Jul 172017

A camera is a computer, right? Caputure timestamps are important, right? So, please, can anybody tell me why cameras can’t switch between normal and daylight saving time automatically? Yes, there is the matter of location, I know, but if we have point’n’shoots with GPS receiver modules, why can’t we have them on expensive system cameras like the PEN-F?

Energy drain? Not really. You could either track location permanently (and have it recorded in your pictures, accepting energy drain) or you could check at least once every 15 minutes as long as the camera is on.

Of course this image is one hour off, and that quite a few days after we changed from DST to standard time. Oh my!

Jul 102017

This image is a good example for the “tone mapping” technique that I described a few days ago. The image from the camera also had a well distributed histogram across the full range of values, because cameras tend to do that, but while the sky was overly bright, the trees were dull and brownish at best. No gold was to be seen, and gold was, what I had in my memories.

Jul 072017

Looks like an infrared image? It certainly does to me, at least in terms of tonality.

Basically that’s what happens when you pull back the highlights (-100 in Lightroom), raise the shadows (+70), pull up the whites until you get blown highlights (frequently around +60), compensate for too much brightness by dropping exposure (often by up to 1EV), adjusting the blacks for a full histogram, and finally fiddling with all that plus vibrancy, saturation, clarity and contrast, until things look right.

This has been my usual routine for more than a year. I do it with all my images. It’s contrary to the orthodox view, but it produces nicely saturated, richly contrasted images.

What I technically do is, I stretch the highlights. It’s kind of a tone mapping. In the end, although these adjustments look violent, I often find myself at a result that’s not very far from what the camera did. It’s just more controlled, more saturated, but in quite a pleasant way. Sometimes you almost don’t see it at all, sometimes, like in this case with that much yellow, you positively do. It can look unnatural (like all sorts of tone mapping), but I think, even if it slightly does so here, it does not look wrong at all. Ymmv.

Jul 062017

How much detail do I need? The PEN-F has 20 megapixels, and with a sharp lens, one like this 75/1.8, I can actually get at the limits of this sensor. Then I crop to a square, which drops me down to 15 megapixels.

Would it be enough to print the images? Well, I’ve recently used a printing service to make adhesive prints for a few white doors here in Carinthia. They were 70×90 in cm, that is 28×36 in inches. Big enough for a door, decently sized for a wall. Most images used were originally taken with the Nkon D200 (10 megapixels), one with the Panasonic LX5 (10 megapixels) and one with the Nikon D300 (12 megapixels).

I’d say 20 is enough for my use. And even if I’d use them to make billboards, honestly, how close do you get to a billboard?

Of course there are uses for higher resolution cameras, that’s OK, and of course when Olympus makes the step to 24, that’s the most likely next step, I will likely upgrade and I will surely appreciate the increase in resolution. Don’t get me wrong, it will be welcome. It just won’t be needed.

Why I say this? Well, it’s this image and its abundance of detail 🙂