tag:blogger.com,1999:blog-37694523368495575322024-03-14T01:22:08.519-07:00Tom Grill - stock shooterdiscussions concerning the production of commercial stock photography.Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.comBlogger20125tag:blogger.com,1999:blog-3769452336849557532.post-19070273392693434982012-03-06T05:49:00.001-08:002012-03-07T18:38:33.794-08:00<b>The difference is in the details: </b><br />
<br />
Since this
blog is primarily about shooting stock photography, I thought it would
be interesting to include these two very simple images from my most
recent stock shoot because they illustrate the really subtle, but
extremely important difference between a successful and unsuccessful
stock photo.<br />
<br />
Many of the best selling stock photo
lifestyle situations are oftem very humble events, such as the one
depicted here. It was shot with models in a kitchen scene created in my
studio. Infusing everyday domestic scenes such as this with a feeling
of spontaneity, and action is not always easy. The concept of family
values in this simple domestic scene centers on the relationship of a
mother and daughter working together. The goal is to tell a simple
story without going over board -- one that still maintains the
believability of the scene.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-NNiWT4jRBPM/T1YVkqEzNtI/AAAAAAAAB5E/2W5ss1y3b2I/s1600/ti0154729.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="268" src="http://4.bp.blogspot.com/-NNiWT4jRBPM/T1YVkqEzNtI/AAAAAAAAB5E/2W5ss1y3b2I/s400/ti0154729.jpg" width="400" /></a></td></tr>
<tr align="left"><td class="tr-caption">On the surface these two photos look very similar. There are, however, a
few differences between them that will make a huge difference later in
terms of their marketability. This is a simple kitchen scene showing a
casual, everyday relationship between the mother and daughter. Above
the models are smiling at each other, but their basic body language is
static and they look posed. The mother is standing upright and holding
the utensil but not performing any action with it. The daughter's
position of holding the colander is similarly static and unnatural. The
scene looks uncomfortable, false, and posed -- which, of course, it is.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-2eES-gbQ1Oc/T1YVkUnYGcI/AAAAAAAAB5A/hVUohBAs1NE/s1600/ti0154728.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="277" src="http://3.bp.blogspot.com/-2eES-gbQ1Oc/T1YVkUnYGcI/AAAAAAAAB5A/hVUohBAs1NE/s400/ti0154728.jpg" width="400" /></a></td></tr>
<tr align="left"><td class="tr-caption">In this variation I made a few small changes. I asked the model playing
the mother to hold the knife as if she was about to make a cut in the
potato and then to shoot a glance to her daughter. This shifted her
body into a more flattering curved position and gave a little dynamism
to her pose. I asked the daughter to repeat a motion of picking up a
potato from the counter and putting it in the colander. At the same
time, I asked them both to maintain eye contact and gave them something
to say that parted their mouths as if they were really having a natural
and pleasant conversation, and not just smiling at each other. Simple
and subtle they may be, but these differences translate into a stock
shot with a more spontaneous and natural feel to it,</td></tr>
</tbody></table>
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<b>Follow up:</b><br />
<br />
One of the comments to this blog entry thought that the first shot made a better stock image than the one I had chosen. Truth is, sometimes when editing a shoot the variations are very similar. That, in fact, is one of the points I was trying to make. The image you choose can make all the difference between the financial success or failure of a shooting.<br />
<br />
Because I had some doubts myself, I decided to submit the eight photos from this situation to someone who could provide a second opinion. I asked a person who has been a creative director in stock photography with over twenty years of experience and who has worked for the top traditional stock agencies. Here are the eight photos and the editor's comment:<br />
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<a href="http://3.bp.blogspot.com/-SkydkaFadLA/T1gbnDS2bcI/AAAAAAAAB54/jLJYnBbXUoQ/s1600/12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="http://3.bp.blogspot.com/-SkydkaFadLA/T1gbnDS2bcI/AAAAAAAAB54/jLJYnBbXUoQ/s400/12.jpg" width="400" /></a></div>
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<a href="http://2.bp.blogspot.com/-6IcACqo5UjI/T1gDMujqKQI/AAAAAAAAB5g/PXY4O_Iy5fs/s1600/34.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="131" src="http://2.bp.blogspot.com/-6IcACqo5UjI/T1gDMujqKQI/AAAAAAAAB5g/PXY4O_Iy5fs/s400/34.jpg" width="400" /></a></div>
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<a href="http://3.bp.blogspot.com/-B3UUY_axD38/T1gDM6RMpzI/AAAAAAAAB5o/VpLuyw4XTJU/s1600/56.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="131" src="http://3.bp.blogspot.com/-B3UUY_axD38/T1gDM6RMpzI/AAAAAAAAB5o/VpLuyw4XTJU/s400/56.jpg" width="400" /></a></div>
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<a href="http://3.bp.blogspot.com/-p07R8Zw_Yto/T1gDNMBJDNI/AAAAAAAAB5w/ZpOsdJ98UTY/s1600/78.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="131" src="http://3.bp.blogspot.com/-p07R8Zw_Yto/T1gDNMBJDNI/AAAAAAAAB5w/ZpOsdJ98UTY/s400/78.jpg" width="400" /></a></div>
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<i>"I would pick 8. The eye contact and connection between the
models seems genuine and the shot is about a kid helping and the body language
and position of the kids hand on potato looks like a convincing moment" </i></div>
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Number 8 is the image I had selected so I feel good about the fact we both came to the same conclusion for the exact same reason.. But if you look at the images I submitted you will realize that they are extremely close. The point I am trying to make here is that the difference between success and failure in a lifestyle stock image can be very subtle. </div>
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Creating a successful lifestyle photo is a lot like making a movie in microcosm. The photographer must assume the role as script writer, director, casting director, and, less I forget, photographer too.</div>
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<br />Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com4tag:blogger.com,1999:blog-3769452336849557532.post-51147128131221173942010-11-21T09:12:00.000-08:002010-11-21T16:02:28.552-08:00The Daily Stock Shot ProjectI started a second stock photography blog called, "<b style="color: #990000;">The Daily Stock Shot Project</b>". In it I will be taking one stock photo a day for a year and posting them to the blog. The idea is to produce images that are out of my main-stream work -- grab shots mostly, shots that I would not have taken otherwise. I have limited myself to a low-budget or no-budget to keep the effort simple and within the reach of anyone with nothing more to spend than a good conceptual imagination.<br />
<br />
Here to some recent additions. For more, visit the blog at: <a href="http://dailystockshot.blogspot.com/">http://dailystockshot.blogspot.com/</a><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/TOlSc9f-HfI/AAAAAAAAARM/9rMnvLpODP0/s1600/ti0144686+stock+photo+cloud+computing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/_HOS2obwqDyc/TOlSc9f-HfI/AAAAAAAAARM/9rMnvLpODP0/s400/ti0144686+stock+photo+cloud+computing.jpg" width="400" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/TOlSoyz6ZjI/AAAAAAAAARQ/ihM9B1kpk3g/s1600/ti0144669.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="http://2.bp.blogspot.com/_HOS2obwqDyc/TOlSoyz6ZjI/AAAAAAAAARQ/ihM9B1kpk3g/s400/ti0144669.jpg" width="400" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/TOlS1zuKmUI/AAAAAAAAARU/2PBOmPEd5Y8/s1600/ti0144681.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="http://2.bp.blogspot.com/_HOS2obwqDyc/TOlS1zuKmUI/AAAAAAAAARU/2PBOmPEd5Y8/s400/ti0144681.jpg" width="400" /> </a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/TOlTpXQkE7I/AAAAAAAAARY/o6dpoh2VwpY/s1600/ti0144671.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://2.bp.blogspot.com/_HOS2obwqDyc/TOlTpXQkE7I/AAAAAAAAARY/o6dpoh2VwpY/s400/ti0144671.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com3tag:blogger.com,1999:blog-3769452336849557532.post-32250972521372347362010-09-18T07:56:00.000-07:002010-09-18T08:29:29.647-07:00Review of the Nikon 28-300mm zoom lens -- A case of wishful thinking<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_HOS2obwqDyc/TJS9omDgJGI/AAAAAAAAAMw/oOWJ_Ya9nEw/s1600/28-300lens.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="281" src="http://1.bp.blogspot.com/_HOS2obwqDyc/TJS9omDgJGI/AAAAAAAAAMw/oOWJ_Ya9nEw/s400/28-300lens.jpg" width="400" /></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Like many FX Nikon users, I eagerly awaited the arrival of the new <b>AF-S Nikkor 28-300mm f/3.5-5.6G ED VR Zoom lens</b>. What was there not to like? The specs were great -- a full range zoom, moderately fast lens opening, small size (only 4.5" long and 28.2oz), an ability to focus as close as 18" over the entire zoom range, VRII motion control, and some ED and aspherical lens elements. At $1050 this looked to be an ideal lens for those times when you wanted to lighten your load and carry only one body, like maybe the D700, and one lens. The higher price even encouraged me in my thinking. I figured that Nikon would only put out a high quality lens in the over $1k price range. When I unpacked the lens, its heft and feel reenforced my positive anticipation. So I mounted it on a D700 and went about my standard tests for lens quality -- and that is when my bubble burst.</div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/TJTBre1qiXI/AAAAAAAAAM4/_f41acqQCDI/s1600/28mm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://2.bp.blogspot.com/_HOS2obwqDyc/TJTBre1qiXI/AAAAAAAAAM4/_f41acqQCDI/s400/28mm.jpg" width="400" /></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: center;"> <span style="color: #666666; font-size: x-small;">Note how the bricks bow outward at the center of the edges but<br />
then come back in and out again towards the corners.<br />
This type of distortion is very difficult to correct.</span></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/TJTB0TjzVjI/AAAAAAAAANA/miS30R6cIJY/s1600/105mm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TJTB0TjzVjI/AAAAAAAAANA/miS30R6cIJY/s400/105mm.jpg" width="400" /></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/TJTCDiBd91I/AAAAAAAAANI/RJuyZ2of_Rs/s1600/300mm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://2.bp.blogspot.com/_HOS2obwqDyc/TJTCDiBd91I/AAAAAAAAANI/RJuyZ2of_Rs/s400/300mm.jpg" width="400" /></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">First thing I did was run the lens through my standard <a href="http://www.tomgrill.com/brickwall/">brick wall test</a>. You can see some of the results in the images above. Rectilinear distortion is very apparent at the extreme focal lengths. If it were only pincushion and barrel distortion it would not be so bad, as both are easily corrected in post-processing, but at 28mm the images showed high pincushion distortion in the middle of the frame edges plus barrel distortion as the lines approached the corners. This type of distortion is almost impossible to correct fully. Vignetting was significant at the shorter focal lengths, but this is easily fixed in post-processing. Substantial chromatic distortion came into play at all focal lengths. The corners are noticeably soft at all focal lengths. To top it off, the images had an overall soft quality, and never even approached the crisp sharpness of the professional Nikkor zooms like the 24-70mm, and 70-200mm.</div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/TJTCtbJ_IYI/AAAAAAAAANQ/UuR0inDSZFE/s1600/_TG72500sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TJTCtbJ_IYI/AAAAAAAAANQ/UuR0inDSZFE/s400/_TG72500sm.jpg" width="266" /></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: center;"> <span style="font-size: x-small;"><span style="color: #666666;">34mm length at f/8 1/1000 sec, ISO 400</span></span> <a href="http://www.tomgrill.com/34mm.jpg"><span style="font-size: x-small;"><span style="color: #666666;">Click here to see full res image</span></span></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TJTEQBIlW1I/AAAAAAAAANY/oKFbJCHLlXw/s1600/_TG72505sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/_HOS2obwqDyc/TJTEQBIlW1I/AAAAAAAAANY/oKFbJCHLlXw/s400/_TG72505sm.jpg" width="266" /></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: center;"> <span style="font-size: x-small;"><span style="color: #666666;">150mm f/11 1/400 sec, ISO 400 <a href="http://www.tomgrill.com/150mm.jpg">Click here to see full res image</a><br />
An advantage to this focal length zoom is that you can quickly <br />
switch from close to distant views of the same subject. </span></span></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The good news is that some of the distortion can be corrected in post-processing. Photoshop does not yet have a plug-in for this lens, but I was able to cancel the chromatic distortion, eliminate the vignetting, and correct the rectilinear distortion in all except the most extreme wide angle focal lengths. Unfortunately, softness is not something that is correctable so the images maintained their overall mushy quality. Even stopping down to f/8 didn't significantly improve the softness. If you limit the lens to a zoom range of 35-200mm the results are better.</div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_HOS2obwqDyc/TJTGyi400RI/AAAAAAAAANg/13XVRMnnXDI/s1600/firetrucksm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="http://1.bp.blogspot.com/_HOS2obwqDyc/TJTGyi400RI/AAAAAAAAANg/13XVRMnnXDI/s400/firetrucksm.jpg" width="400" /></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: center;"> <span style="color: #666666; font-size: x-small;">82mm f/5.6 1/160 sec, ISO 800 <a href="http://www.tomgrill.com/firetruck.jpg">Click here to see high res image</a></span></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I debated whether I would keep this lens despite its aberrations -- limiting my use to those circumstances where I would really only carry a camera if it were this small. I figured that having even a mediocre system was better than having no system with me. Ultimately, I realized I would not opt for this choice if there was even a slight chance of obtaining a usable professional image by carrying the camera around. So that limited my use of this lens to personal shooting of the "home snapshot" variety. As a result of my tests, I would not use this lens for serious stock photography, where images need to be 50mb in size and distortion-free.</div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TJTHfQSYaJI/AAAAAAAAANo/9egebQk1Pk8/s1600/empiresm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/_HOS2obwqDyc/TJTHfQSYaJI/AAAAAAAAANo/9egebQk1Pk8/s400/empiresm.jpg" width="266" /></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: center;"> <span style="color: #666666; font-size: x-small;">250mm f/8 1/1250 sec, ISO 400 <a href="http://www.tomgrill.com/empire.jpg">Click here to see high res image</a><br />
Note how the building is not sharp and softness increases towards the frame edge. </span></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Bokeh was not very pleasant, but I won't hold that against a lens with a maximum opening of f/3.5-5.6. If you plan on using this lens with a pop-up flash, remove the lens hood as it will cast a shadow at even the shortest focal length. </div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_HOS2obwqDyc/TJTJy3LjQQI/AAAAAAAAANw/JGbHMt3gVfM/s1600/_TG72352sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="http://1.bp.blogspot.com/_HOS2obwqDyc/TJTJy3LjQQI/AAAAAAAAANw/JGbHMt3gVfM/s400/_TG72352sm.jpg" width="400" /></a></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: center;"> <span style="font-size: x-small;"><span style="color: #666666;">116mm f/8 1/800sec, ISO 400 The lens will focus down to 18" at all focal lengths.</span></span></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"></div><div class="MsoNormal" style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The holy grail of zoom lenses has always been one that could be hand-held, with a focal length range from very wide to extra long telephoto, and close-focus ability. The specs of this lens fill that bill but not without substantial compromise in image quality. The quest for the holy grail will have to continue as an unattained dream. </div>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0tag:blogger.com,1999:blog-3769452336849557532.post-88781115843101251932010-07-18T11:17:00.000-07:002013-04-02T12:15:12.949-07:00Testing the new Leica f/1.4 35mm Summilux-M ASPH lens<div class="separator" style="clear: both; text-align: center;">
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<a href="http://2.bp.blogspot.com/_HOS2obwqDyc/TEM06D5kgwI/AAAAAAAAAL0/6SRGd9ltR7M/s1600/35mmsummilux.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" src="http://2.bp.blogspot.com/_HOS2obwqDyc/TEM06D5kgwI/AAAAAAAAAL0/6SRGd9ltR7M/s400/35mmsummilux.jpg" width="400" /></a></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">The latest M-lens release from Leica is an update of its famous 35mm 1.4 Summilux-M ASPH. Since this is a lens known for its sharpness, I concentrated my tests on architectural subjects with plenty of detail. My results show that this may be the sharpest lens ever made by Leica, and is, perhaps, the sharpest camera lens of all time. Although similar in design to its predecessor, this version has a floating element, and improved close focus.</span></span><br />
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<img border="0" height="400" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TEM8X3mW5OI/AAAAAAAAAL8/LYVmRwONSY4/s400/ti0142055.jpg" width="266" /></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: #666666;"><span style="font-size: x-small;">Architectural subjects show remarkable detail (<a href="http://www.tomgrill.com/ti0142055lg.jpg">click here to download hi res image</a>).</span></span></span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">The Achilles heal of wide angle lens on full frame digital cameras is in the corners of the frame where the image is often soft unless the lens is stopped down to f/5.6 or more.</span></span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> Typically, these shorter focal lengths are also prone to vignetting and barrel distortion, but these aberrations are easily corrected in post-processing. My <a href="http://www.tomgrill.com/brickwall">brick wall test</a> on a full-frame Leica M9 showed some corner softness at f/1.4, less but still present at f2. but almost disappearing at f/2.8 -- all in all, very acceptable for a wide angle lens. At f/1.4 the<a href="http://www.tomgrill.com/brickwall"> brick wall test</a> showed minimal vignetting, which disappeared when stopped down to f/2 and beyond.</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: #666666;"><span style="font-size: x-small;">Wide open at 1.4 the Summilux has a pleasing bokeh.</span></span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: #666666;"><span style="font-size: x-small;">Close up at f/1.4 (<a href="http://www.tomgrill.com/ti0141927lg.jpg">click here to download hi res image</a>). </span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #666666;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The beauty of a 1.4 lens is shooting hand held at night.</span></span></span></div>
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<b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Conclusion: </span></b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Leica continues to improve its lenses for the greater demands of digital cameras while maintaining quality considerations for its older film M bodies. Other manufacturers often allow barrel and pincushion distortion along with vignetting in newer digital lenses on the theory that this is readily correctable with digital post-processing. Leica still has a loyal film camera user base</span></span> <span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">where these corrections are not easily made. </span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Bottom line is that this is the sharpest lens I have ever used. Couple that with the high speed f/1.4 diaphragm and you have a real winner.</span></div>
Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com1tag:blogger.com,1999:blog-3769452336849557532.post-76567923799907672012010-06-07T05:09:00.000-07:002010-06-30T14:51:37.493-07:00Searching for a pro’s version of the point-and-shoot camera<div style="text-align: center;"><style>
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</style> </div><div class="MsoNormal"><i>I am frequently asked to suggest a camera pros can carry around as a point-and-shoot that can deliver acceptable quality for submitting to traditional stock agencies. Until recently, such a camera did not exist. They were too bulky to qualify as pocket portable, or the quality was really point-and-shoot and totally unacceptable. Many of my pro friends tried the Canon G11 because it looked the part of a professional camera, Unfortunately, this camera really is just a glorified point-and-shoot on the inside with a minuscule-sized sensor -- the same one Canon has in its S90. Most of my friends passed their G11’s on to their wives or kids. <o:p></o:p></i></div><div class="MsoNormal"><i>Recently, a new crop of small cameras have hit the market. Olympus and Panasonic introduced their Micro Four Thirds series with sensors that are about half the size of a 35mm full frame. Leica just came out with the X1. It has an APS-C sized that is the same size as found in many pro-level cameras, and is two thirds the size of full frame 35mm. In digital photography sensor size may not be everything, but it is definitely one of the most determining factors in image quality.<o:p></o:p></i></div><div class="MsoNormal"><i>I performed extensive tests with this new crop of cameras and this blog entry is the result.</i><br />
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<i><o:p></o:p></i></div><div class="MsoNormal"><div style="color: #990000;"><span style="font-size: large;"><b><span style="line-height: 115%;"> Leica X1 – following in a great tradition</span></b></span></div><b><span style="font-size: 12pt; line-height: 115%;"></span></b><br />
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<span style="color: #666666; font-size: x-small;"><i>The X1 and an original Leica 1 of 1930. </i></span><br />
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The first thing that surprised me when I picked up the X1 is how small and light weight it is. It has one fixed lens, a Leitz 24mm f/2.8 Elmarit Aspherical. This is equivalent to about a 36mm lens on a 35mm full frame camera. The sensor is a 12.2MP CMOS (23.6mm x 15.8mm), similar to that found in pro level cameras like the Nikon D300s. The display is 2.7” and easy to see in sunlight, although most pros would probably prefer to use the auxiliary viewfinder available for this camera.</div><div class="MsoNormal">With the battery in it the X1 weighs in at 11.8 oz., which is truly point-and-shoot size. It was the lightest camera of all those I tested and lighter even than the G11.<br />
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<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/TAl00JtC_HI/AAAAAAAAAJM/WBbM6wFnRSg/s1600/x1fruit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="http://2.bp.blogspot.com/_HOS2obwqDyc/TAl00JtC_HI/AAAAAAAAAJM/WBbM6wFnRSg/s400/x1fruit.jpg" width="400" /></a></div></div><div class="MsoNormal"><div style="text-align: center;"><i style="color: #666666;">L</i><span style="font-size: small;"><i style="color: #666666;">eica X1 with 24mm Elmarit lens</i></span> </div><div style="text-align: center;"><br />
</div>The X1 uses one SD/SDHC card and was indicating 94 images in RAW (DNG) plus fine JPG on a 2GB card. The battery is capable of 260 exposures on a 200 minute charge. The flash is a pop-up with a range of 7’ at ISO 100, however the hot shoe is compatible with the Leica SF24D and SF58 flashes. </div><div class="MsoNormal"><b>ISO<o:p></o:p></b></div><div class="MsoNormal">The ISO range is rated at 100-3200, and this is one of the few cameras I have found able to justify this claim. I was stunned at the high image quality produced at ISO 3200. Not only was the noise level low, it had a quality reminiscent of film grain – really beautiful. Like to shoot at high ISO ranges? Not a problem, this is the camera to use.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TAzihYVkjeI/AAAAAAAAALM/sDqpdpbawP8/s1600/X1iso400SM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="214" src="http://4.bp.blogspot.com/_HOS2obwqDyc/TAzihYVkjeI/AAAAAAAAALM/sDqpdpbawP8/s320/X1iso400SM.jpg" width="320" /></a></div><table style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
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<tr><td style="text-align: center;"></td><td><div style="text-align: center;"><span style="font-size: small;"><i style="color: #666666;">Download Hi Res ISO test photos <br />
<a href="http://www.tomgrill.com/blog/X1iso100.jpg">ISO 100 </a> <a href="http://www.tomgrill.com/blog/X1iso400.jpg">ISO 400</a> <a href="http://www.tomgrill.com/blog/X1iso800.jpg">ISO 800 </a> <a href="http://www.tomgrill.com/blog/X1iso1600.jpg">ISO 1600</a> <a href="http://www.blogger.com/goog_295690126">ISO 3200</a></i></span></div><a href="http://www.tomgrill.com/blog/x1iso3200.jpg"><br />
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</tbody></table><b>Controls<br />
<o:p></o:p></b></div><div class="MsoNormal">Simplicity of use is the name of the game here. There are two dials on top of the camera. One controls shutter speed, the other handles lens openings. Put them both on “A” and the camera is essentially in “Program” mode. Change the shutter speed dial while the lens opening dial is on “A” and you are in shutter priority mode. Change the lens opening dial while the shutter speed dial in on “A” and you are in aperture priority mode. Change both dials and you are in manual mode. Absolute simplicity. I don’t know why no one ever thought of this before.</div><div class="MsoNormal">The motor drive is 3fps in jpg and 2fps in DNG with a burst of 6 images.<br />
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<div class="MsoNormal"><b>Image Quality</b></div><div class="MsoNormal">The quality is what you might expect from a high grade digital camera from Leica – in a word: “Excellent”. The images from this camera already fit the standards for commercial stock photography. You don’t have to massage them. They meet the highest criteria right out of the camera with no special post-processing necessary. Take a look at the detail in the Hi Res versions of the sample images below. It really is on a par with what you would expect from a professional camera. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/TAlypKmreKI/AAAAAAAAAI8/TD29ZK-T0Dc/s1600/x1nysm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TAlypKmreKI/AAAAAAAAAI8/TD29ZK-T0Dc/s400/x1nysm.jpg" width="400" /></a></div><div style="text-align: center;"><a href="http://www.tomgrill.com/blog/x1ny.jpg"><span style="font-size: small;"><i style="color: #666666;">Leica X1 with 24mm Elmarit lens</i></span><br />
<i><span style="color: #666666;">Download Hi Res version of this image</span></i></a></div></div></div><div class="MsoNormal"><b>Conclusion<o:p></o:p></b></div><div class="MsoNormal">About the only thing this camera has in common with a point-and-shoot is size and weight. In all other respects this is a professional grade digital camera capable of delivering image quality on a level with the best DSLR cameras out there. </div><div class="MsoNormal">The only drawback of the X1 may be that it has only one fixed lens. On the plus side, that lens is a superb Leitz Elmarit with no distortion. On larger sensors it is difficult to keep lens size within bounds of a point-and-shoot size – and there is the trade off. If you want to add a zoom lens to a large sensor camera, you wind up with something that no longer fits in your pocket.<br />
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<div style="text-align: center;"><a href="http://1.bp.blogspot.com/_HOS2obwqDyc/TAl05uuTpoI/AAAAAAAAAJU/fkhtRnQFZEg/s1600/x1bike.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="http://1.bp.blogspot.com/_HOS2obwqDyc/TAl05uuTpoI/AAAAAAAAAJU/fkhtRnQFZEg/s400/x1bike.jpg" width="400" /></a><a href="http://www.tomgrill.com/blog/x1bikefull.jpg"><i style="color: #666666;"><br />
</i><span style="font-size: small;"><i style="color: #666666;">Leica X1 with 24mm Elmarit lens</i></span><br />
<i style="color: #666666;">Download Hi Res version of this image. </i></a></div></div><div class="MsoNormal"><br />
At $1995 it is an expensive camera, but image quality of this type doesn’t come cheap. It is the only camera available at this quality level that actually does fit in your pocket. With all three test cameras available to me I found it was the X1 that I grabbed when I was going out for a walk.</div><div class="MsoNormal">The Leica X1 delivers professional stock images right out of the box, even in low light situations<br />
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<a href="http://www.tomgrill.com/blog/x1flatironlg.jpg">Download Hi Res version of this image</a></i></span></div><div style="text-align: center;"><br />
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<div class="MsoNormal" style="text-align: left;"><b><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="color: #990000;">Panasonic DMC-GF1 and </span></span></span></b><b><span style="font-size: 14pt; line-height: 115%;"><span style="font-size: large;"><span style="color: #990000;">Olympus E-P1</span></span><o:p></o:p></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TAl67UlPB0I/AAAAAAAAAJk/pTaWSCCMntM/s1600/gf1-ep1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TAl67UlPB0I/AAAAAAAAAJk/pTaWSCCMntM/s1600/gf1-ep1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="273" src="http://4.bp.blogspot.com/_HOS2obwqDyc/TAl67UlPB0I/AAAAAAAAAJk/pTaWSCCMntM/s400/gf1-ep1.jpg" width="400" /></a></div><br />
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I tested these cameras together because their development was in tandem and they come from a similar mold. Together, Panasonic and Olympus developed the Micro Four Thirds format, and have the same, interchangeable lens system. Sensor size is about half of a 35mm frame, which, as digital sensors go, should be large enough to produce professional quality images. Both cameras come in at a little above 12MP.<br />
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<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/TApJEEkynjI/AAAAAAAAAKM/qldxqVSh-NQ/s1600/ep1nysm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TApJEEkynjI/AAAAAAAAAKM/qldxqVSh-NQ/s400/ep1nysm.jpg" width="400" /></a></div><div style="text-align: center;"><i style="color: #666666;">Olympus E-P1 14-42mm zoom at 14mm<br />
<a href="http://www.tomgrill.com/blog/ep1ny.jpg">Download Hi Res version of this image</a></i></div></div><div style="text-align: left;"></div><div style="text-align: center;"></div><div class="MsoNormal" style="text-align: left;">The only way these cameras can truly fall into a point-and-shoot category is if you only use the pancake lenses available. That would be the 17mm f.2.8 on the Olympus, and the 20mm f/1.7 lens on the Panasonic GF1. Once you add any other lens, the cameras bulk up to a point where they will no longer fit in a pocket.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/TApLS5sHODI/AAAAAAAAAKU/VcPBCrv6cVs/s1600/gf1clocksm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TApLS5sHODI/AAAAAAAAAKU/VcPBCrv6cVs/s320/gf1clocksm.jpg" width="214" /></a></div><div style="text-align: center;"> <span style="color: #666666;"><i>Panasonic GF1 45-200mm zoom at 56mm<br />
<a href="http://www.tomgrill.com/blog/gf1clock.jpg">Download Hi Res version of this image</a></i></span></div></div><div style="text-align: left;"></div><div style="text-align: center;"></div><div class="MsoNormal" style="text-align: left;">On the other hand, the extensive lens assortment available for these cameras make them attractive as small systems. I did test a number of the regular zooms made for these cameras. I found the resolution of these lenses to be a bit on the softer side when compared to a professional quality DLSR lens. Nonetheless, they are acceptable as you can see by downloading the Hi Res images above.</div><br />
<div style="text-align: left;"></div><div style="text-align: center;"></div><div class="MsoNormal" style="text-align: left;"><b>ISO range<o:p></o:p></b></div><br />
<div style="text-align: left;"></div><div style="text-align: center;"></div><div class="MsoNormal" style="text-align: left;">The rated ISO range of the Panasonic GF1 is 100-3200, and 100-6400 on the Olympus E-P1. As far my tests go, these are very optimistic claims. I think the GF1 can produce usable images up to ISO 1000, while the E-P1 could go to a maximum of 1600. Beyond that and the images are too noisy to be acceptable by commercial stock photography standards and are beyond the range for acceptable correction by noise lowering software.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TApB7gbBoFI/AAAAAAAAAJ8/sXKgzUvNATs/s1600/ep1iso1600sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="http://4.bp.blogspot.com/_HOS2obwqDyc/TApB7gbBoFI/AAAAAAAAAJ8/sXKgzUvNATs/s320/ep1iso1600sm.jpg" width="320" /></a></div><div style="text-align: center;"></div><div style="text-align: center;"><i style="color: #666666;">Download Hi Res ISO test images of the Olympus E-P1: </i></div><div style="text-align: center;"><a href="http://www.tomgrill.com/blog/ep1iso400.jpg">ISO400</a> <a href="http://www.tomgrill.com/blog/ep1iso800.jpg"> ISO800</a> <a href="http://www.tomgrill.com/blog/ep1iso1600.jpg"> ISO1600</a> <a href="http://www.tomgrill.com/blog/ep1iso3200.jpg">ISO3200</a> <a href="http://www.tomgrill.com/blog/ep1iso6400.jpg">ISO6400</a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_HOS2obwqDyc/TApCHsjSDkI/AAAAAAAAAKE/1xPJpYSlc8c/s1600/GF1-iso200sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/_HOS2obwqDyc/TApCHsjSDkI/AAAAAAAAAKE/1xPJpYSlc8c/s320/GF1-iso200sm.jpg" /></a></div><div style="text-align: center;"><i style="color: #666666;">Download Hi Res ISO test images of the Panasonic GF1: </i></div><div style="text-align: center;"><a href="http://www.tomgrill.com/blog/GF1-iso200.jpg">ISO200</a> <a href="http://www.blogger.com/goog_668410854"> ISO400</a><a href="http://www.tomgrill.com/blog/GF1-iso400.jpg"> </a> <a href="http://www.tomgrill.com/blog/GF1-iso800.jpg">ISO800</a> <a href="http://www.blogger.com/goog_668410831"> </a><a href="http://www.tomgrill.com/blog/GF1-iso1600.jpg">ISO1600</a> <a href="http://www.tomgrill.com/blog/GF1-iso3200.jpg">ISO3200</a></div><br />
<b>Controls and features</b><br />
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The controls and menus of these cameras are full of options and pre-packaged shooting modes, all of which leads to complexity in handling. Expect to carry around the user manual with each of them.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/TAzXpRTT1kI/AAAAAAAAAKc/7ee8FwV1GNk/s1600/ep1peopesm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TAzXpRTT1kI/AAAAAAAAAKc/7ee8FwV1GNk/s400/ep1peopesm.jpg" width="400" /></a></div><span style="font-size: x-small;"><i><span style="color: #666666;">Situations with people are difficult to focus accurately with this type camera because you cannot put a pinpoint focus spot on the subject's eyes. (E-P1 42mm lens) </span> <a href="http://www.tomgrill.com/blog/ep1peope.jpg">Download Hi Res image here.</a></i></span><br />
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Both cameras shoot at a respectable rate of 3fps, and both have a generous 3” LCD screen for viewing in live mode. They also both shoot video, but that is beyond the scope of this review.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TAzZIhFnvFI/AAAAAAAAAKk/KgV6grNEpe4/s1600/gf1empiresm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="http://4.bp.blogspot.com/_HOS2obwqDyc/TAzZIhFnvFI/AAAAAAAAAKk/KgV6grNEpe4/s400/gf1empiresm.jpg" width="400" /></a></div><div style="text-align: center;"><i><span style="color: #666666;">Travel scenes iare the most suitable venue for achieving good results. (GF1 45-200mm zoom) </span><a href="http://www.tomgrill.com/blog/gf1empire.jpg">Download Hi Res image here.</a></i></div><br />
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<b>Image Quality</b><br />
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The images from these cameras would be acceptable in terms of commercial stock standards with a few caveat. ISO noise levels are excessive and need to be carefully treated anywhere above ISO 800. Images are generally not as sharp as you would achieve with a pro lever DSLR. They are a tad soft – mostly acceptable, but definitely a bit soft when using the manufacturers lenses. Keep in mind that with adapters you could use other lenses, even Leica lenses on the Micro Four Thirds cameras, but that is not a convenient option when all things are considered.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TAzc9L-RKxI/AAAAAAAAAKs/ojFDHZMlE2g/s1600/ep1bike2sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="http://4.bp.blogspot.com/_HOS2obwqDyc/TAzc9L-RKxI/AAAAAAAAAKs/ojFDHZMlE2g/s400/ep1bike2sm.jpg" width="400" /></a></div><div style="text-align: center;"><i>Olympus E-P1 with 14-42mm zoom</i>. <a href="http://www.tomgrill.com/blog/ep1bike2.jpg"><i> <br />
Download Hi Res image here.</i></a></div><br />
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<b>Accessories</b><br />
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A separate SLR-type viewfinder is available for both cameras, however this does increase the camera size considerably. The Olympus does not have a built-in flash so it will need the optional flash – yet another thing to bulk up the overall camera kit.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/TAzdxY57QYI/AAAAAAAAAK0/9QUzC7_iVGw/s1600/gf1churchsm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TAzdxY57QYI/AAAAAAAAAK0/9QUzC7_iVGw/s400/gf1churchsm.jpg" width="267" /></a></div><div style="text-align: center;"><i> <span style="color: #666666;">Panasonic Lumix GMC-GF1 with 45.200mm zoom. </span><br />
<a href="http://www.tomgrill.com/blog/gf1church.jpg">Download Hi Res image here.</a></i></div> <br />
The list of available lenses for these cameras continues to grow, and may be one of their more attractive features. Adapters are also available for using other manufacturers lenses on these cameras. In this case auto-focus and auto-exposure may no longer be available.<br />
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<b>Conclusion</b><br />
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Initially, I had expected that the Micro Four Thirds format would be the perfect solution to a convenient camera to have with me at all times for those spur of the moment shots. After testing the cameras, however, my enthusiasm waned. I found the cameras too bulky once zoom lenses and accessory viewfinders were added. More importantly, the image quality was disappointing. It required careful post-processing to deliver acceptable stock photos.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TAzfsU-cRJI/AAAAAAAAAK8/aYrsrW1pG9E/s1600/ep1clocksm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="http://4.bp.blogspot.com/_HOS2obwqDyc/TAzfsU-cRJI/AAAAAAAAAK8/aYrsrW1pG9E/s400/ep1clocksm.jpg" width="400" /></a></div><div style="text-align: center;"><i><span style="color: #666666;"> Olympus E-P1 with 14-42mm zoom.</span> <br />
<a href="http://www.tomgrill.com/blog/ep1clock.jpg">Download Hi Res image here.</a></i></div><br />
Bottom line is that these Micro Four Thirds cameras in the hands of a professional photographer are capable of delivering the goods. My recommendation would be to keep ISO levels on the low side (below 800) whenever possible. I would also refrain from cropping too much because the images are just not as sharp enough to handle it. While not as good as a pro level DSLR, these cameras are capable of producing acceptable images for traditional commercial stock photography. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/TAzgWaDTeiI/AAAAAAAAALE/R_uBd834ZvU/s1600/gf1scafsm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TAzgWaDTeiI/AAAAAAAAALE/R_uBd834ZvU/s400/gf1scafsm.jpg" width="400" /></a></div><div style="text-align: center;"><i style="color: #666666;">Panasonic Lumix DMC-GF1 with 45-200mm zoom.</i> <a href="http://www.tomgrill.com/blog/gf1scaf.jpg"><i><br />
Download Hi Res image here.</i></a></div><br />
While you are probably not going to stick one of these cameras in your pocket, you can put together a small, convenient kit to carry around in a bag for shooting travel images on the go.</div></div>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com1tag:blogger.com,1999:blog-3769452336849557532.post-40824292178222274042010-05-25T19:21:00.000-07:002010-06-30T15:36:04.075-07:00Field testing the Leica M9<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> The first Leica I used professionally was the M2. I still have it along with its original lenses, all of which I continue to use. Shooting with a Leica camera is an exhilarating, tactile experience akin to driving a fine-tuned, pedigreed sports car with a manual gearbox. You really have to know how to handle your vehicle in order to coax the maximum performance from it. </span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> </span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> </span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">My favorite M Leica was the M4. I have a black lacquer model with a Leica modification to the viewfinder so that it has six frame lines of 28/35/50/75/90/135 -- the same frame lines that have appeared in every Leica from the M6 to the M9. It's black lacquer finish is brassing slightly, but otherwise it bears a striking resemblance to the new M9. </span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">For those of us who have used Leica M film cameras for years, the advent of a full frame digital M body has been eagerly awaited. The M9 will not disappoint. When combined with the legendary sharpness of Leitz lenses, it may just be the highest quality digital camera ever produced. </span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/S_xxG_aNUEI/AAAAAAAAAF8/LNMpAA7kBsg/s1600/ti0141012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="http://3.bp.blogspot.com/_HOS2obwqDyc/S_xxG_aNUEI/AAAAAAAAAF8/LNMpAA7kBsg/s400/ti0141012.jpg" width="400" /></a></div><div style="text-align: center;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><i><span style="color: #999999;"> Leica M9 with the first Leica, a Leica I behind it</span></i></span></span></div><br />
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<div style="text-align: left;"><b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Why Leica?</span></b></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Many of my friends who shoot commercial stock have wondered why anyone would want a manual focus rangefinder camera in the easy-to-use DSLR era. I have to admit I gave this some thought myself. I have been using the Nikon D3s, D3x cameras with their super-fast and sharp auto-focus zoom lenses ranging from 14mm to 400mm. This is a convenient system that is hard to beat, particularly when shooting fast moving subjects. But as stock photographers we do not all shoot the same subject matter. Stock photo subject categories are myriad: lifestyle, travel, scenic, still life, architecture, animals, sports, etc. Each of these areas requires its own optimal camera equipment requirements. I produce stock in all these areas and more, and I try to optimize my output by using the most suitable equipment for each specific task. </span><br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/S_yAb3Q8KKI/AAAAAAAAAHU/s_NEJx5Vz1E/s1600/ti0140425.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_HOS2obwqDyc/S_yAb3Q8KKI/AAAAAAAAAHU/s_NEJx5Vz1E/s320/ti0140425.jpg" width="212" /></a></div><i style="color: #999999;"><span style="font-size: x-small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">28mm Summicron, right into the sun -- a tough shot for any camera</span></span></i></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The question becomes: What are the stock situations where this camera excels? My first surprise was the manual focus. I expected this to slow me down quite a bit and result in many soft images. Instead the split-image rangefinder made it easy to pinpoint an exact focus. I’ve become used to DSLR cameras with their tiny box-like focus spots. But these are not always accurately placed, particularly on a model’s backlit face where you want the eye to be in perfect focus. The split-image focus of the M9 allows you to choose an exact placement of the focus spot. Couple that to the incredible sharpness of Leitz lenses aspheric lenses and the result is a super-sharp image.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/TCu_UsQP16I/AAAAAAAAALU/ZGnNgkPvIzM/s1600/ti0141922.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="176" src="http://3.bp.blogspot.com/_HOS2obwqDyc/TCu_UsQP16I/AAAAAAAAALU/ZGnNgkPvIzM/s400/ti0141922.jpg" width="400" /></a></div><div style="text-align: center;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><span style="font-size: x-small;"><span style="color: #666666;"> Panorama created in CS5 with two 35mm images from the M9</span></span></i></span></div><div class="separator" style="clear: both; text-align: center;"></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">When I first took a RAW image for the M9 up to 100% on my 30” monitor I was blown away by its incredible sharpness and detail. Frankly, I had never seen any camera as sharp as this. A lot has to do with the Leitz lenses, of course. Take a look at the hi res image of New York city at sunset. I have shot this scene many times, but never have I seen anything this sharp. In the original file I can clearly see the details inside office building windows.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_HOS2obwqDyc/S_xzlnkYhNI/AAAAAAAAAGM/wLFdMq4cJtU/s1600/m9-nyc1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="http://1.bp.blogspot.com/_HOS2obwqDyc/S_xzlnkYhNI/AAAAAAAAAGM/wLFdMq4cJtU/s400/m9-nyc1.jpg" width="400" /></a></div><div style="color: #999999; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: center;"><span style="font-size: x-small;"><i>click <a href="http://www.tomgrill.com/m9blog1.jpg">here</a> to view a full resolution version of this image </i></span></div><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The sensor in the M9 is a full frame (24x36) Kodak CCD with 18.5MP. Kodak has been making digital sensors for quite some time. They are of very high quality. </span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Producing a full-frame sensor for a Leica is particularly problematic because Leica lenses work much closer to the film plane than do SLR lenses which have a mirror to distance them. This sensor solves the lens proximity problem of non-DSLR lenses by incorporating a microlens technology on the sensor itself. ISO sensitivity range has been improved from the M8 and is rated at 80-2500 with 160 as the base. </span><br />
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<b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Lenses</span></b><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">A big question I had for the M9 was how wide angle lenses would perform in the corners of the frame. Super wide angle lenses have been the Achilles heel of full-frame digital sensors. Most of the wide angle lenses I tried did produce some soft corners at wide open apertures. This disappeared, however, when the lenses were stopped down to f/5.6 or more. Nonetheless, this is an area Leitz will need to address in future lens designs. It is especially important for Leica because photographers are attracted to the faster f/1.4 and f/2 speed of the Summilux and Summicrons and like to use these lenses wide open.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/S_x6MS4eyOI/AAAAAAAAAGc/xPX7FUPTArg/s1600/ti0140618.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="http://2.bp.blogspot.com/_HOS2obwqDyc/S_x6MS4eyOI/AAAAAAAAAGc/xPX7FUPTArg/s400/ti0140618.jpg" width="400" /></a></div><div style="text-align: left;"><i><span style="color: #999999; font-size: x-small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">One of the thing I like about Leitz lenses is their ability to shoot straight into the sun and produce a dramatic star effect . - 50mm Summicron</span></span></i></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">New lenses for the Leica are digitally coded so the camera knows what lens it has and can make some in-camera corrections. The M9 will retro fit almost all older Leica lenses made since 1954. You can send them to Leitz to have the coding added. Coding supplies the image processor with lens information so it can make specific corrections for vignetting and other aberrations. It also passes the lens information along to the EXIF data in the digital image file. </span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_HOS2obwqDyc/TCvAQXkqmqI/AAAAAAAAALc/2Rr_eLL-LY8/s1600/ti0141619.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://1.bp.blogspot.com/_HOS2obwqDyc/TCvAQXkqmqI/AAAAAAAAALc/2Rr_eLL-LY8/s400/ti0141619.jpg" width="400" /></a></div><div style="text-align: center;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><span style="font-size: x-small;"><span style="color: #666666;"> Dublin at dusk - 28mm with the Leica M9</span></span></i></span></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">All Leitz lenses I tested on the M9 showed a remarkable lack of vignetting and rectilinear lens distortions. The images were clear and bright with exceptionally high resolution. Take a look at the samples I am showing here. Many were shot directly into the sun, and yet there is plenty of detail and contrast in the foreground subjects. </span><br />
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<b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Menu</span></b><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The menu system on the M9 is simple – thank goodness. There is one menu page with everything listed out. In addition, there is an ISO button for quick changes. Under this is an Info button that calls up an on screen display of important information. Battery condition and SD card capacity are shown graphically in large bar graphs, while image count, shutter speed, and lens are listed below – simple, quick, and to the point. </span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/TAJMBSEEOGI/AAAAAAAAAHs/6PP3oq-afPI/s1600/m9-houses.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="http://2.bp.blogspot.com/_HOS2obwqDyc/TAJMBSEEOGI/AAAAAAAAAHs/6PP3oq-afPI/s400/m9-houses.jpg" width="400" /></a></div><div style="text-align: center;"><span style="font-size: x-small;"><span style="color: #666666; font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">New Orleans, 90mm lens</span></span></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">With the multi-menu professional DSLR cameras I have to carry around a manual the size of a phone book just to keep track of the menus. With the Leica it’s all intuitive. </span><br />
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<b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">ISO</span></b><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Nominally the M9 has a top ISO of 2500. I would recommend not going over 1250. Keep in mind this review is for commercial stock shooters whose images must be of very high quality at a 50MB size. Editorial shooters do not have the same restrictions. </span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Of course using fast aperture Leitz lenses has an advantage over most DSLR zoom lenses that top out at f/2.8. Using a f/1.4 or f/2 aperture has the same result as doubling or quadrupling the ISO. Even better, it provides the extra sensitivity without the extra noise. Using a DSLR at 6400 ISO while at f/2.8 would be the equivalent of using a 1600 ISO on the M9 at f/1.4.</span><br />
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<b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Viewfinder accuracy</span></b><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/S_yCUP_9YqI/AAAAAAAAAHk/95bnaMhHlfg/s1600/ti0140941.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/_HOS2obwqDyc/S_yCUP_9YqI/AAAAAAAAAHk/95bnaMhHlfg/s400/ti0140941.jpg" width="400" /></a></div><div style="text-align: center;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: #999999; font-size: x-small;"><i>135mm f/3.4 APO Telyt, ISO 1000 - download hi res <a href="http://www.tomgrill.com/m9-135-1000iso.jpg">here </a></i></span></span></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Camera lenses actually change their effective focal length as they are focused from infinity to close-up. As a result, rangefinder viewfinders can only be accurate for a specific distance. The M9 has its viewfinders frames set for a 1 meter distance. This means that at 1 meter you will have an accurate representation of what the lens will take. At infinity, however, the lens will include more than what you see in the viewfinder. A 90mm lenses focused at infinity is actually taking a photo that is closer to what you would see with an 85mm finder than with the 90mm frame. I’ve been using an old Leica 85mm viewfinder for the Summarex lens and it is a very accurate representation of what my 90mm Elmarit sees when it is focused at infinity.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/S_x9rkerG4I/AAAAAAAAAHE/Du7ko5CAM3w/s1600/ti0140967.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271" src="http://4.bp.blogspot.com/_HOS2obwqDyc/S_x9rkerG4I/AAAAAAAAAHE/Du7ko5CAM3w/s400/ti0140967.jpg" width="400" /></a></div><div style="text-align: center;"><i><span style="font-size: x-small;">Strongly back lit subject in natural daylight, shot with a 90mm Elmarit</span></i></div><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">It would be nice if Leica would make a variable focal length “Infinity Viewfinder” for those of us who like to compose tightly. Such a finder would not even need parallax correction since it would only be needed for framing at infinity. This would be especially helpful to travel photographers who shoot at infinity quite a bit.</span><br />
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<b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Portability</span></b><br />
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<div class="separator" style="clear: both; text-align: left;"></div><a href="http://2.bp.blogspot.com/_HOS2obwqDyc/S_x7GVieWfI/AAAAAAAAAGk/aAV0VEOCJm0/s1600/ti0141246.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_HOS2obwqDyc/S_x7GVieWfI/AAAAAAAAAGk/aAV0VEOCJm0/s320/ti0141246.jpg" width="252" /></a><i style="background-color: #999999; color: #999999;"><span style="font-size: x-small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="background-color: white;"><span style="color: #999999;"></span></span></span></span></i><br />
<i><span style="color: #999999; font-size: x-small;"><b style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">My most compact travel outfit, the M9 with a Tri-Elmar 35-50-38mm lens and 90mm.</b></span></i><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The Leica M9 is the world’s smallest full-frame camera. It weighs in at 19.8 ounces (585 grams) with its battery. By comparison a Nikon D3s weighs 44 oz (1240 grams) and a Canon 1Ds is 42.7 oz (1210 grams). While a Canon 5D of Nikon D700 are lighter at 28.6 (810g) and 35.09 oz (995g), respectively, they still have to use much heavier lenses. My entire Leica M9 with a full assortment of lenses weighs less than the most popular Nikon or Canon zooms alone. </span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/TCvGo9-39BI/AAAAAAAAALs/hbUSkiTWzOk/s1600/cannonsm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/_HOS2obwqDyc/TCvGo9-39BI/AAAAAAAAALs/hbUSkiTWzOk/s320/cannonsm.jpg" width="212" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: center;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> <i><span style="font-size: x-small;"><span style="color: #666666;">The dynamic range of the M9 is extensive. <a href="http://www.tomgrill.com/cannon.jpg">Download </a>the hi res sample to see</span></span></i></span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><span style="font-size: x-small;"><span style="color: #666666;">how it holds detail from the deepest shadows to the bright highlights.</span></span></i></span></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Admittedly, this feature becomes more important to me as I get older. I do find that I am more inclined to carry the M9 around when I would have left my bulky DSLR at home The result has been that I have been picking up a lot of extra stock shots I would have otherwise missed. </span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I have two M9 “kits” that I use. For ultra-portability I carry the M9 with a Tri-Elmar 35-50-28mm, and an Elmarit 90mm. I don’t usually need a camera bag for this because I stick a lens or two along with a polarizer in my vest.</span><br />
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<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_HOS2obwqDyc/S_x8RRCIrNI/AAAAAAAAAGs/Md9JbOQG2DY/s1600/ti0141247.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="287" src="http://4.bp.blogspot.com/_HOS2obwqDyc/S_x8RRCIrNI/AAAAAAAAAGs/Md9JbOQG2DY/s400/ti0141247.jpg" width="400" /></a></div><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">When I am seriously covering a travel location I have either a 21mm or 24mm lens along with a 35mm, 50mm, 90mm, and 135mm. The discontinued Tri-Elmar is nice for convenience but it does not approach the quality of the Leica primes. </span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Another plus to carrying a Leica M9 system is its unobtrusiveness. It is small and quiet --- very quiet. You can travel unnoticed.</span><br />
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<b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Controls</span></b><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Leica cameras are designed to be used instinctively. You do not have to look at the controls. This is especially true if you have grown up in the Leica tradition, as I have. You can feel the clicks in changing shutter speed and lens stops, all in half-stop increments.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_HOS2obwqDyc/S_x_YqeuKvI/AAAAAAAAAHM/UcsybFdwsKU/s1600/ti0141235.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/_HOS2obwqDyc/S_x_YqeuKvI/AAAAAAAAAHM/UcsybFdwsKU/s640/ti0141235.jpg" width="425" /></a></div><br />
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<b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Conclusion</span></b><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">2008-2010 may represent the time when professional digital cameras hit their stride. It has taken about ten years to get here – many trial-and-errors, many false starts – but I have a feeling that we can safely say we have “lift off” on a new era of professional digital photography. </span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The Leica M9 is a pinnacle of achievement making the transition from analog to digital complete.</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">In the words of the great Winston Churchill, "Now is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning."</span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">For me, it’s nice to see Leica leading the way, as it has done since the very beginning of 35mm photography.</span>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com1tag:blogger.com,1999:blog-3769452336849557532.post-7194053607380025412010-03-19T08:40:00.000-07:002010-04-09T09:07:59.447-07:00Nikon Professional DSLR camera system: D3x, D3s, D700, D300s – a personal review<span style="font-style: italic;">Let me start by saying what this review is not: It is not a blow-by-blow description of camera specifications, or a limited field test. There are plenty of places on the internet where you can find that kind of information. Instead, this review is written from the perspective of someone who uses these cameras daily in a professional work environment shooting almost exclusively traditional stock images.<br /><br />That said, you will want to know what criteria I require from a camera. I am a professional photographer who shoots mainly (99%) commercial stock images. My subjects are varied: lifestyle with models, scenics, still-life, travel, animals, sports – in other words, the gamut. My final images must be 50mb in size, in Adobe 1998 color space, with no artifacting or noise in the image. Needless to say, the images must also be sharp at 100% all the way into the corners. So when I review a piece of camera equipment, I am looking for these requirements. If I were not so demanding, my editors would reject my images -- something that i</span><span style="font-style: italic;">s not very good for my bott</span><span style="font-style: italic;">om line.</span><br /><br />When the Nikon <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_HOS2obwqDyc/S6OcicAFiLI/AAAAAAAAAEM/zSgGJ52_LPk/s1600-h/ti0140309.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 228px; height: 288px;" src="http://4.bp.blogspot.com/_HOS2obwqDyc/S6OcicAFiLI/AAAAAAAAAEM/zSgGJ52_LPk/s320/ti0140309.jpg" alt="" id="BLOGGER_PHOTO_ID_5450372089494472882" border="0" /></a>D3 first came out I thought it was the greatest camera ever made -- and it was, until the Nikon D3s came out. First off, I applaud Nikon for waiting to bring out a full-frame camera until they had the lenses to support it. Full frame 35mm digital sensors put a greater demand on the optical system, particularly the wider angle focal lengths. Long lenses are not nearly so problematic. It’s easier to compute these, but the short zooms were so awful that on my earliest Canon 1Ds system, for instance, I abstained from shooting them until Canon finally replaced them with newly formulated short zooms. Nikon, on the other hand, introduced new 24-70mm and 14-24mm zoom lenses at the same time as the advent of the FX D3. These lenses are so superb with corner sharpness that they surpasses even prime lenses. Recently, Nikon has reformulated its 70-200mm f/2.8 zoom to improve corner sharpness that was apparent in the earlier model.<br /><br />Another surprising innovation from Nikon was its adoption of a lower megapixel rating for its sensor. This flew in the face of the high megapixel trend. The D3 (and D3s) have 12.3mp sensors. This enabled the camera to work incredibly fast at 9 frames-per-second, and to shoot at very high ISO settings. And guess what? Once the image was interpolated up to 50mb, as it must be for commercial stock, it still surpassed the output from all other DSLRs on the market. This was coupled with a high buffer rate of 40 RAW images on a D3s (same with a $500 buffer upgrade on a D3). For the first time since digital photography began a digital camera not only met but finally surpassed what was possible from the top 35mm SLR film cameras. With film we had to stop to change rolls after 36 exposures. Now we could shoot 40 frames at 9fps, wait a few seconds, and do it again.<br /><br />Why do we need this speed? The answer is obvious when shooting sports and animals in the wild. Surprisingly however, well done lifestyle photography often requires the same speed, especially if you want to take photos of people in motion. If you have ever attended one of my lectures, you have heard m<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_HOS2obwqDyc/S6OgfQa5pnI/AAAAAAAAAEc/nyAEXJeVGes/s1600-h/ti0139553.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 222px;" src="http://4.bp.blogspot.com/_HOS2obwqDyc/S6OgfQa5pnI/AAAAAAAAAEc/nyAEXJeVGes/s320/ti0139553.jpg" alt="" id="BLOGGER_PHOTO_ID_5450376432892618354" border="0" /></a>e say that an image where the model is in motion will outsell an image where the model is static. Lifestyle photography is at its best when the subject is animated. This is not to say that we need the subject jumping and running. A model laughing in reaction to another model is enough to create motion, particularly if the model is continually moving during the scene. This sort of spontaneity is very difficult to capture consistently. The Nikon D3s makes this job a breeze, and the rapid focusing Nikkor lenses keep every shot in focus.<br /><br />In addition to the motor speed, the D3s has a very easy to use focusing grid in the viewfinder. The grid of 51 focus spots is widely spaced over the entire viewing area and is readily selected with a simple to use thumb wheel to the right of the rear screen. Nikon has standardized this system on all of its professional cameras making it easy to switch from one body type to another.<br /><div style="text-align: left;"><span style="font-style: italic;"><span style="font-style: italic;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_HOS2obwqDyc/S6Oi0X3XQII/AAAAAAAAAEs/93MJo9LsO7M/s1600-h/ti0137977.jpg"><br /></a></span></span>When we couple the D3s with the fastest focusing professional lenses on the market, we have a system that has reached a pinnacle of capture speed for digital cameras. I can also tell you that the focusing accuracy of this camera-lens combo almost always results in 9 fully-focused images per second. I don’t know of any other full frame camera that can do this.<br /></div><br />When Nikon lowered the mega pixel rating to 12.3 means it meant that each pixel area was larger than, say, a 24mp rated sensor of the same size. That results in more captured information per pixel, which in turn results in less noise. This is the only camera I know that can be used at ISO 6400 and still produce an acceptable 50mb, 300dpi image. I’m not saying that you won’t need to run some noise reduction software to massage the photo. You will, but you won’t require a lot of tweaking. A routine run through Neat Image should do the trick. I have actually used the D3s as high as 10,000 ISO with complete success – and this is from someone who used to preach on the merits of Kodachrome 25. That said, I prefer to keep the ISO level to below 3200 on the D3s if possible.<br /><br />The D3s has a completely different sensor than the D3. I am finding the new sensor to be a big improvement. In addition to the benefit of extended ISO range, the color palette is much more accurate and pleasing. I always shoot a gray card for every scene so I have a starting reference point for color correction. I rarely need to apply it with the D3s.<br /><br />The Nikon D3s is a rugged camera, as are all the professional grade Nikons (D300s, D700, D3x). I have no compunction about taking them out in the freezing snow, in soaked environments, or excessively hot desert sands. In fact, I have done all of those things and more. These cameras can take a beating.<br /><br />The original D3 sounds like a machine gun going off when you hold the shutter down. Nikon managed to dampen the sound considerably in the D3s so it is much quieter. I never minded the sound of the D3. If fact there is something perversely romantic about it. I recall a shoot I did out west of cowboys galloping over a hill top. While the frequent cry<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_HOS2obwqDyc/S6OjLZPgI-I/AAAAAAAAAE0/-Mi1IrmoWjQ/s1600-h/ti0137977.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 400px; height: 286px;" src="http://3.bp.blogspot.com/_HOS2obwqDyc/S6OjLZPgI-I/AAAAAAAAAE0/-Mi1IrmoWjQ/s400/ti0137977.jpg" alt="" id="BLOGGER_PHOTO_ID_5450379390198227938" border="0" /></a> from other photographers yelling, “I buffed out”, was heard after only a few seconds of shooting, the staccato sound of my D3 shutter carried on until the cowboys finished their run.<br /><br />A professional photographer never travels without a backup camera body. The high price of the top DSLR models adds a steep economic curve to this procedure. Thankfully, Nikon introduced the D700. This camera has the same sensor and image results as the D3 but without the speed and buffer. Adding the relatively inexpensive extra battery pack to the bottom of a D700 increases it to 8fps – fast enough to make it a good backup camera when speed is required. Without the battery pack the D700 is a much smaller camera than the D3 making it a nice choice for walk-around travel where you don’t need the speed or buffer. Hopefully, Nikon will introduce a D700s soon to complement the D3s. The one annoying thing I find for the D700 is that it does not have a 100% viewfinder.<br /><br />The Nikon D3x is a whole other animal. After shooting with the 24.5MP D3x for awhile the results were so impressive that I sold off my medium format digital system and replaced it with this. My chief use for this camera is shooting scenics and still life.<br /><br />Something you should know about this camera is that while it is rated at 5fps, this speed is only approachable if you have the camera in 12-bit mode. Nikon professional cameras can switch between 12 and 14 bit mode. Naturally, 14 bit mode contains far more information and will slow down the camera processing time. In most cases with the D3x this is not a problem because I only use it for scenic and still life shooting where speed is not a factor. If you do require the speed, however, be aware that this camera slows to a crawl in 14-bit mode.<br /><br />Most of the time I use Nikon cameras in 12-bit mode. My decision for selecting one mode over the other depends upon the exposure range of the scene I am photographing. In a controlled studio or location environment where I am supplying the lighting, I use 12 bit. There is no reason to collect extended exposure data where none exists. Photographing a scenic environment on a bright day with deep shadows and extremely bright highlights is another matter. Here I switch to 14-bit processing. When the scene is very extreme I also process the image in Nikon’s Capture NX2 software. This takes full advantage of the Active-D lighting of these cameras.<br /><br />Active-D lighting adds a dynamic<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_HOS2obwqDyc/S6OhkQpKwjI/AAAAAAAAAEk/pMm8zJ6diB0/s1600-h/ti0136958.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 267px; height: 400px;" src="http://1.bp.blogspot.com/_HOS2obwqDyc/S6OhkQpKwjI/AAAAAAAAAEk/pMm8zJ6diB0/s400/ti0136958.jpg" alt="" id="BLOGGER_PHOTO_ID_5450377618363433522" border="0" /></a> range to the scene that is lot like HDR processing an image, but Nikon has the advantage of being able to do it in camera with one shot. I menu-set my Nikons with Active-D on “auto”. This gives me the option of applying it later with Nikon Capture NX2 software and selecting whatever range I find appropriate.<br /><br />The D3x has a native ISO of 100 compared to a native ISO 200 for the D3s. While the D3x is rated to a high ISO of 1600, I never push it that far. In fact 99% of the time I use it at ISO100. I acquired this camera to exclusively shoot highly detailed images, similar in result to a medium format digital system. If I’m going to be pushing the limits of available light, I reach for the D3s.<br /><br />Some photographers have wondered why I added a Nikon D300 (now D300s) to my overall system. After all, it is a DX camera with a smaller sensor. Why would I use it when I could have the D3s instead?<br /><br />The reason is simple: I use it because of its frame factor. The D300s is a 12.3MP camera with the same sensor as a D3. HOWEVER, both cameras produce exactly the same RAW image size. That is the key. A D300s has a magnification factor of 1.5x. For example, a 400mm lens used on a D300s is equivalent in focal length to a 600mm lens on a full-frame DSLR. I find this very handy when doing animal photography. The D300s is better than carrying along a tele-extender. It serves to dramatically increase my focal length without sacrificing the image sharpness or aperture of the lens. Physically it has the same body type as the D700.<br /><br />The D300s takes the same extra battery pack as the D700 that boosts the motor speed from 7fps to 8fps – more than enough to capture fast-moving, telephoto action.<br /><br />I don’t push the ISO limits of a D300s, rarely using it over 400ISO. It already begins life with a smaller frame size. That doesn’t provide as much wiggle room as the image from a full frame sensor.<br /><br />The D300s has a 12.3MP sensor, and the D3s, and D700 have 12.1 MP sensors all resulting in about a 35MB image size. As mentioned above, I require a final 50MB image for professional commercial stock. That requires interpolating the image up from its original size. I bring most of my RAW images in through Photoshop Bridge (except as noted above when I use Nikon Capture NX2) where there is an option to save the image at plus one or plus two size. After trying many software solutions for image interpolation, I have found that Adobe Bridge produces the best results. Plus one brings the image in as if it were a 17.4MP size, which is almost a perfect 50MB tif file. When I compared these images to those of 35mm digital cameras that actually produce that size, I detected no difference at all. The only camera I found that produces a superior image is the 24.5MP Nikon D3x, and for stock uses that image has to be interpolated down to 50MB.<br /><br />The bottom line here is that Nikon has produced a professional camera system where each body works as a complement to the others in the series. Because of the extreme variety of my subject matter I use all four cameras – each for a different purpose. Nikon might have been a little late to the party with a full frame sensor, but it instantly became queen of the ball with its impressive, integrated lineup.Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com5tag:blogger.com,1999:blog-3769452336849557532.post-71223250407267387162009-11-18T08:58:00.000-08:002009-11-18T10:52:53.605-08:0050 x $200 = 200 x $50This rather obvious formula is indicative of the reason behind the plight facing contributors to stock photo industry today as it transitions from a high-priced print usage system to a high-volume digital system of economics. Stated simply, it means that a stock photographer today needs to adapt image output to mass marketing at lower prices – something easier said than done. A stock shooter makes the same amount of return from making 50 sales at $200 apiece as making 200 sales at $50 apiece. This begs the question: Is this equation in marketing transition actually occurring?<br /><br />Although the transition to digital marketing began over ten years ago in the stock industry, it is only recently that its full impact has produced a turmoil of new pricing models. While we have been focused on obvious culprits, such as the proliferation of image glut bought on by easier entry to the market for first timers due to the simplicity of digital cameras along with the appearance of cheap marketing through microstock agencies, the real culprit is the switch in image usage from print to digital output. <br /><br />Newspapers and magazines are dying at a rapid rate, and along with them the high image pricing that was commensurate with this medium. While we would expect the image usage in outlet to make its appearance someplace else in the digital media, the full transfer has not taken place and therein rests the conundrum. It means that the income the photographer is losing in print, is not fully being made up through current internet sources. The internet, as a commercial media outlet, has not evolved to a point where its revenue stream is fully developed. It is important for a stock photographer today to realize that this is occurring and to begin taking tactical steps to make a smooth transition. <br /><br />Bucking the inevitable trend indicated by the formula above by seeking only large individual image sales will only result in frustration through failure for stock shooters. The trend is inevitable. Photographers will have to adapt or die. Already Getty, the largest stock agency in the world, is adapting to the re-pricing structure by tiering its prices and including a full range of lower price ranges. The problem is that the market for the lower priced imagery has not fully matured to where its volume is profitable enough to completely supplant the former print market so we are left hanging onto an archaic business model that is rapidly moving to oblivion. <br /><br />A positive result of the transfer to internet usage of images is the mammoth global market it opens up. This is much larger than the reach of the former print outlet. The question is when will this new market reach critical mass so that it not only replaces but ultimately supplants image usage in print. Another positive aspect is that spreading marketing over a larger customer base results in a more stable income stream. This is because it is easier to absorb a few sales dropouts from 200 potential sales than from 50. <br /><br />The stock photographer today needs to adapt to the shift that is taking place. The new marketing form requires a new business model. There are several possible steps to take. One is to diversify the stock subject range covered particularly into more specialized areas where you have an edge over other photographers. I know of one photographer who derives considerable income from photographs of butterflies because it is a subject he knows well and excels at producing superb images. The market for butterfly images might not have been extensive during the print era, but the internet era opens up far more potential outlets for this material. <br /><br />Another way to adapt is to find ways of widening the exposure for your stock images. The past few years has seen the advent of a new type of agency model called “stock networks”. These are aggregators of images. They serve as a conduit for stock photographers into the widest possible global network for stock sales. Companies like Tetra Images, and Blend Images submit images to a vast stock agency network throughout the world. It would be virtually impossible for the individual shooter to attain this range of exposure. The stock networks add value to the images by having them pre-edited, pre-keyworded, and run through quality control so they are market-ready when they are released into the agency network. This is a huge saving for the agencies and results in higher return rates to the stock networks. These higher rates are passed along to the contributors in the form of higher royalty rates.<br /> <br />Stock photographers also need to explore image uses that did not exist before or were not previously lucrative. Print sales is one such outlet. This is an emerging market as cultural acceptance of photography as a decorator art form expands. When you go to a hotel today you are more likely to see photographs appearing on the walls than in prior times. Photography usage is also proliferating on things we use in daily life – mugs, tee-shirts, calendars, cell-phones, wall paper, etc.<br /><br />The successful stock photographer of the future will bear little resemblance to a stock shooter of ten years ago. It is time to re-examine the stock business model and, without prejudice of relying on archaic marketing concepts, to understand and align ourselves with the new, emerging market. To be sure, this will be a bumpy road until dedicated highways are paved into it. Waiting it out will not ease the process. Seeking the means to adapt now will serve to make the transition smoother as the shift inevitably occurs.Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com1tag:blogger.com,1999:blog-3769452336849557532.post-80434189647980576592009-09-25T14:35:00.000-07:002009-09-25T14:55:32.032-07:00Help is on the way for micro submissionsA major problem with Micro stock submissions is that they are very labor intensive -- particularly if you are making submissions across 5-10 agencies, all with different needs and criteria. Recently, I tried running a submission of a hundred plus images through the beta version of a new micro facilitator company called, LookStat (<a href="https://www.lookstat.com/">www.lookstat.com</a>). Once I signed up, I was able to upload my jpgs, model releases, and a list of the micro agencies where I have accounts to their ftp site, and they took care of the rest. They performed all the keywording and uploading of images. And if there were any problems with the submission, they took care of those, too.<br /><br />Sure there is a fee involved, but when I factor in the savings of time and aggravation and apply that time to producing even more pictures, I probably come out ahead of the game. Plus, the guys at LookStat know their stuff, which makes things even smoother for having images accepted.<br /><br />There is a free analy<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_HOS2obwqDyc/Sr07Th4wrhI/AAAAAAAAAD0/UI6nooVUOO4/s1600-h/lookstat.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 253px; height: 206px;" src="http://2.bp.blogspot.com/_HOS2obwqDyc/Sr07Th4wrhI/AAAAAAAAAD0/UI6nooVUOO4/s320/lookstat.jpg" alt="" id="BLOGGER_PHOTO_ID_5385525936104975890" border="0" /></a>tic dashboard service on their web site that provides you with personal sales data for your micro sales in select agencies. Currently it is set up with iStock and Dreamstime, but other agencies are planned to be added in time.<br /><br />Service provider companies, like LookStat, are an indicator of the growing micro outlet. Any one submitting to micro stock on a regular, professional basis will need to add either in-house staff to handle the increased load of work, or find a service like LookStat to do it for them.<br /><br />For me, the service is money well spent.Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com2tag:blogger.com,1999:blog-3769452336849557532.post-66046732442302554542009-09-17T05:12:00.000-07:002009-09-17T05:18:09.065-07:00Don't Blame MicroMicrostock is often blamed as the cause of the lower prices and high levels of competition that have crept into the stock photo industry this decade. I happen to believe that microstock is not the cause of the turbulence, but merely one of the results of a process that began awhile ago. The seeds of change go back over ten years, before there was a microstock. What we are witnessing today – including the emergence of microstock -- is a series of aftershocks from the massive, catastrophic change of events that took place ten years ago.<br /><br />At that time the stock universe as many of us old timers knew it imploded into a black hole, which then exploded to create a new universe of the stock internet. The dispersed matter from the planets that had been big agencies (Image Bank, Stock Market, Photodisc, etc. ) in their own right now formed together into new planets called Getty, Corbis, and, a few years later, Jupiter. <br /><br />Today microstock is at the forefront of every traditional shooters mind. But it is not, per se, the cause of the current decline in the traditional stock market. Microstock is merely one of the results of the egalitarian use of images brought on by the pervasiveness of the internet in the global design community, and one of the aftershocks of the internet. Computers became easy to use. Digital cameras, which themselves can be construed as nothing more than image computers, made it easy for anyone to take a correctly exposed photo suitable for at least low level design -- and there is currently a lot of low level design out there, also due to the prevalence of the internet.<br /><br />The point I’m trying to make is that what stock photographers are experiencing right now is not something that just happened yesterday. It happened over a decade ago ,and a decade ago – not now -- was the time to begin implementing and sticking to a plan dealing with the new universe of stock photography. Why is this important? Because change is disruptive, and constant change is even more disruptive. Devising a master plan and sticking to it is more conducive to success. Ever see someone constantly changing highway lanes in bumper to bumper traffic? They get nowhere faster, but they do increase their anxiety level. It’s the same thing here.<br /><br />I’m not saying that a stock photographer shouldn’t make course corrections along the way. These will always be necessary as the new universe continues to cool down and coalesce – to refer back to my initial metaphor. But we should never lose sight of the initial plan. Constant, violent changes in reaction to every dip and dive of the stock photo market will make you crazy and probably render you impotent for producing and selling real money making content on a steady basis. When I lecture, I always warn new stock shooters that the biggest pitfall they face is being lost in the fun house. There are just too many options constantly popping up in stock photography leading to complete paralysis on the one hand, and over-reaction on the other. Steady as she goes is the name of the game.<br /><br />This begs the question: How do we measure the success of our strategies in these turbulent times? RPI is the obvious answer, but here, too, we can be fooled by a number. In today’s universe it is less important to have a high RPI, than it is to have a steady RPI number. When your number is steady, you can perform sound business planning. When it is high but fluctuating wildly, you can’t. This is one of the reasons I like the RF distribution agencies like Tetra, and Blend. They are aimed at producing a steady RPI through a wide, global distribution of images. In the recent financial crisis I noticed that in the beginning the U.S. was suffering the most from the downturn while income shifted more from the European side. As the U.S. results began to improve, Europe went down. This helps smooth out the curve of my returns. <br /><br />This gets me back to microstock and what we should do about it right now. The RPI from a quality image placed with all of these agencies averages around $5-8 per month. This has held fairly steady over the two and a half year period I have been examining the market. I should add that the micro photographers who have been involved from the get-go are reporting to me that the image life in micro diminishes rapidly – far, far faster than it does in traditional stock, from what I can see. <br /> <br />Since this RPI is higher than a photographer can expect from other stock agencies except for Getty , Tetra, and Blend, and perhaps other distributor agencies, you might wonder why I don’t jump in whole hog producing for micro. The answer to that is more complex and involves what I said about micro being just one step (aftershock) in a continuing evolving universe. <br /> <br />Without strong traditional shooters capable of spending a hefty amount on image production, micro will flounder. It will have to stay right where it is serving a low level client with cheaply produced images– or it will have to raise its prices. The micro world is already showing signs of shakeup with some agencies going out of business, while the smaller ones are no longer able to gain new ground, and new competition as the big agencies -- Corbis and Getty -- jump into a low price model. The gap between the five largest micro agencies is widening so that, here too, change will occur. Right now a micro shooter can achieve a decent RPI because images can be placed over a number of agencies. What will happen when one agency takes such a prominent lead that it can demand exclusivity from its contributors? Think it won’t happen? iStock is the largest micro agency, currently out-pacing all the others in growth, and is owned by Getty. Think again.<br /> <br />So what’s a shooter to do? If you had a solid plan that began 5 to 10 years ago and it is still working, stick with it. Keep a wary eye on what is happening around you, but don’t jump ship in panic. My own strategy began forming almost ten years and was solidified nine years ago when I left Comstock and all my analog photos behind me to begin anew in the digital age without a single image. I realized that the largest planets in the new universe, Getty, and Corbis, as well as the agencies that survived near death with the black hole would all need a new form of digital product for the digital age. I subscribed to the advice I give anyone starting out in stock, namely to find around three or four solid outlets for your images. Firstly, I formed Tetra secretly in a quiet corner of the internet, for I knew that project would take at least three years to get to launch with only me doing partial shooting for it. Secondly, I joined a few major agencies in an effort to find which one would be best and winnowed the list down. Thirdly, I jumped on the Blend bandwagon, for his plan already dove-tailed with my newly formed philosophy of marketing in the internet age. Blend was a brilliant move during this business climate, and remains so today.<br /><br />And since then? Since then, I have remained steady to the course, making only minor corrections along the way to adjust to changing winds. I have been fortunate to see income increase steadily every year -- yes, even this year despite the downturn -- since the inception of this plan with good prospects ahead. I have aimed most specifically for a steady RPI, not just a high RPI. This has taken me into some esoteric topics and strange areas of agencies, but allows my growth plan to remain steady. I keep a lookout up on the masthead at all times watching for dangerous shoals, such as microstock. I have purposefully kept overhead low, a thing I find important in a rapidly evolving global climate, such as the internet. This involved out-sourcing instead of hiring, and running a virtual office instead of over-spending on rent.<br /><br />We can look at the stock marketplace as a glass half full or half empty. An important thing to keep in the forefront of your thoughts, however, is that there is always water in the glass – meaning there are always people buying stock photos. They may not pay what they did in the past. They may not buy the way they did in the past. But they are buying images every day, in every corner of the world. I don't think I have to go out on a limb here when I say that I do not see this changing in our life time. So the real question you must ask yourself is how do you stay in the water part of the glass.Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com4tag:blogger.com,1999:blog-3769452336849557532.post-90147309610963486862009-08-01T09:04:00.000-07:002009-08-01T09:21:32.844-07:00New Nikkor 70-200mm lens announced<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_HOS2obwqDyc/SnRn-qsn5AI/AAAAAAAAADs/2c833MVbSHI/s1600-h/70-200.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 171px; height: 117px;" src="http://4.bp.blogspot.com/_HOS2obwqDyc/SnRn-qsn5AI/AAAAAAAAADs/2c833MVbSHI/s320/70-200.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5365027382416106498" /></a><br /><br />Nikon recently announced the a completely redesigned version of its 70-200m lens. This is the third lens in the lineup of professional zooms created to deliver the maximum quality with the digital FX cameras -- the D3x, D3, and D700. A 14-24mm f2.8, and 24-70mm f/2.8 were introduced concurrent with the advent of the D3 camera. The Achilles heal of digital full frame lenses, particularly wide angles, has always been the corners of the frame where they often go soft. These lenses have a breathtaking sharpness edge to edge. The wide zooms do exhibit spherical distortions, but this is easily corrected in post-processing software, whereas edge softness is almost impossible to overcome.<br /><br />The older Nikkor 70-200mm f/2.8 G-AFS-ED-IF lens, while very quick to focus and dead-on sharp in the center, did exhibit corner softness on FX cameras, particularly at 200mm. The new AF-S Nikkor 70-200mm f/2.8G ED VR II is purported to deliver edge to edge sharpness, 7 (instead of 5) ED lens elements, better contrast with Nano Crystal coated elements, a quieter motor, and an improved vibration reduction system, VR II, claiming to be steady up to 4-stops. What's there not to like?<br /> <br />Add a 200-400mm f/4 lens to this zoom threesome and you increase the continuous range of your focal lengths from 14mm to 400mm. <br /><br />Nikon re-took the lead in professional cameras when it introduced the FX bodies. This complement of zoom lenses complete the package, making it the most perfect camera system I have ever seen.<br /><br />I have my order in for a new 70-200m as soon as they become available in November.Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0tag:blogger.com,1999:blog-3769452336849557532.post-10752219205619461622009-06-23T18:33:00.000-07:002009-06-23T18:43:26.093-07:00RM attitudeIn the current downturn in stock sales, shooting what I call “me-too” images won’t make the cut. To be successful a stock photographer will have to go back to RM roots to produce unique images. It doesn’t matter if the images are intended for placement in RF or micro. It only matters that they are produced with an RM attitude. <br /><br />I used to tell potential RM stock shooters that they needed to picture the sales process involved in the selling of their images. The selling price of an RM image is negotiated between a salesperson and a client. If the image is unique, for whatever reason, the salesperson could demand a high price and stick to it. On the other hand, if the image was good but something similar could be procured elsewhere, the negotiation process would stagger and the sales person would have to back down. Both the sales person and the client know the uniqueness of the images. That uniqueness is the crux of the negotiating process. Successful RM is a unique image.<br /><br />Most images today are sold in an RF fashion – meaning no negotiating. Nonetheless, image glut (i.e. The over stuffing of similar images into the image marketplace.) has put severe downward pressure on image sales. The majority of image purchases do not need a “unique” image. In such cases micro has provided an almost free alternative to buying an RF shot. There is a lot of “me-too” imagery out there, particularly in micro. <br /><br />Stock photographers who will survive the current financial debacle will need to understand and shoot to an RM standard. And the keyword, as mentioned above, is uniqueness. When you are looking through the viewfinder, ask yourself: If a salesperson was on the phone with a client, would he/she be able to ask top dollar for my image because it is unique -- or is it similar to one of a thousand others available elsewhere? If you can’t answer the question, you are in the wrong place. If you can’t answer it in the positive, you may need to rethink your career.<br /><br />These are tough times. I am not being pessimistic here, just realistic. Quality, now more than ever, will out. Despite the doomsday attitude prevalent in the current financial crises, sales of stock images will not go away and some stock photographers will continue to make substantial sums, but an RM attitude is absolutely necessary to a "go-forward" successful career.Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com1tag:blogger.com,1999:blog-3769452336849557532.post-70873504635055061762008-08-27T05:45:00.000-07:002008-08-27T05:51:16.242-07:00File storage on the go<a href="http://4.bp.blogspot.com/_HOS2obwqDyc/SLVNZjiGcvI/AAAAAAAAACg/f0RzFwSGJ9I/s1600-h/hyperdrive.jpg"><img id="BLOGGER_PHOTO_ID_5239178842945778418" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://4.bp.blogspot.com/_HOS2obwqDyc/SLVNZjiGcvI/AAAAAAAAACg/f0RzFwSGJ9I/s320/hyperdrive.jpg" border="0" /></a><br /><div><span style="font-family:arial;">Tired of lugging a laptop with you on every location shoot? I was. So for a recent travel shoot I picked up a new card transfer and storage device. I had purchased several of these devices in the past, but was always disappointed by speed, reliability, and battery life. I was hoping that technology had advanced enough so these short comings would now be overcome. I was right.<br /></span></div><div><span style="font-family:arial;"><br />The model I purchased is the new <a href="http://www.hyperdrive.com/HyperDrive-COLORSPACE-O-s/42.htm">Hyperdrive Colorspace 0</a>. This card reader has a 3.2” color screen that displays JPG and a long list of camera RAW including Canon CR2 / CRW, Fujifilm RAF, Konica Minolta MRW, Leica M8 DNG, Nikon NEF, Olympus ORF, Panasonic RAW, Pentax PEF / DNG, Ricoh DNG, Samsung DNG, Sony ARW. Backup speed is very fast on a battery life claimed to deliver 120GB per charge. An interesting feature is its card recovery tool for recovering lost or deleted images on a memory card. Fortunately, I did not have an opportunity to try out this feature. If I ever do, I will report the results here.<br /><br />Hyperdrive comes with drive sizes ranging from 80GB to 500GB as well as a casing only model allowing you to add your own drive.</span></div>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0tag:blogger.com,1999:blog-3769452336849557532.post-17586356934875572142008-08-25T06:32:00.000-07:002008-08-25T06:53:23.896-07:00Image Half Life<span style="font-family:arial;">Quite often I am asked how long a stock image will live. I have always had difficulty answering this question because, while sales from some images diminish rapidly, other images continue to generate sales for over twenty plus years. After some analysis, I came up with a concept of “image half life” to explain the rate at which stock photo income declines over time.<br /><br />The term “image half life” is borrowed from physics where it refers to the unpredictable life span of a decaying atom. Similarly, in stock photography a body of work will not just stop earning at one point in time. Instead it will probably follow a course whereby it produces steady income for several years and then gradually begins to diminish over time. The rate of diminishing return varies with a number of circumstances – longevity factor of the individual image subject, the agency where the image is placed, changing photographic styles, changes within the stock marketplace, and numerous other factors.<br /><br />Simply put, image half life in stock photography refers to the period of time over which the sales from a body of stock images will diminish to half of what it was in its first year of marketing. As an example, let’s say we have a body of newly produced images earning $10,000 annually. If in five years the same body of work is earning only $5,000, and five years after that (ten years from initial marketing) earning $2500, then the image half life is 5, for five years.<br /><br />Why is image half life important? Stock photographers derive income from royalty payments over time. In order to predict income from a body of work in years to come, it is important to factor in image half life. For purposes of planning retirement income, for instance, you need to know how much income can be expected from a body of work receiving diminishing returns over time.</span><br /><span style="font-family:Arial;"></span><br /><span style="font-family:Arial;">Once you do the calculations, you will find that it only takes a small percentage of new images added annually to the existing portfolio to maintain its consistent income over time.</span>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0tag:blogger.com,1999:blog-3769452336849557532.post-89398967110895587302008-08-22T10:01:00.001-07:002008-08-22T10:03:45.767-07:00Globalizing your stock imagesIn RF stock photography where the royalty rate is low the name of the game is multiple sales. Internet marketing has made this a breeze for photographers who put their images with agencies or outlets having global distribution schemes. Giving your images a non-specific country look can serve to increase sales globally.<br /><br />Including any language in a photo is a sure way to localize it. So try to avoid the presence of words. For instance, when photographing a school scene with a blackboard, it would be far more generic to have math problems written on the board.<br /><br />Check out uniforms, a European nurse’s uniform might be different than an American uniform. Perhaps all you have to do is modify the nurse’s cap. Pay attention to clothing styles and hair styles everywhere, and select your wardrobes accordingly.<br /><br />Whenever I travel to a foreign country, I make a habit of visiting several large department stores to see what people there are buying and what images advertisers use in their displays. You might learn that including something as simple as a home phone in your photo is a quick give-away that the shot was done in the USA and not Europe, thereby hurting potential European sales of the photo.<br /><br />Much of this seems obvious, but is often over looked by the stock shooter. Always try to imagine the end use of your images, and keep in mind that the use may be in a completely different part of the world. The more universal you keep the image, the more you increase your chances for multiple sales.Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0tag:blogger.com,1999:blog-3769452336849557532.post-73891430498249829192008-08-03T14:05:00.000-07:002008-08-03T14:09:47.411-07:00First things first<span style="font-family:arial;">To be successful, a stock photo must first grab the viewer’s attention. That’s something of a given. What comes next is something often overlooked by even the most seasoned stock shooters.</span><br /><span style="font-family:arial;"> <br />Before you ever pick up the camera, you need to know the end use of the image you are about to take. Specifically, this means knowing the industry being served and how the subject of the photo relates to that industry. Let’s look at an example.</span><br /><span style="font-family:arial;"><br />The insurance industry needs images for auto insurance, home owners insurance, theft insurance, fire insurance, flood insurance, and on and on. The list is quite extensive. Once the stock shooter has the industry list of needs, the next step is to determine how these topics could be illustrated.<br /> <br />We can divide the coverage into negative and positive methods. For instance, showing a crashed car, burnt home, or the results of any disaster is the negative way of illustrating the point. Showing a person feeling secure because he or she is protected by insurance is a positive was of illustrating the same point. In general, positive images will always outsell negative ones in stock photography. That is because advertisers want to gain allegiance from their customers by imbuing their ads with a nurturing feeling, as opposed to showing them something that scares them to death. Positive trumps negative.</span><br /></span><span style="font-family:arial;"><br />In sum, to create marketable stock photos you should fill the advertising needs of a specific industry, actively illustrate these industry needs in a positive way, and make the image powerful enough graphically to grab the viewer’s attention in a fraction of a second. Note the order here. We don’t start with a photo idea and work towards the industry. We start first with a researched understanding of the industry and work back to a powerful image. </span>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0tag:blogger.com,1999:blog-3769452336849557532.post-77007070579957954202008-07-28T04:40:00.000-07:002008-07-28T04:46:51.328-07:00Dealing with Image Glut<span style="font-family:arial;">It is becoming increasingly clear that the glut of images in the market place is causing downward pressure on individual sal<a href="http://bp0.blogger.com/_HOS2obwqDyc/SI2xXhzvP-I/AAAAAAAAACA/IwxoTHXEu6I/s1600-h/ti0127136.jpg"><img id="BLOGGER_PHOTO_ID_5228029760217497570" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp0.blogger.com/_HOS2obwqDyc/SI2xXhzvP-I/AAAAAAAAACA/IwxoTHXEu6I/s200/ti0127136.jpg" border="0" /></a>es. This does not necessarily have to bring with it the global doom that I’m hearing. A very similar industry downturn occurred when the advent of RF coincided with the stock photo universe coalescing into th<a href="http://bp2.blogger.com/_HOS2obwqDyc/SI2wg0BMsaI/AAAAAAAAAB4/UwHWUf2ETPU/s1600-h/ti0127136.jpg"></a>ree large agencies. The reason was the same: Catalog marketing in an analog environment became so overly competitive that individual photographers as well as the smaller agencies could no longer compete successfully. But the end result was a shake out – a shake out of those who were simply riding on the coat tails of others. Those photographers and agencies who continued to bring a smart understanding of the marketplace continued to survive, in many cases even better that before.<br /><br />The same is true now. Those photographers and agencies who can adapt to the changing landscape will be successful. The rest will fall by the wayside. The demand for stock photography is not going away. The method for fulfilling the images demands must change to meet the changing landscape of the current marketplace, namely the internet and its ability to cope with database glut.<br /><br />I am seeing one substantial ray of hope out there right now, and that is Alamy. More than any other agency, the Alamy business model has forced it to come to grips with image glut. In recent years the Alamy image base has grown exponentially due to its lack of a controlling editing policy. I have enough images with Alamy to witness the impact this image glut has had on individual Alamy sales. Quite frankly, sales plummeted. Alamy was forced to come to terms with this problem or loose market share because clients would become increasingly turned off having to wade through hundreds, or even thousands, of useless photographs until the right one showed up in a search. This is an extremely damaging position for an agency to maintain. So Alamy reinvented the search with a refined search algorithm they called Alamy search. This algorithm gave precedence in a search to those contributors who consistently achieve the highest click-through coupled with the highest sell-through. Since Alamy has instituted this new search algorithm my sales have climbed steadily to where they are almost back to their previous highs.<br /><br />In short, now more than ever the key to survival for a photographer will be to adopt strategies to achieve a very high sell-through rate coupled with a high RPI. This is the ONLY way to survive and be successful in the changing landscape. All others will fall by the wayside along with those agencies who cannot cope. The agencies themselves will have to adopt Alamy’s position and invent ways of dealing with their image glut. Otherwise they, too, will die – and I include Getty in this.<br /><br />What can a photographer do now? First, hone skills to be sharper than ever at producing very market oriented photography in a popular and useful style. Understand the marketplace, namely, the internet and its impact on the customer image selection process. Second, keep an ear to the ground and listen for impending changes in the agency landscape. Third, realize that new images will have to be reinvented on a regular basis to keep them fresh.<br /><br />New agencies and new agency models will be coming into play quickly now. Photographers must be prepared to ride the successful changes that occur. Will it be a Corbis or Jupiter supplanting Getty as number one? Will it be some agency that doesn’t even exist now? Will we witness the strong return of the boutique agency? Or will it be the micro agencies? More than likely it will be something we can’t even envision right now -- like the new Alamy search algorithm -- redefining the playing field. This policy coupled with a strong image database will be the key to success. We can count on photo buyers to seek out the best image solution at the most competitive price, as they have always done. To be successful a stock photographer will have to make certain that when that image purchase is being made, his or her images are in the forefront to the client’s view.<br /><br />As always, success remains in the hands of the shooter. </span>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0tag:blogger.com,1999:blog-3769452336849557532.post-74675511529787591642008-07-27T08:46:00.000-07:002008-07-27T09:13:01.664-07:00Achieving a click-through<span style="font-family:arial;">The other day I was sitting at the desk next to my son, Daniel, as he was editing some of his stock images. The images were small, but I could still see the subjects quite clearly from across the room – except for one image, which was a mystery to me. I just couldn’t make out what it was about. I told Daniel that he would probably have trouble selling that photo because it was too difficult to see in a small size.<br /></span><br /><span style="font-family:arial;">Here’s why:</span><br /><br /><div><div><span style="font-family:arial;">Before any stock photo can be sold on the internet it has to achieve a click-through. A click-though is when someone performs a mouse click on a thumbnail image in order to see the image larger. No click-through, no sale. This sounds obvious, but it is something regularly ignored by many stock shooters. The first time a potential client sees your image it will be vying for attention on a page filled with about 30-100 thumbnail photos, each of them about the size of a postage stamp. You have a fraction of a second in which your photo must grab the attention of the client and achieve a click-through giving your photo a second, more detailed, consideration.</span></div><div><br /><span style="font-family:arial;">Let’s look at a few devices you could use to give you photos a better chance at achieving that click-through. First, you have to realize that the shape of the space allocated to each images is a square.. This is because the programmer doesn’t know in advance whether the photos is a vertical, horizontal, panoramic, or square in format. A square accommodates all sizes. Problem is that most images are rectangular and not square. This wastes valuable real estate on the screen. One method for gaining more attention for your image is to crop it to fill more of the square space allocated to its display. The more of the square space you fill up, the larger your image appears relative to others on the same page. </span></div><div><span style="font-family:arial;"><br /></span><span style="font-family:arial;">This doesn’t mean you have to crop all images square, but you should consider using the more practical formats of the 6x4.5 camera. It will present a larger image that the 35mm format, and adapts more appropriately to standard page usage anyway. So you will be aiding the art director while helping yourself. As for panoramas – well, sad to say they lose almost all of their format power because of their reduced thumbnail size.</span></div><span style="font-family:arial;"><br /><div>A second consideration for you image is compositional simplicity. A complex composition with a lot going on in a jumbled mess is no way to make your image easy to read. Rem<a href="http://bp2.blogger.com/_HOS2obwqDyc/SIyZWLV8jbI/AAAAAAAAABg/vPidtdOvgK0/s1600-h/lobsters.jpg"><img id="BLOGGER_PHOTO_ID_5227721873751313842" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp2.blogger.com/_HOS2obwqDyc/SIyZWLV8jbI/AAAAAAAAABg/vPidtdOvgK0/s200/lobsters.jpg" border="0" /></a>ember, you have a fraction of a second to peak enough curiosity to make the person want to take another look. Simplify your compositions. What you exclude becomes as important as what you include. Give your subject space that sets it off clearly. You want the photo to provide a quick read even in a tiny size.<br /><br />You will notice in the two lobster photos how the one on the left jumps off the page for a quick "read" as to what it is, while the one on the right is confusing and lost in the background. Note, too, how the 6x4.5 format of the left image makes is larger in relationship to the 35mm format on the right.</span><span style="font-family:arial;"></div></div></span><div><a href="http://bp3.blogger.com/_HOS2obwqDyc/SIybARBcaRI/AAAAAAAAABo/RmPcNmqhC54/s1600-h/office.jpg"></a><br /></div><img id="BLOGGER_PHOTO_ID_5227723953167005698" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_HOS2obwqDyc/SIybPNxR-AI/AAAAAAAAABw/xAaf2cQrmQs/s200/office.jpg" border="0" /><span style="font-family:arial;">Third, carefully craft your color palette. This does not mean putting a color cast over the entire image – far from it. Work the colors within the image so they harmonize and complement one another. A unified palette gains more attention. Martha Stewart and Ralph Lauren are two masters of using the color palette for marketing in this commercial way. They are also working very close to the current color trends of our culture. Pay attention to what they are doing. Also look at the larger clothing chains for inspiration. This is a way to make your photo look fresh without resorting to negative devices like color casts over the whole image. In the photo of the office worker the background was kept intentionally neutral gray. Even though the image is small, this devise draws immediate attention to the important story-telling detals of the red flowers, candy box, and valentine heart on the card.</span><br /><span style="font-family:arial;"><br />You have a fraction of a second to win over your audience. Use your time wisely.<br /></span>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0tag:blogger.com,1999:blog-3769452336849557532.post-16104616519042559232008-07-26T04:21:00.000-07:002008-07-27T09:13:59.725-07:00Nikon D3<span style="font-family:arial;">The Nikon D3 camera continues to amaze me after six months of steady use. I've been shooting professionally for over thirty years. This camera is the best instrument I have ever used. The super-fast 9fps motor drive makes capturing models spontaneous expressions a breeze. I had all but given up trying to achieve fluid, candid movement with my models due to the slow motors and short burst rates of previous digital cameras. It seemed that the scene would just be getting good when the buffer would fill up and the camera would deliver its "busy" signal. Spontaneity lost! </span><br /><br /><span style="font-family:Arial;">The fast focusing lenses and easy internal focus system of the D3 make the job even easier. I am finding myself literally completing a scene with models in less than a minute -- often in just a few seconds. I have come to depend upon all images being sharp as the fast 70-200mm zoom -- my favorite tool for lifestyle shooting -- keeps every frame in focus. There are hardly any wasted exposures.</span><br /><span style="font-family:Arial;"></span><br /><span style="font-family:Arial;">The other thing I find amazing about this camera is its image quality. For a 12+mp sensor it packs the quality punch of sensors over 20mp. I've done tests with it against my Canon 1Ds MkIII where both images are interpolated to 50mb size. The Nikon holds its own with equal detail and takes the lead when I begin to push the ISO ratings over 400. The Nikon takes a noiseless image up to about 800 ISO, and I have achieved professional results with some minor tweaking in the noise reducer, Neat Image, with ISO's of 1600 and even an occasional 3200. What is becoming apparent is that the most important determinent of image quality is not the megapixel number but the quality and size of the sensor.</span><br /><br /><span style="font-family:Arial;"><a href="http://bp2.blogger.com/_HOS2obwqDyc/SIsSQcHs8xI/AAAAAAAAAAU/7vph0HcRFyc/s1600-h/Saint+Nicolas+Church.jpg"><img id="BLOGGER_PHOTO_ID_5227291866129298194" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp2.blogger.com/_HOS2obwqDyc/SIsSQcHs8xI/AAAAAAAAAAU/7vph0HcRFyc/s320/Saint+Nicolas+Church.jpg" border="0" /></a>I took the camera on my trip to Prague in June where I was photographing church interiors handheld with ISO's up to 800. This ability is becoming important as more and more public buildings ban tripod use.</span><br /><br /><span style="font-family:Arial;">At this moment I am awaiting the arrival of my new Nikon D700 from Karen at Samy's Camera. This camera has the same insides as the D3 in terms of sensor and quality, built into the body of a D300, which should make for a very portable travel camera. I purchased it specifically to lighten my load when traveling without sacrificing quality. The fast motor drive is missing from the D700, but I don't need it for travel shooting. I do have the extra battery adapter for the bottom that will kick the motor up to 8fps, which is still one of the fastest cameras out there. I'll report on this camera once I've given it a trial.</span><br /><br /><span style="font-family:Arial;">As everyone knows, stock images for traditional agencies need to be interpolated close to a 50mb standard size, whereas images for microstock agencies need to be kept to their native size and not interpolated at all. I find it best to up-res the images in Adobe Bridge at the time I am bringing it in from RAW, as opposed to interpolating afterwards. </span><br /><span style="font-family:Arial;"></span><br /><span style="font-family:Arial;">Nikon introduced two new zoom lenses to coincide with the introduction of the D3. Digital sensors are much less forgiving than film. The angle of light hitting the sensor is much more problematic, particularly with wide angle lenses. The early full frame sensor cameras like the Canon 1Ds series suffered from a lack of acceptable wide angles. The edges were always soft, as these light rays land at the most extreme angle. The new Nikkor 24-70mm and 14-24mm zooms were computed specifically for the larger sensor size of the D3 and produce excellent edge to edge sharpness. Add to these the 70-200mm lens already in production and you have an uninterrupted focal range from 14-200mm. Impressive.</span><br /><br /><span style="font-family:Arial;">Since this blog is about stock photography, I will be reporting about other cameras and photo equipment from time to time in terms of how they affect the stock shooter.</span><br /><br /><span style="font-family:Arial;"></span>Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0tag:blogger.com,1999:blog-3769452336849557532.post-14427822730000600862007-05-28T08:52:00.000-07:002007-05-28T11:44:18.185-07:00WelcomeYou are viewing the stock photography blog of Tom Grill. I will be discussing topics relative to the production of commercial stock photography.<br /><br />In commercial stock the name of the game is the production of images that command the highest return and sell repeatedly for a long period of time. Stock photography is a commercial medium. It's aesthetic is intrinsically bound up with an image's ability to grab the viewers attention, deliver a conceptual message, and make a sale -- all within a fraction of a second.<br /><br />At one of my Photo Expo lectures about 15 years ago, I introduced the method of conceptual shooting. This has proved to be the most winning ingredient to successful stock photography. Do it well, and it is intertwined with the image in a way that is almost invisible to the viewer. Do it poorly, and it becomes too obvious and results in a hackneyed look that is more detrimental than complementary. The difference between good and bad usage of concepts is subtle and, consequently, often missed by many stock shooters. <br /><br />This blog will try to address the better methods for instilling stock images with qualites that make them sell over and over again.Tom Grill:http://www.blogger.com/profile/06149972936838234537noreply@blogger.com0