Richie Campbell

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O Verão passou tão rapidamente na Chappa que só percebemos o seu declínio (!) quando esta vaga de frio nos fez lembrar a chegada do Inverno. Foi um Verão tão intenso que fomos obrigados a esquecer as redes sociais quase por completo, trabalhámos arduamente em diversos projectos em seis municípios, produzimos algumas centenas de (boas) fotografias a partir de milhares de ficheiros e gravámos horas e horas de footage em C4K e em 4K. Estamos a pós-produzir alguns dos projectos que abraçámos este Verão.

_8170702Indubitavelmente o ensaio sobre a Feira de São Mateus, edição 626, foi um dos mais estimulantes. Desde a montagem até à desmontagem seguimos os personagens e acontecimentos na rainha de todas as feiras.

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Ficam algumas fotografias de um dos concertos mais memoráveis deste ano – Richie Campbell – um dos mais difíceis de fotografar, sem dúvida, pelo “constante e frenético movimento de todos os músicos em palco”…

Todas as imagens produzidas com Olympus E-M1 Mark II e objectivas M. Zuiko PRO. ISO entre 1600 e 12000. ACR and Photoshop to taste.

John Gallo é Senior Consultant e Professional Trainer da Olympus

© Viseu Marca/Chappa 2018

 

Anúncios

A Porsche no Caramulo

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Inaugurada no passado sábado, está patente ao público até dia 27 de Outubro a exposição “Porsche: 70 anos de inovação”.

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15 Porsche únicos, em que apenas um não é português, ilustram a história da marca alemã. Até o Porsche de James Dean pode ser visto no Caramulo.

Ficam as imagens, num certo tom vintage…

Todas as fotografias Olympus OM-D E-M1 Mark II, Olympus 12-40mm f2.8 PRO, Photoshop to taste (vintage look).

16000 ISO e 1/60s a 300mm: E-M1 Mark II. Ruído?

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Insisto, insisto, insisto: a performance da E-M1 Mark II a ISO elevado é extraordinária. Esta fotografia, de um dos elementos da Crew da Carminho, é bem prova daquilo que tenho vindo a afirmar. Não só evidencia a performance e ausência de ruído da Olympus, bem como demonstra a eficiência do estabilizador da câmara: 300mm a 1/60s…?

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A fotografia da Carminho em cima foi tirada a 16000 ISO, bem como as duas seguintes.

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Notar que também a gama dinâmica é extraordinária; como sabemos à medida que o valor ISO aumenta a gama dinâmica reduz-se, passando de 13 ou 14 EV para sete ou oito, apenas. O processador True PIC VIII brilha, não deixando a imagem “empastelada”, sem detalhe, mas reduzindo de forma consistente o ruído gerado pelo sensor a ISO elevado.

Todas as fotografias © Município de Alfândega da Fé (Turismo de Portugal). RAW files (ORF) ACR converted, Photoshop to taste.

 

Shortcutz Viseu #97

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E mais uma… Edição #97 do Shortcutz Viseu. Como sempre, valeu bem a pena. Ficam as imagens, de rabo sentado no meio da assistência, como sempre.

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Parabéns ao Carlos, ao Luís ao Museu Nacional Grão Vasco e ao Município de Viseu.

Todas as fotografias Olympus PEN-F black, objectivas M.Zuiko Digital 17mm, 25mm e 45mm f1.8. ISO entre 2500 e 5000.

ACR converted, Photoshop to taste.

Mythbusters… Olympus OM-D E-M1 Mark II at ISO 20000… And fine bokeh…

_4250403-copiarM.Zuiko Digital 40-150mm f2.8 PRO @110mm (35mm equiv. 220mm). 1/80s@f2.8 ISO 20000, handheld.

One of these days I was asked if I was using Olympus professionally, if Olympus was my gear on the field. “Yes” I replied. Unfortunately some minds are still full of misconceptions and prejudice, stuck in a Canikon world where size, weight, noise and backache were synonyms to professional photography.  The pictures published today reflect the extreme quality, sheer performance and reliability of the Olympus Micro Four Thirds system. Image quality is second to none – in extreme situations, this is what this article is about – image stabilization (IBIS) is probably the best one can have and although there is the myth (another one) that with Micro Four Thirds it is not possible to have bokeh “layers” in any given photograph, these images prove otherwise.

_4250387-copiarM.Zuiko Digital 40-150mm f2.8 PRO @150mm (35mm equiv. 300mm). 1/160s@f2.8 ISO 20000, handheld.

Yes, all facts and distances, aperture and focal length being the same a smaller sensor will produce images with more depth of field. But how much more? For an image produced with a short telephoto lens (85mm FF equivalent), with the subject standing 2,5m away from the lens and background at a distance of 5,9m from the lens, Full Frame cameras will have a total of 6.8 centimeters of DOF, while APS-C will have 8.9 centimeters and Micro Four Thirds will have 10.6 centimeters. Peanuts, I dare say. Comprehensively, rendering is quite different. And bokeh “layers” will be rendered differently by any of aforementioned systems. Do you know how different they will look from each other? Do you know which one is softer/more or less feathered/more or less pleasant in any given scenario? No, you do not, neither do I, because the variables are so many that one cannot anticipate a specific result.

_4250286-copiarM.Zuiko Digital 40-150mm f2.8 PRO @150mm (35mm equiv. 300mm). 1/320s@f2.8 ISO 8000, handheld.

Micro Four Thirds systems offer what any other system cannot offer: considerable size and weight reduction, in a system capable of performing at a true professional level. Olympus cameras are absolutely remarkable – I believe that Olympus OM-D E-M1 Mark II is a true benchmark, a beast regarding performance, build quality, reliability, with resources and functions to spare, infinitely configurable to taste and capable of pleasing anyone looking for a truly professional camera. Olympus Pen-F is one the most, if not the most beautiful camera available on the market today. And yes, it is also a beast.

_4250166-copiarM.Zuiko Digital 40-150mm f2.8 PRO @85mm (35mm equiv. 170mm). 1/160s@f2.8 ISO 3200, handheld.

M.Zuiko Digital lenses, PRO and Premium range deliver stunning performance – Olympus has a very strong reputation regarding lens quality and this new collection, developed for the Micro Four Thirds system is outstanding. Looking carefully at some of the images published here easily we get to conclusions: at full aperture, extremely high ISO, resolution (MTF) is outstanding in the center and extremely good if not extraordinary towards the edges. Some of Olympus’ lenses so sharp that you’ll be hard pressed to see any difference in sharpness across the frame between f/2.8 and f/11 (https://www.ephotozine.com/article/olympus-m-zuiko-digital-75mm-f-1-8-lens-review-20557#Performance)

_4250361-copiarM.Zuiko Digital 40-150mm f2.8 PRO @142mm (35mm equiv. 284mm). 1/250s@f2.8 ISO 8000, handheld.

_4250450-copiarM.Zuiko Digital 40-150mm f2.8 PRO @40mm (35mm equiv. 80mm). 1/160s@f2.8 ISO 20000, handheld.

I use this zoom (M.Zuiko Digital 40-150mm f2.8 PRO) extensively, not only because of the covered focal length range (35mm equiv. 80-300mm) being very, very useful, but also because of outstanding optical quality.  The Olympus 40-150mm lens is not only stunningly sharp by zoom lens standards, but also sharp by prime lens standards. And this is wide open at ƒ/2.8 at practically every other focal length. Corner-to-corner sharpness is also tremendously good, with almost no change in sharpness from center softness at every focal length. The blur characteristics are very flat. For all intents and purposes, this lens is sharp, everywhere, all the time from ƒ/2.8 to around ƒ/11-ƒ/16, where we see minor diffraction softness coming into play (https://www.imaging-resource.com/lenses/olympus/40-150mm-f2.8-pro-m.zuiko-digital-ed/review/)

And this is one of the biggest, although many times forgotten, advantages of Micro Four Thirds – given the size of the sensor light gets to the the extreme corners of the CMOS almost perpendicularly, as opposed to full frame cameras (specially DSLR’s) where light reaches the corners of the sensor with much less perpendicularity, therefore resulting in much less possible resolution in the image’ borders, and in the corners/extreme corners of the photograph. The practicality of this? I can compose and frame as I want, without having in mind that bigger apertures mean less resolution as a rule of thumb, or that “cornering” my subject will affect tremendously the resolution and the quality of the final image and therefore perception viewers have when they see my work in any given media, especially when enlarged significantly for exhibition. My artistic expression is not fenced by technical shortcomings.

_4250224-2-copiarM.Zuiko Digital 40-150mm f2.8 PRO @150mm (35mm equiv. 30mm). 1/200s@f2.8 ISO 8000, handheld.

To be continued (…)

 

All images Olympus OM-D E-M1 Mark II, Olympus M.Zuiko Digital 40-150mm f2.8 PRO. RAW (ORF) files ACR converted and Photoshop CC 2018 to taste.

 

Os vitrais…

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Os vitrais são, sem dúvida, uma das mais difíceis tarefas fotográficas. Este projecto, concluído em Janeiro de 2015 no Reino Unido, levou algumas semanas a produzir, entre preparação, recolha e pós-produção.

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Os magníficos vitrais desta igreja no sul de Inglaterra foram produzidos na Alemanha e, durante a Segunda Grande Guerra, desmontados e colocados a salvo dos bombardeamentos da Luftwaffe. São todos excepcionais – de grande beleza e recorte técnico.

What happens at ISO 20000?

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What happens at ISO 20000? Well, pretty much a bit of grain. These photographs were taken with available light – believe me “available” is an overstatement. Two or three 40W lightbulbs, scattered along the stage, musicians moving all over the place. Even at f1.4 things were hard. So cranking up the ISO was basically the only way the get this right.

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For those of us that still remember film, being able to record an event under this sort of circumstances with such detail and with this little amount of noise is a nothing short of a revolution.

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If there is something the digital age has brought to us is the ability to still have your job done even under extremely difficult scenarios. Of course, speed, resolution and the lot also have improved.

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All these photographs were taken at 20000 ISO. I know, you want to me let you know what camera did I use, lens and all that. Rest assured, there are a few cameras (and some of them aren’t full frame) that can do this. But, can you?

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Are you brave enough to crank up the ISO and stop complaining? Try… you will be surprised.

Have a great 2018!