What's in my bag for Street Photography?
We're just a few days away from the big photo walk and a few people have asked me what it is I will be bringing in my bag on the day.
After years of walking the streets with a camera in my hand, I've refined the contents of my bag over time, down to just a few things. If you can watch a video, I explain everything in full over on YouTube. (just hit play down below here). If however you're not in a position to watch, then scroll down a little more, I've listed the contents with links to the product details too.
Olympus OM-D E-M1: http://amzn.to/2p1voSm
Olympus OM-D E-M5: http://amzn.to/2ot3osu
Olympus 17mm f/1.8 Lens: http://amzn.to/2qboisj
JJC Metal Lens Hood for 17mm f/1.8: http://amzn.to/2osYJXb
Olympus 9mm f/8 Body Cap Lens (for fun/convenience):
Case Logic Medium SLR Bag: http://amzn.to/2pfqCz7
Lens Cloth: http://amzn.to/2ot4dkR
Air Blower: http://amzn.to/2pfqDDx
Spare Batteries: http://amzn.to/2pwPrJQ
SD Cards: http://amzn.to/2otfAJu
iPhone Charger Battery: http://amzn.to/2qbKpyV
Water Proof Jacket: http://amzn.to/2oHgRYR
Join us - it's FREE!
If you want to join us on April 30th in London, just sign up today over on the events page
An Interview with David DuChemin
Back in 2014, I had the absolute pleasure of interviewing the one and only David DuChemin for the now discontinued Ready Steady Pro Photography Podcast.
Now, before you go ahead and listen or watch the interview, I just want to say that David DuChemin is an absolute hero of mine. Not only is he a fantastic photographer, but his words are also incredibly thought provoking too. Whenever an email from David DuChemin lands in my inbox, I'm almost always guaranteed to spend the next couple of hours mulling over his points, comments and opinions.
He is a fantastic artist in every sense of the word and has helped me to form many of my opinions on the world of photography and the process of making a photograph too. Through books from his company Craft & Vision, he has been hugely influential in my photography education so far.
Because of all of this, and because of the high esteem in which I hold him, this could possibly be the reason I was so incredibly nervous when hosting this conversation! So, please do forgive my nerves in the early stages of this episode!
This conversation was hosted live on YouTube as a Google+ Hangout, way back when in March 2014, but that makes this conversation absolutely no less relevant today. In this episode, David and I discuss
- Your vision matters more than gear
- You should invest more in your creativity than you should in gear
- The 'best' camera is the one that fits you most comfortably, rather than the camera that is fastest / biggest / etc
- Be financially sensible. Think; "Will this purchase make my work noticeably better".
- David's own experience with Bankruptcy.
The belief that we all need to just get on with shooting doesn't just end there though. To hear the wise words of David DuChemin, you can watch the full interview below or over on YouTube or tune into the podcast: Here's how:
- Stream or download iTunes or over at Stitcher Radio (you can also use the audio player below)
- Hit play on the YouTube video below or head on over to my YouTube channel to watch the interview
All I ask is that whichever your preferred method of enjoying this episode, that you leave some love for by commenting, sharing and leaving a review.
David duChemin is a world & humanitarian assignment photographer, best-selling author, digital publisher, and international workshop leader whose nomadic and adventurous life fuels his fire to create and share. Based in Victoria, Canada, when he’s home, David leads a nomadic life chasing compelling images on all 7 continents.
For all of David's work and to follow his blog, check out his website: http://davidduchemin.com/
If you're interested in the great books on offer from Craft & Vision, some of which are totally free, whilst many others are just $5, checkout the Craft & Vision website: https://craftandvision.com/
Shooting Soccer with an OM-D: Can it do it?
This week we have a question that was sent in from Andrew Kern (or, AJ). Rather than replying to the email directly I thought it would be best to answer AJ's question right here on the blog for everyone to see.
If you're in a position to listen then go ahead and hit play on the audio player below, if not, scroll down a little further and you can read through today's question from AJ and my response. Either way the audio is the same as the text to make sure you're not missing out.
AJ is an Olympus shooter photographing High School Soccer (or, as we call it in the UK, Football :) ). AJ writes:
Hi Mike,
I'm already in the Olympus camp. I jumped in buying an E-M10 kit with the stock lens. After that I picked up a 40-150mm f/4.5-5.6 MFT lens and after that a used 4/3 50-200mm f/2.8-3.5 non-SWD with an adapter. Using Manual Focus with peaking and High sequence mode I have managed to get good results by anticipating where play is going to be and then focusing there. However, I'd like to increase my keeper rate and not feel as though I'm missing shots by anticipating play. Most of the games happen under lights near dusk so I feel that a fast lens is a must. I'd love to say that my gear puts bread on the table but that's not true. So my question is what should my next investment be to help me:
Better glass (OLY 40-150mm f/2.8)
Better body that can better use the glass I already own (E-M1 second hand prices should dip a little when the E-M1 mkII is released)
Something else?
Thanks
AJ
Thanks AJ for your question. This is rather timely. Only last week my good friend Paul Griffiths and I were discussing how each type camera has it's place as a tool. Paul, being a Fuji shooter and myself, using Olympus of course, both agree that when it comes to professional sports photography a sports-oriented DSLR is probably still the way to go. I'll dive into the reasons why in just moment as part of my answer. But, to start I'll address each of your three points separately:
1. Better Glass?
When is there a reason not to get better glass? Well, in all honesty the answer is actually that you should be using the best that you can reasonably afford, with particular emphasis on the 'that you can reasonably afford' part. AJ mentions that sports photography doesn't pay his bills, which to me says instantly that AJ should be looking for good value in his lenses and equipment. That said, when it comes to sports photography we need more than just sharp glass. We've all come to know and love Olympus lenses for their sharpness, there is no doubt about that. Even some of the entry level lenses that could be considered budget options are able to resolve fantastic sharpness.
However the difference these days between a top lens designed for a Pro and an entry level lens isn't just it's ability to resolve sharpness. That's more of a minimum requirement. The difference in fact is the quality of the components inside those lenses, specifically the motors and mechanisms that rotate and move the optics inside the barrel. Naturally more expensive lenses will use higher quality components, which, as you would expect work faster and more accurately. So yes, in effect the Olympus M.Zuiko 40-150mm f/2.8 PRO will focus faster than the lenses you've mentioned in your question and they'll stand a better chance of maintaining that focus too.
Add to that the 40-150mm f/2.8 PRO is a constant f/2.8 aperture and comes with a tripod/monopod collar and you're looking at a lens that is definitely more tuned to shooting soccer. That said, the lens won't make all the difference. In fact, a better body will likely be a smarter investment:
2. Better Camera Body?
The OM-D E-M10 you mention is quite similar to the other OM-D's in the range, however, let's be clear; sure it may be able to produce images just as sharp, but again, it's ability to maintain focus on a moving subject is going to be far more limited when compared to it's more premium brothers. Even (and especially) when compared to the now rather old Olympus OM-D E-M1. Aside from not having things like weather sealing, the area in which the E-M10 comes up short is that it only has contrast detect autofocus. So, when it comes to locking focus on a static subject in reasonable light it shouldn't have a problem at all, but the issue is when that subject is moving and light is less than favourable.
You may have seen my motorsports images that I shot with the E-M1. There were some circumstances that allowed me to do this. For starters, the E-M1 itself makes use of phase detect autofocus, meaning it is able to better determine the subject by the distance between the subject and it's background and by what's moving. The E-M1 does this in conjunction with contrast detect; it will pick out the vivid colours of a car (or the lights on the side of a car in the case of Le Mans) and use that to help maintain focus. Above all that though, and perhaps most importantly the subject is moving in such a way that it is ultimately easier to photograph: the cars themselves are actually moving in a predictable motion; i.e from left to right and they're also maintaining a relatively similar distance to me throughout the entire panning range.
Soccer, or Football and other team sports, whether that's hockey, Basketball, NFL football etc will pretty much all feature players changing directions and pace quite rapidly, which is why really you see the top sports photographers using those cameras with full frame sensors with a multitude of huge pixels making use of phase detect (often cross type I may add) focus points. Another factor is of course the multiple subjects. You will have players on the same team in the same colours both in the foreground and the background of your frame making it even harder for the rather limited focussing system on the E-M10 to determine which is the intended subject. Effectively cameras, such as the Canon 1Dxii and the Canon 7D are all going to lock focus using both the contrast and the distance of the subject and then be able to better maintain focus on that subject. They're going to far superior at shooting sports than the E-M10 (and E-M1) Which brings me to my final answer...
3. Something Else?
My answer to this last part is purely because your question talks about high school soccer. If you were shooting anything else, such as motorsports, weddings, portraits, macro work etc then sure, I'd tell you to keep at it and keep practicing, if you can reasonably justify an E-M1 and or a 40-150mm then go for it - it will help your cause.
But, given that you're shooting soccer, I would advise you to go and hire, or even buy if you're that way inclined, an old Canon 7D mark 1 at least and see if you can get a telephoto lens to go with it. You'll be able to see the difference immediately. Your keeper rate will improve no end. Not least because of the more capable auto focussing system, but also because the optical viewfinder is simply faster at this point in time. Perhaps in future the EVF's we've all become so fond of will refresh just as though you were looking through the lens, like with a DSLR. For now though, using a mirrorless for sports will reduce your keeper rate.
That's not to say that practicing won't get you some way to negating this. I found that with motorsports my keeper rate went up every time I went back to the track to make more photographs.
Lastly, I would add also that even Fuji and Sony mirrorless cameras won't do the same job as a high-fps, crop sensored DSLR can do when it comes to shooting this sort of subject. I'm sure they'll be there before long though. At the time of writing and recording this post an announcement for the E-M1ii is just a week away, but right now, if we talk about using the right tools for the job, I think realistically the most instant way to increase your keeper rate when photographing a team sport such as soccer, is to pick up a DSLR.
Your Results?
I would love to see sample photographs of Football (soccer), NFL, Hockey or any team sport that you've made using your OM-D or O;ympus camera. Share a link below for us all to go and take a look at and I'll be sure to give you a shout out in the next episode.
As always, don't forget to subscribe using the subscribe page to ensure the next time you're reading this blog, that it's in your inbox!
Scottish Highland Wallpapers
On September 5th I was standing atop the peak of the highest mountain in the UK - Ben Nevis! The charity climb was in aid of Sound Sense, but it was also a personal challenge I had set myself last year.
Now, as a photographer, I obviously considered the photographic opportunities that climbing Ben Nevis would present me. However, the peak of Ben Nevis was very cloudy which somewhat ruined those photographic opportunities (how inconsiderate of the clouds to descend to 1,400 meters to block my view!)
Alas, as a result I've got a few great shots of me standing at the summit, but they weren't quite what I wanted, or imagined I'd achieve.
Having said all that though, I actually achieved more! The drive home on the Sunday morning took me through the beautiful, stunning and simply breathtaking Scottish Highlands, including the likes of Glencoe. Photographic opportunities were aplenty!
Today I want to share 5 of my Highland photographs with you, making them available completely free of charge to use as Desktop Wallpapers / Backgrounds.
You can download all of the Hi-Res files in a Zip file right here (13.6Mb), or you can view each photograph in full size by clicking each photograph below. (Just click the download link beneath each picture to download them individually). Alternatively, you can click to enlarge, right click on the image and then choose 'Save As' if you're using a Windows computer
All of these photographs are 2560 pixels on the longest edge (suitable for most Macs and widescreen laptops and monitors).
All of these photographs were made using an Olympus OM-D E-M1 Micro Four Thirds Mirrorless Camera and the Olympus M.Zuiko 12-40mm f/2.8 PRO
Ben Nevis - Half Way Up!
2.7Mb - Download Here
This photograph was taken about half way up Ben Nevis, somewhere around 700 metres up! The ground was steadier here and the sun came out to really light up the scene, injecting some incredible vibrance in to the grass and rock.
Glencoe Stream
3.6Mb - Download Here
On the drive home my route took me through Glencoe. Each side of the road has plenty of places to pull over and simply take in the views you can see. Fortunately for us photographers these pull over spots seem to be superbly positioned to make the most of the views that quite simply surround you! Here, I pulled over and positioned the camera on a stone wall that separates the road from the stream.
Clouds Descending
3Mb - Download Here
Not too much further from the photograph above featuring the stream there was another chance to pull the car over to take in this incredibly sheer mountain! I tried a few different positions when making this photograph, even standing the other side of the road and including the road itself in the frame to give a sense of scale. But this one, showing just a small amount of the fence in the foreground was my favourite.
Skyfall
2.3Mb - Download Here
I'm led to understand that this part of the Highlands was used in the James Bond movie 'Skyfall'. I was reliably informed that the scene was changed for the movie to feature a road, where in fact there isn't one! Silver Efex Pro 2 was used here to pull some of the drama out of the clouds that otherwise wasn't quite clear
Shrouded Mountain Range
2.2Mb - Download Here
One of the last photographs I made before figuring out I'd never get home if I kept stopping at every opportunity was this one. I parked the car and crossed the road to climb a small bank (which was a challenge as I was aching from the climb and descent of Ben Nevis the day before!) I saw the clouds coming in low and got very wet from the rain to make this photograph. The clouds once again were dark and dense covering the tops of the mountains
Copyright Notice
Please enjoy these photographs. But be kind: Do not edit these photographs and claim them as your own. Don't sell them without my permission. Do not use commercially without contacting me @ michael@rammellphotography.com
All works are Creative Commons Licensed:
Scottish Highland Digital Wallpapers by Michael Rammell is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Based on a work at www.michaelrammell.com.