A quick observation, or two, about using older lenses on newer camera bodies. Like the Panasonic GH5.

It was a super hot Sunday night and I took refuge in the chilly air conditioning at Zach Theatre's Topfer Theatre. I was just in time for the technical rehearsal for "Million Dollar Quartet" and I had a strange combination of cameras and lenses in my little Husky tool bag. It was early days for me with the GH5 but I thought I'd push it around for a while and see if we gelled or if I'd made yet another acquisition error. I would have loved to have shot the show with the Olympus 12-100mm f4.0 but it wasn't on my radar yet. I went with the ancient 60mm f1.5 from my Olympus Pen collection instead.

The image above is one of hundreds I made during the course of the rehearsal. This one was shot down at 1/60th of second at f2.8 with an ISO of 400.

There are a number of things I like about using the GH5 with older lenses like this one. First, the camera allows you to program in the exact focal length of the lens you are using, down to the millimeter. Most cameras have a list of possible focal lengths you can program in and usually they are about 5mm apart. Or they are common focal lengths. This tells the camera how to use image stabilization correctly for the focal length. I'm not sure that it makes a real difference but if you are picky it's nice to be able to select 25mm instead of 24mm if 25mm is the actual focal length.

In my limited experience, with older legacy lenses programmed in like this, the camera does a good job with stabilization.

The second thing that's nice for shooters of older, manual focus lenses is the focus peaking. After looking through a lot of frames I've found very few from the evening's shoot where I missed focus. When I first wrote about the focus peaking performance I gave the G85 higher marks because the frames looked better, in review, on the screen on the back of the camera. I gave credit to a better implementation of focus peaking. But after spending time with the files from the GH5 I found that they images were sharper when inspected on my computer monitor. Apparently, and I have duplicated this in camera, the initial write to the card generates a lower res review file but the actual file is almost always sharper. I think the camera is set up this way in order to optimize for speed of capture. Reviewing on the fly is always fraught with peril anyway.

I don't think the camera, in Jpeg, is writing 1:1 review files. There is no advantage to reviewing files at the 16X magnification on the rear screen over reviewing the same files at 8X. That tells me that 8x is the maximum resolution of the review image and going to 16X just shows you the same pixels larger; which looks less sharp. It's one of the many small things that take experimenting and getting used to working with a new camera. A kneejerk reaction would be: "Is the GH5 less sharp?!!" But it would not be an accurate assessment of the actual files.

Another observation is how much better an exposure tool zebras can be than judging a scene in the finder, by eye, or using a histogram. I've started setting my zebras at 75% because that's the point at which most caucasian skin starts to overexpose. If I have a caucasian actor in front of the camera and I'm trying to accurately set exposure I want to be able to ignore the effects of direct stage lights shining into the lens and brighter areas in the scene and just see how my exposure setting relates to correct skin exposure. I shift exposure until I start getting zebra stripes on a face and then back off until the just go away and I know I'm in a great exposure zone for the important subjects on stage. It's a great way to narrow in on getting the exposure right on the subject that you choose. This isn't particular to manual focusing lenses only; it works with all lenses.

I'm coming to grips with more and more features of the camera and as I learn what works well I try to adapt it to my working methodologies. I'll probably put the zebra control on the function button next to the lens because it's nice to be able to toggle it on and off. After I've set an exposure the zebras can be annoying. You can set two different custom zebra settings in the GH5 and toggle between them. It's a really nice way to "meter."

Another lovely morning (not) wasted at the swimming pool.

A VSL reader sent along a link to a blog post from Neil van Niekirk the day before yesterday. It was sobering. Neil was the person who helped me decide to become a Craftsy.com contributor and he also provided a great section of photographs and writing for my book on LED Lighting back in 2010. He's a great photographer and a popular blogger about photography but this blog from him was completely different. 

In it he talked about having a heart attack on his first day of vacation in Italy. It sounds like he was treated promptly and got great care. He's on target to make a good recovery. But his post sounded alarms that should be heeded not just by photographers but by anyone who has let their diet, fitness and stress management get out of whack. Just what Neil admitted he had done in his post...

Neil and his cardiologist partly blamed the sedentary lifestyle of most visual creators for causing his cardiac event. Photographers and videographers spend long days sitting almost motionless in front of their workstations editing their still images, making precise corrections and, in the case of videographers, working an edit over and over again to get it just right. Sitting, it seems, is as bad for us humans as smoking cigarettes or knocking back Scotch and sodas. 

And I've noticed that the more focused we get on these sedentary tasks the more importance (and stress) we attach to what we're doing and the deadlines surrounding the processes. When we're stressed time management tends to fly out the window and we fast track our food consumption, replacing healthy meals and snacks with things that are highly pleasurable,  and easy to eat with one hand while keeping the other hand on that all important computer mouse/pen tool/touchpad/phone. Pizza. Chips. Soft drinks, etc.

It's a killer combination. Business stress, large periods of sedentary isolation, junky, convenient food.  

I had my own health scare a long time ago and I've never forgotten the lessons I learned back then. I used to think of my time in the pool as a bit selfish and self-indulgent but now I think my disciplined approach to exercise is a benefit to me and my family on which I cannot put a price tag. Swimming every morning has kept me healthy and focused. I am within five pounds of weighing what I did when I left college nearly forty years ago.  And my blood pressure is probably lower.

Swim practice started right on time this morning at 7am. I was in lane three, leading my three other lane mates through the workout. I felt like I could accomplish anything. But I also realized, after reading Neil's blog post, just how important the ongoing camaraderie is as well. The joking around during the short breaks between sets, catching up during kick sets and checking in with each other as we leave the pool. 

Most people have ample opportunities to socialize all day long in their workplaces but creative people tend to spend a lot of their work lives in solitary pursuits. I remind myself how important it is to hit "sleep" on my computer and head over to the coffee shop to catch up with friends. How vital it is to my general health to meet Paul for sushi on Thursdays or to meet a few other friends for a stroll through the salad bar at Jason's Deli. 

Exercise, diet, sleep and community. It's worth remembering that none of these things are wasted time. None of them are diminished productivity. It's the opposite. We should work just enough to be able to do these things. Everything beyond work should be play. 

I'm sending all the good thoughts and positive energy I can to Neil. The great thing is that creative people tend toward resilience and discipline. I think Neil will do well. It sounds like he's focusing on creating a healthier lifestyle.

It's a reminder to me that taking time to take care of yourself is not selfish. Remember that when cabin pressure drops it's vital to put on your oxygen mask first and then help the people around you. That's just how it works. 

Think good thoughts! I think I'll head back over to the pool and get in a few more laps before lunch....

The "Aspirational" car. The "Aspirational" camera. Do you age out of that paradigm?

I was having coffee with a friend and we went down the conversational path of..."What if money was no object....?" It all started because we were talking about cars. Now, you have to understand that both of us have spent the last thirty or so years pursuing photography as both a hobby and business so it's not like we're going to wake up next Monday with some uncontrolled impulse and rush out to buy a Bentley or Ferrari, (or the cash with which to do so) but when the question, "If money was no object and you had to buy a new car what would you get???" came up we both paused to think about it.

When I was in my thirties I could have blurted out a laundry list of cool cars. I could go vintage with a fully restored Sunbeam Tiger. I would have been equally thrilled with a restored 1967 Pontiac GTO with the triple carburetor set-up. There were a couple of BMW Alpinas that I would have lusted after and, of course, there was always the gull wing door Mercedes. I might have also tossed in a Lancia Beta Scorpion and, of course, one of the perennial Porsche 911 variants.

In my more practical forties I thought the BMW 5 series cars were the right blend of comfort and performance along with having a trunk big enough to haul around gear for most photo shoots and, at the time, I was happy to buy one. I was even happier to trade it in four years later after and endless series of repair bills....

But somewhere in my mid fifties my perspective about cars changed and I started thinking about them less as toys, status symbols, and fun and started thinking about them in much more practical terms. My interests had more to do with how much photo gear I could get inside, what kind of gas mileage could I get and how small my total cost of ownership could be.

So when we played the "What if money was no object?" game this time I just blurted out the first thing that came into my mind and it was: A Honda Accord. That was it, my "aspirational" car.

I guess I've realized that Austin traffic will never get better, all cars on the local highways spend the majority of their time going less than 20 mph and, as long as the air conditioning, the radio and the bluetooth connection all work well then I think I would find most sedans of a certain size more or less interchangeable. I've owned Hondas for the last ten years, have found them to be cheap to own and reliable and, so, why would I want anything else? Besides, if I had gazillions of dollars I think I would just contract with a luxe car service and never have to worry about parking, dead batteries, pumping gas or getting lost ever again. No car ownership needed.

The car conversation naturally led my mind around to the idea of aspirational cameras. Cameras that you lust after but are just way out of reach. Cameras that are a decided luxury but nevertheless keep calling out to you like the sirens of Greek mythology...

In the film days there were no cameras that were so outlandishly expensive that we could not afford them. I was never drawn to the silly cameras like Leicas cast in platinum and wrapped in the hide of extinct animals but I rarely met a high end Hasselblad I didn't like. But in those days crazy expensive was less than $5K.

When we hit the digital days I'll admit that it became much more difficult to afford the newly developed, stratospheric level cameras. I lusted after the medium format Leaf A7i and some of the very pricy Schneider glass for quite a while. The system I'd mapped out would have run me a bit shy of $60,000 but I could never pull the trigger because my CFO could run the numbers every which way and show me how I would never re-coup that "investment." Not with a practice photographing mostly people for mostly Austin clients.... And in the back of my mind I realized that the tech in the camera would be superseded (not obsoleted) by something better and cheaper within 18 months. But I still wanted that camera. I had the brochure in my desk drawer for a long time.

Then fate stepped in and a photo magazine called and asked me if I would like to review that very system. "Would six weeks with the system be enough time?" I jumped at the chance to be one of the very few people to play with the 40 megapixel, medium format camera and its near perfect German lenses.  But you know that line from the movie "The Adventures of Buckeroo Bonzai Across the Eighth Dimension"? It goes, "Wherever you go....there you are." 

When I actually started working with the camera and lenses there was no big change in what I shot. Of course the images had more detail but it was detail that was only useful in certain use scenarios. I shot a couple of images that I had the local lab make some large prints from. At 30 by 40 inches you could readily see a difference in resolution when compared to the 12-16 megapixel camera files of the day.
The difference in sensor size was nice as well. In terms of focus ramping and that special, out of focus background look one gained about as much as one would going from an APS-C format to a 35mm full frame format. In the end I came to realize that while owning a $60,000 system might be fun and ego gratifying it wasn't really going to change my game as a photographer and it wouldn't be a very smart long term investment.

I also got to test the Mamiya and Phase One cameras in their age of ascendancy and found too that they might provide the potential for better files (where larger print sizes were needed) but not so much better than they shifted any business paradigms which might make them financially productive. As far as personal work went I spent a day walking around shooting with the seven pounds of camera and 180mm f2.8 medium format lens and quickly discovered that the medium format digital cameras were too slow, too heavy and too......ponderous for any sort of normal street shooting. That and, at the time, about one hundred shots per battery charge.

The Leica S2 camera was another camera I considered "aspirational" until I played at length with one. Same issues as above. Different logo.

But now that we've hit the age of sufficiency  I'm finding no cameras that I lust after and can't readily afford to buy. My choices have so much more to do with what the cameras will do for my day to day work than anything else. I am in no hurry to step up (or sideways) from my Sony A7ii camera as my mainstay portrait camera because it just works. And it was cheap. And it works. I've used it on 14 portraits in the last two weeks and each one exceeds the technical parameters I need. Hell, it exceeds the best I could get just a few years ago for any reasonable price. It's a camera I bought used last year for about $1,000.

I guess I should want a Zeiss Otus 100mm f1.4 (if they made one) with which to make portraits but, again, it's the age of sufficiency and I'm finding the all purpose, 70-200mm f4.0 G lens is the perfect lens for almost every work portrait I shoot. I lock in at f5.6 and just blaze away. That gets me just enough focus at the 110-135mm focal range I seem to work in to get sharp focus on lips, eyes and almost back to the ears. Any less depth of field and I'll spend my life explaining to clients why "Bob" isn't totally sharp......

I wasn't chomping at the bit to rush out and buy a Panasonic GH5. It's not the ultimate portrait camera. It's not as good as the cheap, used Sony I bought used when it comes to handling most of my still imaging work. I bought it to make my video look better and to provide video features that make my work in video more productive. Hardly an "aspirational" camera.

But I'm starting to realize that all my notions of "dream" cameras seem to be vanishing. Just like my appraisal of cars. If meteor hit the studio today (and I wasn't there to see it...) what cameras would I buy to replace the splintered and melted remains of the meteor impacted previous cameras? Would I rush out and buy a Phase One 100F? I'd probably buy another A7ii and another 70-200mm f4.0, along with some wider stuff. If the Sony gear was out of stock I'd buy a Canon 5D mk4 and the same kind of lens. And if all the video oriented cameras went up in smoke then the next time around I might just buy a really cool video camera like the Canon C300ii. But the idea that all of these digital cameras will soon be superseded by more able cameras diminishes their allure as "ultimate" cameras after which we just have to lust. Maybe it's the impermanence of the new gear that removes it's sparkle as something you might cherish for 20 years or more.

I still remember when the camera I wanted, and had to scrimp and save up for, was the Leica M5. That, and the 50mm Summilux lens. Once I was able to eventually write the check for that combo the glow of satisfaction lingered on for years and years. I conferred a relative immunity to camera lust.  Every time I pulled the M5 out of the camera bag to use it I appreciated it more and more. Sadly, that feeling about current, digital cameras as left the building. Now my emphasis is on practicality and use parameters and not much more.

I'm curious to know what your aspirational film cameras were and if you've got cameras that you'd love to own in the digital age that give you the same feeling.

I can't be the only one thinking this way, right?

Video: Million Dollar Quartet. ZACH Theatre.

Gavin Talks about Million Dollar Quartet at ZACH THEATRE from Kirk Tuck on Vimeo.

(before you comment on technical issues can I ask you to go see the video at Vimeo and sidestep the additional compression that comes free of charge at Blogger? Thanks!)


This is part of a series of videos I've been doing for ZACH Theatre's newest production, Million Dollar Quartet.  It's the true story of an evening in 1956 when Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash all gathered together for an impromptu jam session at Sun Studios. The music in the production is almost a greatest hits compilation and the energy the actors/musicians bring to the show is pretty amazing.

I had done a couple of interviews for Lady Day at Emerson's Bar and Grill, and for the recent LBJ plays at ZACH, and we found them to be a really good "soft" sell for the productions. People who are somewhat interested could hit the videos for more information while the still images from rehearsals provided another layer of texture and context for the plays. We had thousands of views of the videos and saw a commensurate uptick in ticket sales as a result.

I decided to do some videos again with Million Dollar Quartet and I had a lot of fun interviewing the four musicians.

Doing a set of videos is always more time consuming than you imagine it will be. Our interviews were pretty darn efficient; all done in the course of one long afternoon, but gathering enough material for b-roll required three more visits back to the theater. One for an early rehearsal where I was able to get good videos and good close-ups, as well as the Tech Rehearsal and the Final Dress Rehearsal.

I worked with Ben Tuck to get the interviews. We got to the theater an hour before our first interview appointment, selected our locations and our shooting angles and spent the rest of the time setting up lighting and prepping the room for better audio.

I used the Aputure LightStorm LED panels for our light sources and tried to light a little differently for each actor.

We shot with two cameras. I used the Panasonic FZ2500 running into an Atomos Ninja Flame video recorder as the "A" camera. I was excited to try generating ProRes 422 files and when I look at the original video on my monitor (pre-Vimeo and YouTube compression) I am very happy with the detail and sharpness of the HD footage. I tweaked Gavin's skin tones a bit... but not much. I shot too flat but made up for it with Nattress Curves (a "curves" plug-in for Final Cut Pro X).

Ben shot a second angle using a Sony RX10ii; also in HD, and he used a Sennheiser shotgun microphone on the camera to record scratch audio, which made it easier for me to sync up the two angles in editing.

I am anticipating my next project which will allow me to use the new GH5 as my primary shooting camera and will probably go right back to shooting in 4K again. It's fun to have files that you can crop in on when editing; it makes a difference in how flexible you can be in your editing approach.

I enjoy doing this kind of work and consider it in the same light as I do swim practice: the more often you put yourself out there the quicker and better you learn. But we'll talk about what I learned on this one in a future column. The list of new aspects of my "learning curve" is just too long.

The idea of the "personal" camera as opposed to the "business" camera.

Camera living on desk, currently. 

I've always enjoyed making delineations between the cameras I used for business and the cameras I used for the sheer joy of shooting and, looking back, I can see that I've always been wired this way; determined to use the "right" camera for the paying job at hand and then picking up the camera that feels best to me to take out onto the streets, into the coffee shops and out to the museums for the pure joy of documenting life. Sure, you can do both things with the same camera but really, if you do this for a living and a hobby wouldn't it be nice to mentally change gears between the two? And wouldn't a change in cameras help facilitate throwing that switch in your brain that let's you switch from making photographs that the clients like (and because they pay you...) to making photographs the likes of which you don't have to care if anyone likes? I know I'm happier this way. 

When I go out to shoot at corporate events I wear a suit and tie. It goes with the territory. But I can hardly wait to get home and, if it's Summer in Austin, change into a pair of well worn shorts, a cool, short sleeved technical shirt and a pair of flip-flops. 

When I go out to photograph the CEO for mega-corporation I'll take along a couple of Sony full frame camera bodies, most likely leading with the A7rii and 70-200mm f4.0 G lens. I'll supplement the camera gear with cases of electronic flash gear or LED panels. But when I'm off the clock I put away those huge file generators, stop weightlifting and trade the best in class for the most comfortable to carry. Today was a case in point. I'd spent last week shooting portraits of physicians in my studio. The camera was the A7Rii with the aforementioned lens and four lights. Since all the appointments were in my studio I traded the suit and tie for khakis and a dress shirt. Yes, I wore decent shoes. 

But when I decided I wanted to roam around Zilker Park today and possibly shoot a bit of 4K video I did not reach for the A7Rii or even the new GH5; I had my eyes firmly fixed on the Panasonic G85 and the lightweight/compact 12-60mm kit lens. At about a quarter the weight of the Sony rig and less than half the weight of the GH5 and the 12-100mm lens carrying the G85 in 105 degree heat, down a dusty path, was much less of a burden than those presented by the other choices. 

My shooting goal was to get a start on creating a stock, 4K video library of Austin attractions, monuments, notable landmarks and typical Austin pastimes. It can't be a bad idea to have good, color rich video of Barton Springs Pool thronged with swimmers in the heat of the Summer, or people sitting out, braving the heat to have coffee at Jo's Coffee on S. Congress Ave. because I am fairly certain that one or more clients will decide in the dead of winter that they need to create a new recruiting video and, Hey! wouldn't it be great if we had some Summer-y shots of people being casual all over the trails and pools and lakes of Austin!? And what about that Graffiti Wall I've heard so much about?....

Here's the thing about shooting popular landmarks in Austin when they are in full use. Peak demand. There's no such thing as adjacent/nearby/reasonably close parking. If you want to hit the big pool at 2 or 3 in the afternoon on a Summer weekend you'll need to get clear that you need to do some hiking to get there. Today I parked at Zach Theatre because I have a hangtag that I can use to access the lot. It's about a mile from the thousand meter long, spring fed pool. You just have to get to the hike and bike trail that runs around Lady Bird Lake and wend your way around on the crushed granite trail to get there. And I have to say that when it gets much over 105 degrees with a bit of humidity tossed in (because the Photo gods can be cruel and playful...) you'd have to be a bit daft to want to drag along more weight than you absolutely need to do your task. 

The Sony stuff and the Hasselblad stuff and the Panasonic GH5 with its new friend, the Heavy Lens, all stayed home in the air conditioning. I put on a pair of walking sandals, grabbed a hat with a brim, put a six stop neutral density filter over the 12-60mm kit lens (58mm) and put that lens on the G85 (cage temporarily discarded) and headed out the door. My one concession to overpacking? I put an extra battery in my left pocket.

Guess what? The little G85 is wonderful. The finder has better than average magnification and I actually used the touchscreen on the back of the camera from time to time. I was lucky with the ND filter and the prevailing light. With the harsh sun I was shooting 24 fps (1/50th shutter) and f5.6-7.1. At those apertures the lens is plenty sharp for video. The dual I.S., combined with the digital/video I.S. works extremely well and the only thing I had to re-learn was the optimum speed at which to pan in order not to create disorienting video. (has to be Kinda Slow). 

The camera seems to do well with subject motion and, since the video was ostensibly for stock, I didn't care about sound and didn't bring along a microphone and its attendant accessories. 

I find that the hotter it gets outside the more stupid I become. I really have to keep my menu choices simple and concentrate on doing things in a certain order when I shoot video. It goes like this: See scene to capture. Find best angle. Check exposure via zebras and eyeball. Make sure shutter speed didn't get accidentally changed. Focus manually. Focus again. Push "record" button. Check to make sure red "rec" light is flashing. Make sure to push "record" button again when I'm done. Do it all over again at a different focal length.  If I don't do the mental check list I often screw up one part or the other of the process. 

I've just reviewed today's footage and am happy with the color, tone and detail of the 4K footage. I'm hoping I can, over time, put together enough of my own footage to cover the b-roll/Austin needs of any of my clients, no matter which season we're in when the project gets signed off on. 

The small camera+kit lens was a joy to use and carry. I can't imagine doing the two mile roundtrip in this disgusting heat dragging along a giant camera bag filled with big bodies and every lens I own. Since this was self-assigned I used the casual camera that appealed to me in the moment. And it was much more comfortable than the "work" gear. 

Reminds me of the period in my life when I shot for clients with 4x5 inch view cameras and Hasselblads and did all of my personal work with a clutch of Leicas. It feels the same today.

 My second most used piece of studio gear. The diffuser holder. 

My most used piece of studio gear. The 50 inch diffuser.

Marvel towel on the left. Drying on a C-Stand. Not happy letting it out of my sight.

Can't take the chance that Ben will get his mitts on it and relocate it with him back to college.