Australia is not for the faint hearted. I always thought that moving to southern Tasmania from Western Australia would reduce the number of creepy crawlies that we’d find in our house. But no, since we’ve been here we’ve seen scorpions, snakes and spiders galore.
But since The Lord of the Rings, the Hobbit and the Harry Potter films I’ve become decidedly uncomfortable around spiders, especially the Huntsman spider shown above. They are on the largish side (the size of the palm of my hand) and it is the way they move that tends to puts the willies up me.
Now the little jumping spiders are admittedly not as bad as the huntsman. For one thing they are a lot smaller, less than 1cm long, and while hairy and their tendency to stare right at you can be off putting, you can in the right frame of mind think of them as cute. The fact that they don’t tend to come into the house also helps.
The Enamelled Back Spider is is almost jewel like in appearance and although they tend to build webs only 1metre from our front door they know their place and stay outside.
My partner does not like spiders at all so I am often dipatched with a rolled up newspaper or slipper to “deal” with them. As I protest and squirm I am often challenged with the phrase “What are you man or mouse?”. Well all I can say is “Pass the cheese!”.
I’m going to preface this entry with the statement that most post processing is a matter of personal taste and that there are a hundred and one different ways of editing an image in Photoshop to get the same result. If this doesn’t appeal to you, or I do things differently to you it doesn’t mean I’m right and you’re wrong, nor does it mean you’re right and I’m wrong.
I have posted this because I got a lot enquiries about how I make my images and whether the colours captured are real or not. So the image below is a straight jpg conversion of the RAW file that came off my memory card. All I’ve done is reduce the size and convert to sRGB. The original exposure was made on an Olympus Pen EP-5 with OLYMPUS M.12-50mm F3.5-6.3 lens. A Cokin 2 stop soft graduated neutral density filter was used to hold back the sky. Exposure: 3.2 s at f/11.0 ISO 200 in manual exposure mode.
The video below shows how I work on the file in Adobe Lightroom 5.7 , Adobe Photoshop CS5.04, Alien Skin Exposure 3, Nik Soft’s Dfine 2 and Color Efex Pro 4. I use these products because I like them and have paid for them with my own money.
The finished image.
Clicking on the image will take you through to my gallery. I hope that you found this helpful.
There’s no doubt about it we get a lot of weather in Tasmania – it is said that you can experience all four seasons in one day, and that if you don’t like the weather then just wait ten minutes and it will completely different. Thankfully after what seems a very long and cold winter, spring is starting to show. Flowers are starting to bloom, the days are warmer and people are out and about looking happier. The space of time between the first photo and the last is just five weeks and I have gone from wearing thermals, fleece and Gore-tex to shirt sleeves.Here’s looking forward to summer.
Perhaps a bit of hyperbole but depending on you your usage the Olympus Pen series of cameras could suit you better than a dSLR.I mentioned in my blog post Olym-Puss that I had got an EP5 and I thought that I would write about my experiences with it. This is not a review, it’s a little late as the camera is probably about to be discontinued as it is being heavily discounted. So if you want a cheap second body for your m4/3 system or a newbie considering dabbling your toes into the m4/3 pool then it would be a good choice.
A little history. Regular readers will know that I’ve had a long-term relationship with Olympus cameras since I bought my first in 1982. I ceased to use them long after the company dropped the OM range of film cameras and I could no longer get them repaired as there were no longer any available parts. I moved over to Canon, not because I thought that they were any better than other brands but because my father in law very generously gave me a Canon EOS3 film camera and two zooms that were surplus to his requirements and I stayed with the brand well into the digital age. While I liked the results my 5d gave me, the user experience was somewhat bland and dissatisfying, so when Olympus announced the micro four thirds concept with Panasonic in 2009 and unveiled its first camera the Pen EP1 I was intrigued. I found a local dealer and had a long look at one. The camera felt lovely in the hand but there were two major problems that stopped me buying one:
there was no viewfinder just a rear LCD screen and that was for me at the time a major sticking point
I was financially embarrassed at the time and so could not afford it.
In 2010 Olympus released the EP2 which had provision for an optional LCD view finder. So my major objection to owning one had been overcome. In 2011 I was kindly given an EP2 kit consisting of the body, the LCD viewfinder, a 14-42 kit lens and the 17mm f2.8 pancake lens. I was smitten, it quickly became my favourite camera. The 12Mp sensor was not the greatest, but the experience of using it made want to wring the last drop of image quality out of it. I still have it and use it.
In 2012 Olympus announced the OMD EM5 a camera that harked back to my beloved OM4 film cameras. The major features of that camera were the new 16Mp sensor and the 5 axis in body image stabilisation (IBIS). This camera ignited the imagination of the photographic community and it was a deserved success for the company. A year later the Pen EP-5 hit the market and it was essentially an EM5 without the built in viewfinder. Unfortunately the camera was poorly received, and after the website DPReview gave it savage write-up exposing the problem of shutter shock sales tanked and rumours have since circulated that the EP5 would be the last premium Pen camera. So given that why would I recommend one? Well Olympus was stung into action and issued a firmware release for the camera which enabled an anti shock setting, which is a kind of ersatz electronic first shutter and this helped enormously, in fact it inclusion makes it an entirely different camera. This and the same 16 MP sensor as the Olympus OM-D E-M5, an improved 5-axis in-body image stabilization, 9 frames per second continuous shooting, and a tilting rear touch screen, a HDR bracketing mode, a minimum shutter speed of 1/8000 sec, a maximum shutter speed of 60 seconds, focus peaking to assist manual focus, and built in Wi-Fi for connection to smart phone or tablet. Put this into a beautifully crafted body that feels absolutely lovely in the hand (confession time – I know its wrong but I could just sit and fondle the EP5 for hours on end) with a bloody good sensor and you have a delicious photo taking experience.
Talking of the sensor, the 16Mp sensor used by Olympus has as many conspiracies about its origins as the birth of President Obama does. Some believe it made by Panasonic and others by Sony. I don’t give two hoots as to who made it, all I know is that it is packed full of goodness. For a small sensor the dynamic range is impressive and you can pull up shadows and recover highlights nicely. There is noise at the base level ISO of 200, but it doesn’t look too digital, some would say it has an organic quality akin to that of film. I wish this aspect were better as I do a lot of copy work of paintings and illustrations and feel that the ability to render fine detail is a little compromised. The Olympus True Picture imaging processor gives this beautiful colours that Olympus is famous for and it would be entirely possible to just shoot jpg with it and get excellent results straight out of the camera. When I got the camera I thought that primarily I’d use it as a street and travel camera with a small prime like the afore-mentioned 17mm f2.8 or the wonderful 25mm f1.8. I have changed my mind on that and use it for landscape and macro work. Noise is well controlled up to 3200 and the sensor handles long exposures very well.
The AF system is largely good. Single point AF is faster than a whippet on ICE and being a contrast detect system reading straight off of the sensor there are no front or back focus issues which makes using fast glass wide open incredibly accurate. It’s so good that I’ve not bothered using face detect or eye detect AF modes. The continuous focusing with subject tracking is absolutely pants, a sports beast this camera ain’t, but having said that I have photographed the local surfers using ordinary continuous AF and set to the low frame rate of 4.5 fps it does a very good job using the cheap but sweet 40-150mm lens. The touch screen enables you to select an AF point and trigger the shutter making tripod work for landscapes, and architecture a sublime experience. While on the subject of tripods it’s a shame the tripod bush is not located on the lens axis, no big deal if you don’t shoot panoramas or stitch, but it is an inconvenience if like me you do.
IBIS is bloody fantastic. In fact it is so good there must be magic involved. This makes handheld macro and telephoto work a delight. Shooting in low light with static subjects is a breeze. With moving subjects bump the ISO and deal with the grain once you go over 3200.
Video performance leaves a lot to be desired. Lets be honest and up front here. Olympus suck big time when it comes to the implementation of video and the EP5 is not an exception to this. The codec is nasty and not good for any subject that has a lot of movement or fine detail and it is NTSC centric only offering 30fps. There is 1080, 720 and VGA, the best quality 1080 is 24MBps which is not really going to cut the mustard if video is your thing. The video clip below was shot with the EP5 and clearly shows its short comings. I’m seriously hoping that since the release of the EM5 ii and with Australian cinematographer John Brawley on board as a tester and advisor that the video side of things will improve in later models.
So to sum up. The EP5 is a very fine camera. Now it is being discounted at the $400 AUD mark it is a steal. If you already have a m4/3 camera system snap one up as a second body. If you are m4/3 curious then get one and explore the world of mirrorless photography. I bought mine as a back up to my EM10, the EM10 has now been relegated to back up duties, or occasions where I need a built in viewfinder. This is a camera which on release should have got a lot of love. Unfortunately Olympus shot themselves in the foot by releasing it with such an obvious shutter shock problem. I think had they sorted the camera properly prior to release it would have sold like hot cakes. Now the problem is fixed and it is at bargain prices I think it should go on to become a cult classic. I think about buying another Canon dSLR but honestly now I’ve gone mirrorless with all that entails I can’t go back.
There was no post last weekend as I was wagging web duties and out on the Tasman Peninsular. The peninsular is the sticky out bit on the bottom of the eastern coast of Tasmania. It is an area of outstanding beauty, it has a wild and dramatic coastline, incredible wildlife and an emotionally charged colonial history. It is a photographers paradise with seemingly unlimited possibilities. If you are visiting this part of the world please don’t do the usual tourist itinerary – visit Port Arthur, the Tasmanian Devil Park at Taranna and then head back that afternoon to Hobart. Certainly visit the afore-mentioned attractions, and also treat yourself to the Pennicott Tasman Island Cruise (which is just brilliant), but take a few days to explore the region and you will be rewarded with a memorable experience.
As always clicking on an image will take to my online gallery.
After my post on familiarity and Chichester Cathedral I got a few comments about the use of Cokin Filters and after answering them I thought it would be fun to dig them out again and shoot some landscapes. There’s no HDR or tone mapping each photo is the result of a single exposure. Processed in Adobe Lightroom 5 and Alien Skin Exposure 3 to simulate Fuji Velvia 50.
A bloke I know has just got into photography and has bought an Olympus OMD EM1 with the 12-50 kit lens. By his own admission he knows very little about photography and hasn’t settled into any specific genre. He now wants some more lenses, specifically the so-called Olympus Holy Trinity of f2.8 zooms – the 7-14mm f/2.8, the 12-40mm F2.8 and the 40-150mm F2.8. Nice lenses and in Australia you expect to pay around $4000 for them, and that is the problem. He is pretty convinced that he “needs” these lenses to be a good photographer and has read countless gear oriented forums about them. The major hurdles are that he can’t afford them, and he doesn’t know what to do with them. All he knows is that he wants to post the shots on a photo sharing web site and maybe make the occasional 10×15 cm print. Pushed hard he said that if he were to only have the one it would be the 40-150, but the reality is that he can’t afford even that on its own. I suggested he look at the 40-150mm F4.0-5.6 R which can be picked up for around $200 AUD, sometimes less if a white box special. The look on his face gave the impression that he thought I was stark raving bonkers. He then went onto to site all the usual internet complaints about the lens – its cheap and nasty, slow maximum aperture, unpleasant bokeh, plastic body and lens mount, soft at the longest end. My answer was that the f2.8 model costs around 8 times more than the cheaper one and I doubted whether he would see 8 times difference in terms of optical quality.
I don’t own or have access to the 40-150 f2.8, but I do own the 40-150mm f/4.0-5.6 R and I then decided to test it against a comparable lens from another manufacturer that costs nearly $3000 AUD. The pictures were processed exactly the same way in Lightroom and because the non m4/3 camera had a different aspect ration its image was cropped and sized to same as that from my Pen EP-5. I’m not saying which is which, that’s for you to decide. All I will say is that the 40-150mm f/4.0-5.6 R comes out of the test quite well.
All this reminds me of a conversation I had many years ago with a work colleague Steve. We were chewing the fat one boring night shift and he let on that he had been a full on Hi Fi tragic and had spent an absolute fortune on buying the ultimate set up. I nearly choked when he told how much he spent on speaker cables. I thought that photographers were gear obsessives. Anyway after a while of swapping components in and out and reading lots of technical papers he had the realisation that he was forking out literally thousands of dollars to gain frequencies that only dogs and bats could hear. After that epiphany he settled on the equipment that he had and used it for what it was designed for – listening to music. It’s the same here, you could spend thousands on a lens and most people would not be able to tell the difference. Therein lies the problem for my acquaintance. He is new to the hobby and has been led to believe that to be any good he has to go out and spend a bucket load of whonga on buying the best lenses. He doesn’t have the cash and so he will probably give photography away as he will feel he can’t afford it. My advice was to buy the cheaper alternative and really use it. Push the lens as hard as you can in a variety of situations and then see is you like the focal range, and if that lens prevents you from getting any pictures. If after a year or so you feel that the lens is a must have and that you absolutely need the extra performance and can use it then buy the expensive version. Just to finish I’ll post a picture taken with a camera that internet forums love to hate – the Canon EOS 550d. Its plastic, has a slow frame rate, a poor sensor with little dynamic range, dog slow auto focus, and a minuscule buffer.
The Olympus Pen EP-5 never received a lot of love on the inter webs forums. Essentially an OMD EM-5 without the viewfinder it was plagued on release by severe shutter shock which caused photos exposed within a shutter speed range of 1/80 – 1/200th of a second were subject to blur induced by the shutter closing. A great shame as that sealed its fate and the camera didn’t sell very well. Olympus to their credit did do a firmware release that solved the problem and I’ve been using one now for a couple of months and have found it to be an extremely capable camera. What makes the EP-5 currently a very attractive camera is that here in Australia it is now being sold for $400 – 450 depending on the retailer and the kit being offered. Will it take over as my main m4/3s camera? Maybe. For video yes as it allows me to plug an external microphone into it which my EM-10 doesn’t. For stills the EM-10 wins my affections at the present because of the built in EVF and the live composite and time-lapse features. As I use it more I’ll post some of my findings.
Hobart has a fascinating colonial history which on many levels can be seen from the the buildings of the era, but they don’t really tell what life was like during that period. Wouldn’t it be great if you could go back through time and see Hobart and how the people lived? Well you can – sort of. No this doesn’t involve travelling back through time à la Doctor Who, but rather a short walk of just over 5.5Km (or 3.4 miles) return and a morning of your time.
The starting point for our time travelling adventure is the Collins Way Car Park situated on the corner of Molle and Collins Streets. Walk through the car park to the start of the Hobart Linear Park and then follow the sign for the Hobart Rivulet Walking Track. The Hobart Rivulet was crucial to the establishment of Hobart as a city. Back in 1803 the Van Dieman’s Land colony was first established upon the banks of the Derwent’s eastern shore at what is now Risdon Cove. Its purpose was to a be a place where Nineteenth Century Britain could send its convict population and a defence against possible French colonial intentions in the region. Fresh water was a problem and after approximately twelve months the settlement was moved to its present location because of what Lieutenant-Governor David Collins described as ‘a run of clear, fresh water’ flowing down off of Mount Wellington (kunanyi, Unghbanyahletta or Poorawetter in the local aboriginal languages) into the River Derwent. The settlement, initially known as Hobart Town or Hobarton, was named after Lord Hobart, the then Colonial Secretary. From 1804 to the 1860’s the rivulet was Hobart’s primary source of drinking water, drain and sewer. Industry quickly established itself upon its bank using the force of the descending water to power the factories. In 1816 Robert Nash, was a miller who was convicted of breaking and entering (or B and E in the parlance) and had his death sentence commuted in favour of transportation for life to Norfolk Island and was then lucky enough to earn a full pardon and be moved to Hobart, established a flour mill near the Gore Street Weir. The mill had a short working life due to the high costs of maintenance and was closed in 1818 to be replaced by a windmill.
After walking just over 500m you can see a rather nice specimen of colonial Georgian architecture on you right hand side. Milton House was originally built on a one acre allotment which was originally granted to George Wilson soon after his arrival in Hobart Town 1831. George Wilson was born in England in 1801 and he was, by trade, a tobacconist and snuff maker in partnership with H.B.Tonkin. Wilson was on his way to Sydney in 1831 with his wife and two daughters, but during his stopover in Hobart he was so taken with the colony that he decided to settle in Hobart. A few years later his partner arrived from England and they set up the first tobacco and snuff shop in Tasmania. Owning the colony’s first baccy shop was obviously a nice little earner for George.
At the 1Km point you get the first uninterrupted views of the summit of Mount Wellington if the weather is cooperating. By 1820 there were four or five tanneries operating along this stretch of the Rivulet. Leather was an essential commodity in the colony and was used not only for saddles, horse tack, belts, and shoes it also was used to replace metal in the manufacture of buckets and hinges amongst other things. Leather tanning is a water intensive process and after it was finished with it was returned to the Rivulet along with the tanning agents it had dissolved. Now there is only one tannery in existence which supplies leather to Blundstone the Tasmanian boot maker.
Walk past the C3 Church complex, or if you’re in need have a drink at the Rivulet Cafe (open Monday to Fridays between 8:30 am and 4:30 pm) and on to Degraves Street. Here on your right is the Cascades Female Factory. Back in the penal colony days the male prisoners were segregated from the female ones and initially the women were held at the Macquarie Street Gaol. This was only seen as a temporary arrangement and the facility soon became over crowded. Between 1788 and 1853 around 12,000 women were shipped to Tasmania, mostly for what we would now consider petty crime and anti-social behaviour. But in 1823 it was a big problem and the Cascades Female Factory was set up as a workhouse and it remained in operation until 1856. There is not much left of the original buildings, just the matron’s cottage really, but it is worth going in and having a look. Take the tour and learn about what happened to these poor women and the depravations they lived with while there.
On leaving the Female Factory keep walking up Degraves Street until you get to Cascade Gardens and the Cascades Brewery. The brewery was opened in 1832 as an adjunct to the Macintosh and Degraves Sawmills. The early history of the venture would probably make the basis of a good TV drama. Hugh Macintosh was a retired East India Company officer who migrated to Australia in 1824 with his brother-in-law Peter Degraves. Degraves was a bit of a rotter and scoundrel being a thief and an undischarged bankrupt. The law catches up with Degraves and from 1826 to 1832 he ends up in debtors prison. Macintosh does the right thing by him and dissolves the partnership and pays out the debts and then moves to New Norfolk to farm. Degraves on his release takes over running the brewery. All fairly amicable and straight forward at this stage. Unfortunately Hugh Macintosh dies in 1834 and his share in the business passes to his son William who was in Madras, India. The dastardly Degraves offers to buy William’s inheritance off of him and run the booming business himself. Degraves reneges on the deal and poor William dies a pauper in 1840. Degraves rewrote the history of the firm saying that he was the sole founder of the company and that remained that until 2011 when historian Greg Jefferys discovered the truth. The brewery is now owned by Fosters and produces a range of beers, homebrew, apple cider and non-alcoholic beverages including apple juice, blackcurrant syrup and carbonated beverages. The brewery has a visitor’s centre and runs two tours: the brewery tour which takes you round the brewery and have a tasting; the heritage tour takes you round the gardens and museum and it is more family orientated.