

Shadow Tone: M-Hard

Noise reduction: Low

The photo opposite, of the Greymouth Railway Signal Box, was taken on an overcast evening with fairly dull flat lighting. The greens still pop, as do the reds in the image, but nowhere near as much as in the first image - Hill House V2 - taken on a very sunny morning. This recipe likes a lot of light, and if I were to shoot it regularly I would only use it on sunny days.

Whether I like the recipe or not, I'm having a lot of fun getting out with the camera again after a good few years of being in a photographic slump. The Fujifilm cameras are certainly a lot of fun to use - especially the compact range-finder style cameras. Would it be great if the X100 original had more film modes? Maybe? I would like a dedicated Acros mode. But then again, sometimes limitation can foster creativity - as with the one camera, one lens limitation.

Framed. Fujifilm X100. f5.6 @ 1/45th, ISO 200. Fujicolor Superia film recipe + grain

I'm also not feeling too constrained with the fixed 35mm lens. Using it as a 'walkabout' lens, I've been more than happy with the compositions I'm getting. I am a 'little' nervous about taking it away on an upcoming holiday - hence I've also decided to include my Lumix S5 with the 20-60mm lens. I started the New Year with a lot of bravado about the whole fixed lens, one camera idea, and currently that still holds true. But will it for the rest of the year? Apparently not, if I'm taking two cameras away on holiday with me. But if the exercise has got me shooting again - and excited about photography again - then maybe that's enough for the idea to have been of benefit?

Shawn the Sheep. X100. f8 @ 1/60th, ISO 200. Fujicolor Superia film recipe + grain

All of the images in this post (and the last few) have been just me wandering around my neighborhood of an evening. They are photos that I have passed by literally hundreds of time and never taken. And they are photos that I really like. I 'could' have taken them with my S5, it's not a stupidly heavy camera (I've owned a Canon 1Ds so I know what heavy is like). But the X100 is just such a pleasure to walk around with that I want to take it with me when I go out. Its 12MP sensor is more than enough for this blog - or A4 sized prints, even with a little cropping. And I honestly can't remember the last time I printed any of my photos (unfortunately). I actually think I should do something about that - but that's another post for another day.

Heritage Park silhouette. X100. f5.6 @ 1/250th, ISO 200. Fujicolor Superia film recipe + grain

Will I use this Fujicolor Superia film recipe in the future? Probably not if I'm honest. Not because I don't like the photos it produces - as I said, I'm very happy with these. It just comes down to liking my Agfa Optima recipe better, and I've only really got one slot left.

I've also recently read somebody talking about the X100 film modes, saying that they love the Provia colors from the Bayer sensor (as opposed to the X-trans introduced in the 100S). So I may play around with that next - shooting the film modes as standard.

With only about three weeks until I go on holiday, that's probably enough time to test out the standard film modes. If I like some of the standard film modes, then that will give me four or five different 'looks' out of the camera. And there's also RAW... Just saying.

Kodak Tri-X recipe for the Fuji X100

All good things come to those who wait (or so they reckon?). Having changed my mind last post and programmed an Ultramax 400 recipe instead of Tri-X, I thought tonight I would rectify the situation. So I did.

Cobden Lagoon. X100. f5.6 @ 1/1000th, ISO 400. Tri-X recipe with grain added in Color Efex Pro 4

For my Kodak Tri-X recipe I was going for contrasty and gritty. Well I certainly achieved that, and then some.... I actually think that the blacks have blocked in too much, so I may actually drop them back just a tad. Otherwise yeah - mission accomplished.

Cabbage Trees. X100 Tri-X recipe

Kodak Tri-X recipe

Film Base: Mono + R

ISO: 400

Dynamic Range: 200

White Balance: Auto

Highlight: Med Hard

Shadows: Hard (Med Hard?)

Sharpness: Med Hard

Noise Reduction: Low

The final results were what I was after from the recipe (but I'll change to Med Hard Shadows if I shoot with it again). I don't hate the results, but I also don't 'love' them, and will continue to use my Acros simulation for my black and white jpegs going forward.

What I am liking is adding the grain in Color Efex Pro 4. I have a couple of custom profiles set up so it's super simple to import a jpeg, add medium or hard grain to an image, and export it out.

Previously I also mentioned that I haven't forgotten my Lumix S5, and that I will also be taking this with me when I go on holiday. I watched a video on Youtube recently that compared all the recent major camera manufacturers standard mono outputs, one of which was Lumix (of course). Out of all the camera manufacturers, Lumix have the most mono profiles (4 in all), and the standard 'mono' setting produces beautiful black and white images without any 'tweaking'. It was very comparable to Leica's mono setting - not surprisingly - since Panasonic and Leica work together on camera technology. In fact, the other 4 mono settings on the Lumix all reference Leica profiles.

Flax. Fujifilm X100. f5.6 @ 1/640th, ISO 200. Tri-X recipe + grain

The recipe certainly creates moody black and white images, if that's what you are going for. It reminds me quite a bit of the 'grainy b&w' art filter on the Olympus cameras. Although the Olympus look was even more contrasty and grainy. It was my favorite art filter on the Olympus Pen EP-3 when I used that camera - but I did not use to the art filters very often.

With a lot of light on your subject, the Tri-X recipe gives a reasonably nice tonality - as can be seen above in the Flax image. I recall liking the Tri-X recipe I had on my Fujifilm X-E2 a little more than this one, so as discussed a little more 'fiddling' might be needed if I was going to persevere with this on my X100.

Gated Community. X100. f5.6 @ 1/640th, ISO 200. Tri-X recipe + grain added

In the end though, I don't think I'll bother. As mentioned in a previous post, the X100 only has 3 custom slots for film recipe's, and my C2 is already taken up with Acros. So for the C3 slot, I think that I will play around with some more colour recipes. And I still do really like the look of my Agfa Optima recipe here. Two very different colour recipe's, and one mono, should give me enough options when out shooting. 

And finally, the image above - Gated Community - was my last, and favorite, of the evenings shoot. I've been watching a lot of James Popsys on Youtube recently and I think his shooting style is beginning to rub off on me. I wasn't a big fan of his images initially, but the more I've watched him, the more I've started to relate to his vision. I'd like to think that James would approve of the photo, although he would want it in colour. I may do a colour version as well. We'll see.

Kodak Ultramax 400 film recipe for the X100

Ok, I lied.

Not on purpose mind you. I just changed my mind at the last minute.

In my last post, I ended it by saying that the next recipe I would program into the C3 position on the X100 and try out would be Kodak Tri-X. But then when I went to go out last evening to take some more photos (and walk the dog), the light so was nice that I changed my mind and went for a colour recipe instead... my attempt at Kodak Ultramax 400.

The path less travelled.
Fujifilm X100. f8 @ 1/300th, ISO 400. Kodak Ultramax 400 film recipe + Color Efex Pro 4 Grain

It's still a Kodak film recipe, and it still uses 400 as a base ISO, but that's where the similarities with Tri-X end. My Ultramax recipe is more punchy than the previous Agfa Optima recipe, but also uses Provia as a base. It uses 'Daylight' as the White Balance setting though, giving a slightly warmer tone to its images in certain lighting conditions.

Cabbage Tree
X100. f5.6 @ 1/50th, ISO 400 + grain

Kodak Ultramax 400 Recipe

Film base: Provia

Dynamic Range: 200

Colour: High

Sharpness: Soft

Highlight: Soft

Shadow: Standard

Noise reduction: Low

White Balance: Daylight

White Balance Shift: +1R, -1B

ISO: 400

The slightly warmer tones of the daylight white balance can be seen in the photo of the Cabbage Tree. Although the sun was fairly low in the sky during golden hour.

I have to say I'm really enjoying taking the X100 out with me in the evening on these photo walks. It's just so easy to carry around and use. It's also reinvigorating my picture taking, and I'm looking forward to getting out with a camera again.

So while I'm confessing my lies and changes of mind, I may as well 'fess up' and say that I am now considering 'tweaking' my one-camera, one-lens new year's resolution - maybe just for the month of February. Explanation incoming....

My wife and I are planning a North Island road trip for February this year - we've already booked the time off, the ferry to get us from the South to the North Island, and half of our accommodation. And in so much as I am loving the X100 (and I am), do I really want that to be the 'only' option I take away on holiday with me?

Cobden lagoon. X100. f8 @ 1/450th, ISO 400. Grain added in Nik Color Efex Pro 4

I'm not really suffering from analysis paralysis (honestly, I'm not) - but my wife and I don't get out much (this will only be our second holiday on our own in 27 years of marriage). I want to make sure that I'm well covered for most shooting opportunities - of which I hope there will be quite a few on this trip.

So I have decided to do one camera, one lens x2, and take the Fujifilm X100 and my Lumix S5 with the S20-60mm lens. When we are walking around cities and urban settings, just travelling from place-to-place and not necessarily concentrating on photography, then I will use the Fujifilm X100. Then, when I am going out to specifically take landscape photos, I will use the Lumix S5. Still one camera, one lens (kind of).

Overgrown. Fujifilm X100. f5.6 @ 1/30th, ISO 400. Kodak Ultramax 400 recipe + grain

Yeah, ok. Maybe it's 'cheating'? So what - sue me 😊 But I'd be crazy to leave the S5 behind. I still love the camera and the images it produces. It's the 'superior' landscape camera with its higher dynamic range full-frame 24MP sensor - even though the X100 is no slouch in the image department. But it can't really compete with the S5, and it's not really supposed to. They are two different systems designed for two different styles of shooting experience. And I plan on using them both as they were intended to be used on this trip away.

I'm also intending to continue playing around with the photo styles on the S5 - which does have a grain effect you can add in-camera. But I will shoot RAW + Jpeg on the S5, and only jpeg on the X100.

The path less travelled.
Kodak Ultramax 400 film recipe + Color Efex Pro 4 Grain/Tone

I thought I would end this post with a different edit of the first photo - just to show what is still possible with a Jpeg.

Yes, the processing is 'baked in' to the image when the photo is taken, but even jpegs have some latitude for post-processing. 

The editing was done very simply and easily with the photo editing app that comes standard with Microsoft Windows 11 and then finished off in the 'free' Nik Collections Color Efex Pro 4 (you can still find the download from Google for this on the interwebs).

To some extent it is about getting it right 'in-camera' when you take the photo (check the histogram to make sure you aren't blowing out the highlights). In extreme lighting conditions this often means letting the shadows go black. This isn't the end of the world, as some of this information is still recoverable - even in a jpeg. But as humans, we prefer to see details in the highlights and don't mind if the shadow detail remains fairly dark. This makes sense to us visually. 

My experimentation with the X100 continues, and I'm really enjoying it. I may also start to intersperse this with some more experimentation with the Lumix S5 picture styles, before going on my North Island trip in February. I'm very blessed to have two amazing cameras to use. And that's just what I intend to do.

Kodak E100SW film recipe for the X100

It's Christmas on the West Coast, and the weather has been very up and down. But I've finally had a chance to get out with the Fujifilm X100 to start getting used to using it.

My son and his girlfriend stayed with us over Christmas, and although the weather was a bit up and down, we did have a few opportunities to get outside and explore some of the coast. My go-to place for trying out new camera gear is Lake Brunner at Moana, and so that's where we headed.

Joanna, Josh, Millie and Sabine at Moana. X100

First observation - I find using the optical viewfinder with information overlay to be a better experience that using the evf. The electronic viewfinder is quite dark compared to the optical system - and with the information overlay (even the histogram) available with the optical finder, this is the best of both worlds. A 'real' view of the scene but with helpful shooting information. I am still training myself to use the frame lines for 35mm and not take into account the whole view in the optical finder, but I'm sure that will come with time.

Second observation has to do with the lack of image stabilisation. Yes, the camera only has a 35mm lens, so should be able to be hand-held down to about 1/30th sec, but in reality the camera is also so lightweight that any movement when taking the image induces some softness and/or image blur. I am so used to image stabilisation handling all that for me that I suspect my correct shooting form has suffered. This resulted in several images that were very blurry when viewed on my monitor, especially in low-light conditions. The image opposite, of my family on the swing-bridge, was also taken horizontally and was the shot I preferred. But on closer inspection it was very soft and unusable. Doh! Note to self - slow down with the X100. Take your time setting up the shot. Soft release on the shutter. Breath slowly and naturally. No jerky movements. All that good picture taking advice from back in the old days of film photography. The original X100 is, after all, a system that begs (and actually almost requires) to be used like a traditional film camera. So slow down!

R&R Sally. Fujifilm X100. f4 @ 1/2000th, ISO 200. Kodak E100SW film recipe

When you do take you time, the results are fantastic. I have programmed three film recipes into the X100 - in the three available custom slots, and have programmed the RAW button on the back of the camera to bring these options up so I can switch between them easily. All of the images in this post were taken in the C1 slot - using my Kodak Ektachrome E100SW film recipe.

The X100 has limited scope for tweaking film styles, but it can be done. The same was true with my X-E1 which was also fairly limiting, so the film recipes I have programmed into the X100 have been directly ported across from the X-E1.

SeaDoo. X100. f8 @ 1/450th, ISO 200. E100SW Recipe

Kodak Ektachrome E100SW Recipe

Film base: Velvia

Dynamic range: 100

Colour: M-Low

Sharpness: M-Hard

Highlight: M-Hard

Shadow: M-Hard

Noise reduction: Low

White Balance: Auto 

White Balance Shift: +1R, -1B

ISO: Auto up to 3200  

As seen above, the recipe is based on the Velvia film simulation with some of the colour reduced and the contrast/sharpness increased. It gives a punchy result without being too in-your-face colour-wise, which is ideal for landscape and general photography. These images are SOOC, on a bright and sunny afternoon, so I needed to pay close attention to the histogram to make sure that the highlights weren't too blown-out - especially with the increased contrast. 

Deadliest Snatch. Fujifilm X100. f/8 @ 1/1400th sec, ISO 800. Kodak E100SW film recipe

For my first genuine outing with the Fujifuilm X100, I really enjoyed using the camera. It is certainly lightweight and easy to carry around, and I didn't find the fixed 35mm lens to be too limiting. Yes, there were times when I would have liked to have been able to compose a slightly different field of view, but this will always be a limitation (unless you carry a bag full of lenses with you everywhere). On the whole I was able to get the photos that I wanted without feeling constrained by 'only' having the 35mm fov. 

The Pub on the Lake. Fujifilm X100. f8 @ 1/750th, ISO 400. Kodak E100SW film recipe

My first outing with the X100 has been (mostly) a success. If I was on holiday and had been visiting Moana for the first time, then I would be very happy with the photos that I came away with. 

In the prime 'C1' setting, the Kodak Ektachrome E100SW film recipe is a perfect SOOC jpeg profile - nice and punchy colours without being oversaturated, with excellent detail and sharpness. It even works well for portraits, so will probably remain my go-to everyday colour recipe.

My next outing with the camera will concentrate on the C2 setting - my black and white recipe for my Fujifilm Acros look. I'll try to remember to slow down for my next shoot and make sure that I'm using proper technique to reduce the risk of taking blurry images - especially in low light. And I am also going to have to investigate a way of adding grain to my final images. The X100 can't do this in-camera, so I will need to investigate some post-processing solutions.

Lake Brunner, Moana. Fujifilm X100. Kodak Ektachrome E100SW film recipe

Over the Christmas period my son 'upgraded' my old computer to an Intel i5 10th gen chip that can now run Windows 11. Unfortunately to do this I lost some software that I had been using to add grain to images - namely the Nik Collection that I had downloaded when it was being offered for free by Google. I am also not subscribed to Adobe anymore, so no longer have access to Lightroom or Photoshop. I'm using RawTherapee instead. Since I'm trying to use jpeg images SOOC, I don't really need RAW editing software at the moment, but will do in the future. So I am in the investigation phase of looking at post-processing going forward. I'll let you know my solution once I've finalised it, but at the moment RawTherapee is filling the gap nicely.....

Playing with aspect ratios on the S5.

For most of my photography 'career' I've been a fairly traditional shooter. By that I mean I don't tend to make much use of the technology that is built into todays cameras. There aren't all that many settings that I change or play around with on a regular basis. Growing up a film shooter, I tend to just focus on aperture, shutter speed and composition. I don't even really move my ISO around that much (mostly using the lowest native ISO setting the camera has).

Rapahoe Pier Structure. Lumix S5 with S20-60mm. f/8 @ 1/100th, ISO 100

Now having just said all that, I'm also not a luddite! I use image stabilisation as a matter of course, and will change the ISO if and when I need to. When I owned Fuji I spent endless hours playing around with film simulations. And of course, I shoot in RAW so I can get the best out of my images during post-processing. But usually, that's about it.

I've said on numerous occasions that I'm not a video guy, and would be more than happy if camera releases came in two flavors - with, or without video. My S5, although now 'old' by digital camera standards, has video features that I will never use. It is, in fact, by all accounts, still an amazing camera for video shooters - being predominantly designed with video shooters in mind (according to the hip on-line hybrid content creators). I don't care. Didn't buy it for its video capabilities - obviously. Because it is also - for all its video centric capabilities - a damn fine 'camera' for photography. Who'd have guessed?

Magick is Real. Lumix S5 with 20-60mm. f/8 @ 1/50th, ISO 100

In terms of photography-centric features, the S5 has a few that interest me slightly - and that I will 'play around with' from time to time. One of those is the high-res mode, which takes the 24MP sensor and turns it into a 60+MP monster! This does have some limitations - the camera must be on a tripod, and the scene you are photographing must largely be static (landscapes and not portraits). 

Do I really need 60+MP images to deal with? I suspect the answer is no. In fact I know that the answer is no. But hey, fun to 'play' with - right?

And maybe going out with your camera to 'play' with settings you don't normally shoot with, can be a door back into shooting with your camera a bit more? A bit of a spark to kick-start the creative juices again?

That's how it was for me the other evening when I found myself at a local beach and I decide to play around with aspect ratios.

Rapahoe Xpan. Lumix S5 with 20-60mm. f/8 @ 1/60th, ISO 100. 65:24 aspect ratio

I was watching a review of the S5 on youtube the other night (as you do), and the reviewer mentioned that the camera could shoot in the 65:24 'Xpan' ratio. I kind of knew this already, but hadn't given it much thought. But as I stood in front of a dilapidated pier structure at Rapahoe Beach, stretching out across the sand, I suddenly remembered about the panoramic aspect ratio of the Xpan. This, I thought to myself, would make a perfect subject for it. And I was right.

I really like the above image, and the subject works perfectly in this aspect ratio. Once I switched the camera's aspect ratio over to 65:24 and could 'see' in this format, it was a hell of a lot of fun trying to compose using the wide field of view.

Not that I don't think the subject doesn't work in the S5's native 3:2 aspect ratio - see the first image in this post. But it's undeniably 'fun' and then undeniably challenging, to compose for a totally different field of view.

Something fishy. Lumix S5 with 20-60mm. f/5.6 @ 1/50th, ISO 100. 1:1. Mono conversion

Once I had started exploring the possibilities of other aspect ratios, I started looking for compositions that would fit a particular framing. As an ex-medium format film shooter, I have a love-hate relationship with the 1:1 square format. When I was using medium format almost exclusively, I often struggled with composing in the square format. But every now and again I'll come across a subject and I'll 'see' it as a square image.

I saw the above image of the washed-up fish on the beach not only as a square 1:1 composition, but also as a monochrome photo. I have also added a little film grain when I processed the final image in Camera RAW, to give that familiar film-look. Might not be everyone's cup-of-tea, but I like it.

Standing Tall. Lumix S5 with 20-60mm. f/8 @ 1/80th, ISO 100. 1:1 aspect ratio

Of course the square format also works well for colour. The above image reminds me of the colour rendition of Kodak Ektar 100 medium format film. Has that 'look' with the overall green and blue hues. It's actually very faithful to the scene, and I love the colours coming from the S5's sensor. Even the RAW files look pretty good and don't need a lot of punch added in post.

All in a Row. Lumix S5 with 20-60mm. f/9 @ 1/40th, ISO 100

I had a lot of fun shooting in various different aspect ratios during the evening, and it did inspire me to keep shooting and find some interesting compositions. But, because I shoot in RAW mode, the aspect ratio I chose to use in-camera isn't set in stone like it would be if I was shooting jpeg. All of the images imported into Lightroom as a normal 3:2 ratio that makes use of the whole image sensor. The aspect ratio is a crop attached in the metedata. So it can be changed or removed at any stage.

So what's the point in shooting with different aspect ratios if you can just crop later on in post? Good question, and I've asked this myself. And I guess there's two parts to the answer. First, as mentioned above, if you are shooting in jpeg mode, then the aspect ratio (crop) is locked in to your final image. So any final jpeg images straight from camera will be as you saw it through the viewfinder.

Second, it's that 'play' aspect - and also the pre-visualisation - that happens when you are composing with the actual crop through the viewfinder. It's a bit like shooting monochrome on a digital camera. If you shoot RAW, then the monochrome setting is just attached metadata - the colour information is still retained in the original file. But the great thing is that you 'see' in monochrome through the viewfinder. I can't stress enough what a massive help this is when learning to shoot black and white images. Suddenly it's not 'theory' anymore, but actual visual feedback.

Have you shot in different aspect ratios in your camera? Do you even know where to go to change them? If you haven't, then go ahead and have a play. It's a lot of fun. It can also be a very helpful compositional aid. And if you shoot in RAW mode, then no harm - no foul. You can always undo what your clever camera has done.

Panasonic GH3 for photography (in 2024).

In my last post I discussed my recent purchase of the Lumix GH3 for shooting video. This will be its main purpose - in conjunction with my Lumix S5 - to supply video and photos for a Real Estate firm. But it will also act as a back-up of sorts, if anything should happen (please no, touch wood) to the S5 while on a shoot. So the IQ (image quality) needs to be 'good enough' to take over photo duty if required (again, please no....!).

Of course whenever you get any new gear, you need to test it out - right?! Nobody in their right mind would take a newly acquired piece of equipment and try it out for the first time on a shoot - least of all an actual paid gig! No - I thought not.

With this in mind, I loaded up my Lowepro backpack with my Lumix S5 and S 20-60mm f/3.5-5.6 attached, and the Lumix GH3 with the G 12-60mm f/3.5-5.6 Power OIS, and headed out the door this past weekend (as I write this).

It had been a while since I had been to Dorothy Falls at Kaniere, so that was my destination. I got up at stupid-o'clock on Saturday morning so I could get to the falls around dawn. Turned out this was a little too early, so I wandered down to Lake Kaniere to see if I could capture a few sunrise photos.

As you can see from the image on the right, reducing the exposure to retain highlight detail in the sky (very important with digital sensors) has meant that the landscape itself is underexposed. Looking at this image back home on the computer, I didn't hold out much hope of getting any detail or definition in the trees around the lake, especially since this is from a micro four thirds sensor. 

Lake Kaniere Dawn.  Lumix GH3 with Lumix G 12-60mm Power OIS. f/8 @ 1/50th, ISO 200

Having owned, and used, 16MP Olympus micro four thirds cameras for many years, I shouldn't have been so pessimistic. I've written myself, on several occasions in this very blog, that the ability to extract information from the micro four thirds sensor is actually quite staggering. Micro four thirds sensors are capable of capturing excellent dynamic range - the GH3 itself is capable of around 12.5 stops of dynamic range. 

In comparison, the S5's 24MP sensor is rated by DXO of 14.5 stops. Two stops is certainly significant, but this is a considerably newer - full frame - sensor. 12.5 stops on the GH3 is very, very respectable, and allows it to create images like the one above. What's more, the detail pulled out of the shadows is very clean and noise-free at the cameras native ISO of 200. A very good result indeed.

Dorothy Falls. Lumix GH3 with G 12-60mm. f/8 @ 1/3rd sec, ISO 200 + Polariser

I would have liked to have spent a bit more time exploring Lake Kaniere, but I was being swarmed and eaten alive by the (in)famous west coast sand fly. They like the taste of me unfortunately, and as soon as I set up my tripod I was surrounded by the little biting monsters! I took this as my que to head back to Dorothy Falls where, given the slightly cooler temperatures of the surrounding bush, the sand flies were thankfully (mostly) absent.

This allowed me to take my time, and take two shots of the same subject - one with the GH3 and one with the S5 - for 'comparisons' sake.

I've already discussed the dynamic range capabilities of both cameras, and this can be seen in the 100% crops above. The S5 retains detail in even the brightest areas of the waterfall, whereas the GH3 doesn't quite manage it. On both exposures I was very careful not to 'clip' the highlights, but the GH3 sensor just isn't capable of  retaining the extreme highlight detail. The full frame image is also very slightly 'crisper' than the micro four thirds one - again not surprising given the size and age advantage of the newer S5 full-frame sensor.

And yet, there's not a massive difference between the two - certainly not as much as some would have you believe there should be. I would take the S5's full-frame sensor over the GH3's micro four thirds - of course I would. But if you told me I had to use the 16MP GH3 from now on, it certainly wouldn't hold me back from making amazing images. And as a back-up to my S5, it'll do just fine.

Dorothy Falls Cascade. Lumix S5 with S 20-60mm. f/8 @ 1/2sec, ISO 200

Having just said that, I will admit to preferring to using the S5 over the GH3. For a start, the viewfinder on the GH3 leaves a lot to be desired. It's a little blurry around the edges for us glass-wearers, which makes composition a little tricky. Fortunately, when shooting video, I'll only be using the LCD screen which is perfectly fine to compose from. This was also the case for most of the morning while the GH3 was on a tripod. But take it off the tripod, use the viewfinder to compose and the picture taking experience is diminished somewhat.

I also prefer the weight, heft, and overall handling of the S5. The GH3 isn't bad in this respect, but the S5 is better (IMHO). The GH3 with battery grip weighs about the same as the S5 body. Add a lens to both of them and the weight is similar enough to not be a factor. But the S5 certainly feels better in my hand. That being said, the GH3 is probably the most comfortable micro four thirds camera I've ever used. Far better than the angular and retro inspired Olympus offerings like the OMD EM-5 and EM-1.

Cloud Cover. Panasonic Lumix GH3 with G 12-60mm f3.5-5.6 OIS. f/7.1 @ 1/800th, ISO 200

As someone who has had a lot of experience shooting micro four thirds - especially with Olympus - the Olympus vs Panasonic question is an interesting one. I can see why Olympus embraced their heritage with the retro OM look to their cameras, as much as I can see how it made sense for Panasonic to pursue a more traditional DSLR style to their cameras.

Personally, even though I like the look of the Olympus cameras, I do prefer the Panasonic's DSLR style ergonomics and handling. BUT.... I think that Olympus make the better cameras in terms of functions, engineering and technology. Especially when it comes to the Panasonic's Achilles heal - auto focus. Not that Panasonic's contrast-based autofocus is unusable. For stills photography it's actually very good. But video - well that's another story. Needless to say, I think I'll be using a lot of manual focusing with the GH3. And that's absolutely fine.

Dorothy Falls, Kaniere. Lumix GH3 with G 12-60mm. f/8 @ 1/2sec, ISO 200. + Polariser

Is the 16MP Panasonic GH3 micro four thirds camera a twelve year old obsolete dinosaur that should be dismissed in 2024? No - of course not! In fact, it would be an amazing camera to give to someone who wants to learn photography and grow in their hobby. With great ergonomics, a very capable image sensor, and very good IQ - not to mention excellent video features (if you are happy to focus manually) - the GH3 was Panasonic's flagship camera when it was released in 2012. It was an amazing camera then, and it's a fantastic camera now. Not state-of-the-art, granted. But you're not paying state-of-the-art prices. And yet what you get for your money is above and beyond what you should expect at this price point. Cheap as chips, but oh-so capable. I reckon the GH3 will make a perfect video camera, and an ideal back-up for my S5.

Sunny sky photography - in defence of the 'record' shot.

'You can't always get what you want.'

Sir Mick and his Rolling Stones were right. We can't always get what we want. And this is certainly true in photography. As a landscape photographer, I'd love to have amazing golden light every time I went out to photograph. But that ain't ever going to happen. In fact, it rarely ever happens!

Most times, the golden light doesn't eventuate, even if you're at the right place, at the right time. Quite often, however, we're in the right place - but it's definitely not the right time. Mid afternoon in summer, for example. Do we just put our cameras away because the light isn't right?

Well, yes, that can be an option. Especially if it's a location you can return to easily. But what if it's not? What if it's your once-in-a-lifetime opportunity? Maybe you're traveling and will likely never return? Do you put your camera away because the lighting isn't right? No, of course you don't. You take some photographs anyway. And get what many refer to (somewhat disparagingly) as 'record' shots.

Truman Track, Punakaiki. Lumix S5 with S 20-60mm lens. f8 @ 1/1000th sec, ISO 200

I took the above image of the Truman Track Beach at 1.30pm on a sunny, blue sky day. The time of day when many other tourists and visitors were out-and-about experiencing nature and taking photos. If I were a tourist on that day, just passing through for my one and only time in Punakaiki, would I be happy with this photo of the Truman Track? Of course I would!

For a start, I'm very happy with the composition. I waited for just the right time when the white sea foam had made it halfway up the beach to take the photo. And I nailed it. So composition-wise there's nothing wrong with this image. And yes, I even like the tiny bits of flax sticking up from the right hand corner at the bottom of the photo. I think they help to 'ground' the photo and keep your eye from wandering. A little bit like a 'natural' vignette 😄

I also like the colours in this image. they are vibrant and 'pop'. And yes, that includes the blue sky. What is so wrong with blue skies? I've watched many a photographer online (some who I even respect) talk about how much they hate blue sky days. And many refuse to photograph them.

Does the simple fact that the above photo has a blue sky, and was taken in the middle of the day, immediately reduce it to merely a 'record' shot? No, damn it! I think not....

Truman Track, Punakaiki. Lumix S5 with S 20-60mm lens. f8 @ 1/800th, ISO 200

Here's another - same day, same time, same subject (just down on the beach this time). And I really like this shot. Because of the cloud formation - and the blue sky. Would it be a better photo if I had been there at sunset and captured a pink sky with golden light. Maybe. But then wouldn't that just make it a 'record' shot with nice light? Isn't any photo just that - a record of a particular time and place? Irrespective of the light you captured it in?

Surely what we want in our photos is to capture the feelings we felt when we were there? To somehow recreate the essence of the experience we had, in a single frame (let's not get into video - seriously, let's not). And the above images, taken in the harsh summer afternoon light, do just that for me. They take me straight back to that time and place, and I'm right there again - hearing the pounding of the waves, smelling the ocean and feeling the hot sun beating down on my neck. Mere 'record' shots? Whatever...

Truman Beach Waterfall. Lumix S5 with S 20-60mm. f.8 @ 1/250th, ISO 200

Shooting in the mid-day sun does have its challenges though, given that you are dealing with the harshest light of the day. With the sun large, bright, and almost directly overhead, shadows can be very deep and highlights very blown-out. It's often for this very reason that photographers will tell you to avoid shooting at this time of the day. And it's generally good advice. Although with the digital camera sensors we have nowadays, the extreme ranges of light and shadow (referred to as dynamic range) can often be recovered in post-processing.

Modern cameras like my Panasonic Lumix S5 can capture a staggering dynamic range in a single image - about 11 stops! Compare that to the 5 stop range you used to get with slide film, and you can see why slide film shooters avoided mid-day light like the plague! Whereas with the technology we have available now, there's almost nothing you can't recover in post if you have a well-exposed RAW file to work with. And that's not even taking other processing tricks like digital blending or HDR imaging into account.

With a digital sensor capturing harsh light, it's important to keep as much highlight detail as possible in your original RAW file (and yes, shoot RAW to get the best file to work with). Often this means under-exposing by a stop or more and letting the black shadows go black. You will be amazed at how much detail can be recovered from a densely black shadow, without sacrificing too much in the way of detail or noise. 

Deep, black shadows make sense to us as humans, as our eyes constantly adjust to the bright light and naturally let the shadows go black. So this is what looks  more 'realistic' to us in a final image. If in doubt, just let those shadows go black.

Punakaiki Rock Forms. Lumix S5 with S 20-60mm. f.8 @ 1/200th, ISO 200

Let's finish with a true 'record' shot. A close-up of the strange rock formations found at Punakaiki. Surely this is a true record shot. Or is it? Of all four images in this post, is this the one with the 'best' (softest, contoured, gradual) lighting? Is it purely lighting that elevates a photograph above a simple 'record' shot? Or are photographers simply using the term to de-value shots they've taken that they don't like? I've heard it time and again from the mouths of photographers - 'Yeah, it's ok. Just a record shot.'

Don't misunderstand me, I'm not saying that light doesn't matter. I started out this post by stating that I would love to have golden light every time I shoot. Although upon reflection, I'm not sure that's entirely true. Because I think it's important (and rewarding) to be able to shoot in all kinds of lighting conditions and still come away with images you can be happy with - or even proud of. Blue sky days included.

So please, don't be one of those photographers who only shoots under 'ideal' (whatever that means) lighting conditions. Even in the middle of the day, at the height of summer, there are many amazing photos to be had...

 

Facing photography burn-out. Will 2024 be better?

It's late January, and this is my first post of 2024. Hardly something to brag about. I only wrote 7 posts in 2023 - which makes it my second-worst year (my worst was 2014 when I only wrote 4). That should tell you something about my photography mindset for most of 2023 (and a good deal of 2022 if I'm honest).

It's ironic really. Since 2023 was also the year that I finally, FINALLY, got a brand new camera. The Panasonic Lumix S5. I've wanted a new camera for well over ten years, and spent most of that time with second-hand gear, trying to figure out what I actually wanted in a camera system. And in 2023 I got it. A small (relatively speaking), full-frame 24 MP camera with excellent ergonomics, outstanding optics, and a tonne of features - some of which I may actually use. If, that is, I can be bothered using my camera at all!?

Late Bloomer. Panasonic Lumix S5 with S 20-60mm 3.5/5.6. F8 @ 1/60th, ISO 3200

For someone like me, for whom photography has been more like an addiction than a passion, that last sentence above is quite alarming. My wife has, in fact, asked me if I may actually be depressed? For somebody who has lived and breathed photography for the last 30 years of their life, to be so uninterested in any of it, is certainly rather strange. 

But I'm not - depressed that is. At least I don't think I am? I think what has happened is something akin to burn-out. Saturation point was finally reached a couple of years ago, and I think it's required time-off to work through it. Something similar may have happened, or may end up happening, to you?

Clearly Defined. Lumix S5 with S 20-60mm. F5.6 @ 1/60th, ISO 200

If this does happen to you (photography burn-out or whatever you want to call it), then my advice is to just let it. Don't panic. Don't rage against it. Don't try to 'push' through' regardless. Just let it take its course. However long it takes. Give yourself the time you need work through it. Do something else. Find another hobby. Put your camera away. And eventually, when the time is right, your passion for photography will start to come back. Probably....

Sunny Bight Track, Kaniere. Lumix S5 with S 20-60mm. F6.3 @ 1/80th, ISO 800

I'm no expert, but speaking as someone who has gone (is going?) through this myself - I can only give my personal experience. Initially I did fight it. I tried everything I could to 'ignite' the passion again. Nothing really worked. Not even a trip away down South to Dunedin - although I did enjoy the trip and got a few good images.

In the end, I put my camera away and focused on other hobbies. After all, what's the worst that could happen? Would it be so bad if I never enjoyed photography again? Gulp.....

But then, as it so often does, fate stepped in and began to turn things around. 

We are thinking of selling our house and moving to a more central location in the town where we live. And so we have been talking to real estate agents, have gone to a few open homes, and have had some agents look at our house.

One of those agents remarked on all the photographs up in our house, and so my wife told him I was a photographer. He got very excited at hearing this, because he was looking for a photographer to do some Real Estate work for him. I think you can see where this is going....

Sunny Bight, Kaniere. Lumix S5 with S 20-60mm. F8 @ 1/200th, ISO 100

So Real Estate work has rekindled my passion for photography! Who'd have thunked it!? Certainly not me! But it has. And now I'm watching YouTube photography videos again, taking my camera out and getting familiar with it once more - and even thinking about investing in an ultra wide angle lens!

And the great thing about this resurgence of interest is that it hasn't been forced. I didn't find photography again - photography found me!

It's early days, for sure. And yet the above images were all shot today, because I wanted to go out and take photos! It was the wrong time of the day, with the wrong kind of light, in an area I've been dozens of times before. But it didn't matter. I just went out with my camera to enjoy the experience. And enjoy it I did.

So if you are in a photography funk - or any other kind of funk for that matter - my advice would be - just let it be. Don't push the issue. Drop it. And in time, God willing, your passion will return. Sometimes in the most surprising and unlikely of ways....

Setting up the Lumix S5 for stills photography

I've had a couple of forays out with my new Panasonic Lumix S5 and have gradually been setting it up for my shooting style.

The S5 has 3 custom dials (although you can set up to 13 shooting styles since C3 has slots for 10 different variations), and I have programmed all 3. I don't usually use Custom modes (in fact I don't think I ever have), but since this was a brand-new camera, and the option was there, I thought 'why not'?

Waterways. Lumix S5 with 20-60mm. F/8 @ 1/2sec, ISO 100

There are certain settings I change on all cameras as soon as I get them. First things first - the autofocus confirmation 'beep' gets turned off! Then the file format is set to RAW (I seldom bother with RAW+Jpeg), and the control dial is set to 'A' (aperture priority). I'm shooting a lot in M (manual) now too, but for casual shooting I stick with 'A'.

Then it's a matter of tweaking the rest of the buttons and dials to work how I like them to. And fortunately, with most of todays cameras, there isn't a dial or a button that can't be reprogrammed! I do, however, try to keep it as simple as possible and I don't go changing all the buttons functions.

The Lumix S5 is a great camera to reprogramme, since it allows you to name each custom setting with something that makes sense to you (and not just CS1, CS2 etc). I have called CS1 'General Photography' and CS2 'Landscape Tripod'. Pretty self-explanatory, don't you think!? The CS3 setting (with 10 extra slots for different variations) I've kept for 'fun' at the moment, and have programmed some black and white settings. In this post I'll just concentrate on the CS1 and CS2 settings - the two I will use most often.

Old Mine Site. Lumix S5 with 20-60mm. F/11 @ 1/15thsec, ISO 100

For both CS1 and CS2, I have them set up in Aperture Priority, to start with an aperture of f/8 and an ISO of 100. Because I'm working in A mode, the front dial is set to choose the aperture, the back dial is set to change the exposure compensation, and the real control wheel is set to change ISO. When (and if) I switch to M mode (manual), the exposure compensation rear wheel changes to controlling shutter speed. So with the two top control wheels, and the rear control dial, I have the exposure triangle instantly accessible.

Also, and very importantly, I have 'Constant Preview' set to ON! This is set to OFF by default (don't ask me why), and means that if you're changing the exposure you won't see the effect in real-time in the viewfinder! If you want to see what is happening when you change exposure values, make sure 'Constant Preview' is set to ON.

You will also need to enable the histogram to appear in the viewfinder as well - which is also OFF by default!? The great thing about the histogram in the S5 is that you can place it wherever you choose within the frame (I have it bottom right). Very cool.

The level gauge in the viewfinder is on by default. I find it somewhat annoying so turn it off. This is easy to do by simply hitting the 'back arrow' button on the camera body - which will toggle between the level gauge being on or off when in live view.

For the CS1 'General Photography' setting, I have picture mode on 'Normal'. This gives me a fairly good indication of how the RAW file is going to look. For my CS2 'Landscape Tripod' setting, I have the picture mode set to Landscape. This gives me punchier colours and helps me visualise what my final, processed image might look like.

In CS1 I have single autofocus area (centre) and single shot mode activated. For CS2 I have the self-timer automatically set for 2 seconds, and I have the Image Stabilisation turned OFF (it's turned ON for my CS1 general photography setting). In CS2 Landscape Tripod mode, I also have the 'touch to focus' screen activated (it's turned OFF in CS1).

The Blue Men. Lumix S5 with 20-60mm. F/8 @ 1/80th, ISO 6400

I hope that's not too confusing? Basically in Landscape Tripod mode I have IS OFF (because the camera is on a tripod), 2 second self timer, and touch to focus activated.

As mentioned earlier, you can 'tweak' the camera to your heart's content. But the more you fiddle and change, the more you need to remember what you changed it too! So I try to keep the fiddling to a minimum - just changing the parameters that make sense for what I'm trying to achieve with my images.

Of course none of this relates to video - this is purely a stills-centric setup. As much as the S5 is a film-making beast, I will never use the video. Video is there because we demand it (apparently). I'd be more than happy if it wasn't included, but there you are. That's progress I guess.

There are other settings I could mention, but really they come down to personal preference. You can, for instance, change the direction of the dials as they relate to moving the settings, tell the camera what to do for both card slots, set up auto ISO, control AF magnification, change photo gridlines, focus peaking colours - the list goes on, and is practically endless. 

Which is why I have only changed a few parameters so far, and I live with them for a while. Then, when I'm out in the field actually taking photos and I think - "I wish I could change/add this...", that's when I know I need to dig back into the menu and add this functionality to my custom settings.

So the custom mode settings are used somewhat fluidly, and can be changed or added to over time. But I think I'm fairly set now with my C1 'General Shooting' and C2 'Landscape Tripod' custom modes.

If you haven't set up the custom modes on your camera before then give them a try. They speed-up the shooting process considerably. Just make sure you can remember what you re-programmed all those buttons and dials to do!