Product Preview: Olympus E-P2
Company Expands Micro Four Thirds Digital Camera Line
By Diane Berkenfeld
The Olympus E-P2 with the 17mm pancake lens and accessory viewfinder attached.
Less than six months after launching the PEN E-P1 Micro Four Thirds camera, Olympus has released the follow up camera, the E-P2. The new PEN, like the E-P1, offers 12.3-megapixels in resolution, and an interchangeable lens system with In-body Image Stabilization. Like the EP-1, the E-P2 can capture HD video and stereo Linear PCM audio recording. The E-P2 comes in a black metal body.
There are a number of improvements and additions to this new Micro Four Thirds camera model from Olympus. One of the biggest features that photographers desired—and was missing on the E-P1—but is available for the E-P2 is a detachable electronic viewfinder (VF-2). The VF-2 and the optional external microphone adapter EMA-1 both utilize the same accessory port which is just below where the electronic viewfinder sits near the top of the body, on the rear. One of the cool things about the viewfinder is that it pivots, which means you can use it normally, or unfold it and use it as a waist level finder. This feature is great for street shooting or when shooting from the ground. The viewfinder, although an accessory, is being included with the purchase of the E-P2 body.
The E-P2 offers most all the features of the E-P1 as well as the following new features: a newly-developed Continuous Autofocus (C-AF) Tracking System that tracks the subject across or back-and-forward through the frame; iEnhance to automatically adjust color and contrast for a more dramatic effect; two new art filters added to those that the E-P1 has; full Manual Control of shutter/aperture in Movie Mode; and HDMI Control of camera’s playback functions using the TV Remote when the camera is connected to an HDTV.
The two new art filters, Diorama and Cross Process—along with the other six art filters—can be used for still images and HD video. The Diorama art filter offers selective focus and gives users a miniature model photo feeling by narrowing the depth of focus and enhancing color and contrast.
The E-P2 comes with either the Olympus M. ZUIKO Micro Four Thirds 14-42mm f/3.5-5.6 (28-84mm equivalent) or 17mm f/2.8 (34mm equivalent) lenses.
The Olympus E-P2 will be available in December. For more information, go to www.olympusamerica.com.
Just before the E-P2 camera was announced we were treated to a sneak peek and were quite impressed with what we saw. Look for a full review of the E-P2 to be posted soon!
To read the Picture-soup.com review of the E-P1, click here.
The Power of Photojournalism in War
By Jason Etzel
In 1832 Senator William Learned Marcy spoke the phrase, “To the victor belong the spoils.” Although first spoken (or at least documented) this was not a new concept by any means for those who won a battle of any kind. With a victory you could design how it would be viewed to those alive [at the time] as well future generations who would read and learn what you left behind as history of this battle. This meant that selective editing could always be done by the victor, filtering words, omitting particular events or details, artistic renderings showing how they wanted the victory to be recorded.
And in 1832 this was still true, until technology changed how history would be written—by both those who triumphed and those who felt defeat—by the invention of the camera, it would now be seen unchanged. In the world we live in today, doctored images are common knowledge, we know now what is seen may or may not have been really there. For hundreds of years historical figures were seen only as their statues or oil painted portraits perceived them to be. Battles were drawn showing honor and courage without really showing tragedy, violence, or loss.
In 1839 when the camera was first shown to the public, everything became real and an instrument in the field of journalism. The first war images are credited to an anonymous American who took a number of daguerreotypes during the Mexican-American war in 1847, and for the first time the face of the soldier was seen. The first known war photographer was Carol Popp de Szathmari who took photos of various officers in 1853 and landscapes where battle took place in 1854 during the Crimean War. However it was in 1861 that a portrait photographer in New York City named Mathew Brady changed the world of photography and journalism as we know it.
Having mastered the new art of photography from his time studying under the skilled daguerreotypist Samuel Morse, Brady had a thriving portrait photography studio. His subjects included numerous historical figures including past and then present Presidents of the United States of America. When the first shots were fired of the American Civil War in 1861, and against the wishes of friends and family, Brady put the essentials of his studio into a wagon and made his way to the battlefield at Bull Run. At Bull Run Brady took images of the war-torn landscape of destroyed buildings and bridges as well as the dead littering the countryside.
At times he was so close he was nearly captured by the Confederate soldiers. This was not a commissioned painting, nor an article being written for a newspaper, to be released to the public. These were images being taken, processed, and printed from where it all happened and they spoke louder than any cannon fired during any war. Through the course of the Civil War, Mathew Brady and his team of photographers captured the bloodiest battles as well as the faces of the men who fought on both sides.
War was no longer a distant battlefield; it was piles of dead soldiers and a country tearing itself apart. Many feared on both sides that the images showing war would cause both an escalation to stop or continue the war. Photography became a weapon itself, as many photos were staged with bodies moved into positions to manipulate public perception of battles.
As the years passed so did the purposes of photography and war. It was used for reconnaissance, intimidation showing strength of arms and new weaponry, and even to confirm the deaths of famous figures such as Dale Titler’s photograph of the downed plane of the WWI German Ace Manfred von Richtofen more commonly known as “The Red Baron” to discourage the German people and lower moral.
The chaos and confusion of battle was illustrated to the world with Robert Capa’s images from the landing at Normandy for the D-Day invasion of Europe. Joe Rosenthal’s “Raising the Flag on Iwo Jima” and Alfred Eisenstaedt’s “V-J day in Times Square” have also become timeless images showing triumph and victory on distant shores as well as at home.
During the war in Vietnam, newspaper correspondent and columnist Joseph Galloway often fought alongside the troops he covered with his cameras, documenting the conflict around him.
Perhaps one of the most famous images of the century came from Eddie Adams with his portrait of an execution of a prisoner of war in 1968. It led to not only a Pulitzer Prize for Adams, but many claimed it changed the balance and political opinions of the war in Vietnam.
Nearly 150 years after Mathew Brady set out to capture the American Civil War, photojournalism still continues to advance, educate, and at times manipulate conflicts worldwide. Just as Andrew Jackson used paintings and monuments to tell stories of victory and triumph, leaders today use the press in all of it’s forms—particularly photography—to show the frozen moments in time that they want remembered.
Sometimes they can immortalize a great achievement and cement your place in history, however it can also backfire as President George W. Bush found out in 2003. By flooding the media with images of him on the aircraft carrier USS Abraham Lincoln with a banner reading: “Mission Accomplished” many would believe the war ended that day in the Fall of 2003, however the conflict remains and now the banner is a mere punch line for a joke, and a large part of his presidential legacy.
Today’s media is no longer limited to just words, images, and video but also can include computer graphic based animations and renderings. For most, the portrait of Barack Obama altered by Shepard Fairey is considered a sign of change, others saw it as a violation of a law on the copyright of AP photographs. All the same it became part of everyday culture and awareness around the world.
The photojournalists are the eyes and the ears for the world. On this Veteran’s Day, it is important to remember and be grateful for those people who have been the eyes and the ears for us all—and the sacrifices they made to do so.
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- Civil War photographer Mathew B. Brady, self portrait circa 1875.
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- Robert Capa, famous for the photos he took of the troops storming the beach on D-Day. Photograph by Gerda Taro.
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- Joe Rosenthal. Famed for his Pulitzer prize winning image “Raising the Flag on Iwo Jima”.
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- Eddie Adams. Photographer known for the Pulitzer prize winning image of the shooting of a prisoner during the Vietnam war.
♦ Jason Etzel is a working photographer who is well respected in the photographic industry today. For 15 years he has worked for companies such as Unique Photo, B&H, and Dyna-Lite, providing sales, education, and research development of photographic products. In addition, he is also a frequent contributor to photographic publications such as Photo Insider and other photographic blogs. Even though he is based out of New Jersey, Jason is frequently seen from coast to coast at photographic events discussing the history of photography, where it is today, and where he hopes it is going tomorrow. Look for future articles by contributor Jason Etzel on Picture-soup.com.
Product Review: MOO MiniCards
By Diane Berkenfeld
MOO, the company known for their variable data printing solutions has introduced a new version of its well-known MiniCards. The MiniCards measure 1.1-inches x 2.76-inches, basically half the size lengthwise of traditional MOO business cards. Having created traditional MOO business cards in the past and reviewing them for this website, we jumped at the opportunity to review the new MiniCards.
The MiniCards come in packages of 100, and are delivered in a sturdy white cardboard box. Optional felt, acrylic and leather cases can be purchased from MOO as well as the company’s Mosaic frame, which displays 20 MiniCards. The Mosaic frame comes in two versions: solid white acrylic or solid black acrylic.
The basic concept behind MOO printed products is the company’s ability to offer variable data printing. What this means is that each card or MiniCard can be a different image. This makes Moo products ideal for photographers and artists to showcase their work.
The new version of MiniCards allows image uploading for use onto the front and back of the MiniCards, so you can upload images on one side and a logo on the other. Additional layout options include new templates, fonts and colors. And, the company now offers a bulk discount for customers purchasing its new 400 unit pack.
Unlike the traditional business card shape, think of the MiniCards as panorama images. Once you upload your images to the Moo.com website, you’re given the opportunity to tweak the cropping of your image(s). You’ll want to consider the final shape of the MiniCards when deciding which images to upload. I found that I liked the way the majority of my images turned out. There were a couple of images that didn’t work in the crop as well as I thought they might. So, if I create another batch of MiniCards, I know I’ll reuse certain images, and not use others. This is purely a subjective opinion on my part.
Here are some of the MiniCards I had printed. You can tell right away that these images work well in the MiniCard shape. At the top left of the image is the storage box that the MiniCards come in. All photos © Diane Berkenfeld.
The quality of the printing is just as good as the quality of the larger, traditional business cards that I’ve had printed by MOO. The paper quality has good heft to it, and the printing is high quality; text is easy to read. The one thing I would like to see in a future update is the ability to increase the font size on the side dedicated to your contact information more than is currently allowed.
There may be some folks who wonder if the MiniCards are an odd size for a business card, but there isn’t an absolute as to what a business card should look like these days. I’ve seen larger than normal business cards as well as small squares, the MOO MiniCards and those half the size of the Minis, as well as other shapes. What best represents your unique identity is what’s right for you.
The MOO MiniCards are definitely cool, and offer me another format for showcasing my photography. And, for the price of $19.99 per 100, they’re a great buy.
[Check out the Picture-Soup.com review of the traditional business cards by MOO here.]
Product Review: Personalized Pexagon Thumbdrive
By Diane Berkenfeld
My new pink 4GB Pexagon USB thumbdrive sits atop the box it was delivered in.
Pexagon Technology has been in the digital media business for some time. I stopped by their booth at the recent PhotoPlus Expo tradeshow and saw a great range of products that are ideal for the photographer or studio who needs to deliver digital files and keep their branding at the top of mind with their customers. Pexagon offers a wide range of digital media storage—USB drives in numerous styles and capacities—as well as Store-It drives. The unique thing about Pexagon is that they offer personalization of the USB drives and portable Store-It drives. And they offer bulk pricing.
The USB drives that can be personalized include swivel and traditional style USB drives in 14 different colors, and with capacities ranging from 128MB to 16GB. The portable Store-It and Store-It Pro 2.5-inch hard drives also come in 14 different colors and in capacities up to 500GB. They are Mac and PC compatible and connect to computer via USB 2.0. The Store-It and Store-It Pro drives are bus powered, meaning that they receive power by the computer via USB.
Instead of burning the images you’re delivering to clients on a CD or DVD that will likely be taken out once to download the files and then stored, never to see the light of day again—deliver the files on a USB drive that can be used and reused over and over. The USB drive is something that anyone can utilize and more importantly, it keeps your brand name in front of them. As a photographer, being able to deliver files in a reusable media format that is branded with your business name is to me, a much better solution than using media that is branded with the manufacturer’s logo or name.
Choose the capacity you need, whether its delivering low-res proofs on a 128MB drive or a complete job of final high-res image files on an 8 or 16GB drive.
Pexagon can personalize the swivel and traditional USB drives with two lines of copy on one side and a logo on the other. The Store-It drives can also be personalized with logo and copy. The personalization is crisp and easy to read. And, because it is laser engraved, it will last. Better still, there’s no set-up charges for the personalization.
The company also offers other personalized items as well as various styles and colors of USB drives, including those that take the shape of animals, wood covered drives, USB Jellibandz (wristbands that feature a USB drive in the closure, Jellibeenz (diminutive USB drives), business card USB drives, and more. They also offer a USB drive that is incorporated into a lanyard, making it perfect for staffers or students to keep their media close at hand.
I’ve used both the Pexagon USB media drives and Store-It drives for years, and have never had any issues. They’ve always worked perfectly. The pink 4GB personalized USB drive I just received from Pexagon came in a nice sturdy cardboard box, with an accessory lanyard. The colors that the company offers are really nice shades—very trendy, and they have the look and feel of high quality products. And, delivery was pretty quick after it was ordered.
The company has a dedicated Photo Solutions salesperson, as well as salespeople dedicated to other vertical markets which I think is smart, as they’ll understand the concerns and needs of their customers better. For more information, go to the website at www.pexagontech.com.
Book Review: Karen Sperling’s Painting for Photographers
Karen Sperling's Painting for Photographers. Cover painting and design by Karen Sperling from a photo by Felicia Tausig.
Karen Sperling’s Painting for Photographers; Steps and Art Lessons for Painting Photos in Corel Painter and Adobe Photoshop, (ISBN: 978-0-9818163-0-2) is being released by Artistry Books in multiple formats, including an autographed hardcover edition, complete with a CD of source photos to use with the tutorials, bonus tutorials and brushes, and a 10% donation to charity for $149.95; print on demand softcover edition with downloadable source photos for $85.95; regular softcover edition with downloadable source photos for $39.95; and an e-book with source photos accessible from within the digital edition for $35.95. The author is the founder of Artistry Tips and Tricks, a website that educates photographers by providing tips and techniques for creating painterly images from digital photographs. She was also the author of the first manuals on Corel Painter and has penned several other Painter books as well.
Sperling uses numerous examples to illustrate the techniques including many by other photographers as before images, with her painted version as the finished images. The inclusion of the before and after images is extremely helpful, so the reader can see and fully understand the techniques that are being explained.
Sperling offers a wide range of tips and tricks, for portraits (including people and pets) and landscapes, in addition to more general techniques. This is an important focus as many professional photographers will likely be turning portraits taken of clients into paintings. For the fine-art photographer, landscapes are an important subject to tackle, and techniques for these images are also discussed in detail.
The author begins the volume with a quote by Andrew Carnegie, “If you think you can do something, you probably can.” Sperling explains that painting is 90% thought and 10% execution.
The book offers an introduction to art concepts, which is important for the photographer who may not have taken art classes in the course of their schooling; something that really is necessary to know to turn a photograph into a painting without having it look like you just ran it through a filter or plug-in in Photoshop. Such art concepts include understanding color harmony and tonal ranges.
Sperling also explains how to turn a photo into a painting. She discusses what types of images make great starting points, how to choose an image to take further; and how you can take the best parts of an image or images, while leaving out distracting elements—turning ordinary images into extraordinary pieces of art.
An entire chapter is spent on portraits, detailing body parts and how the different types of painting, acrylic, oils, watercolor, airbrush, etc. vary the look of an image. Another really helpful part of the book is the inclusion of examples from some of the portrait-painting masters, such as Degas, Rembrandt, and others.
Sperling follows a similar tone with the Landscape chapter, showing examples of how different styles of painting can alter the look of an image.
The chapter on pets is segmented into sections focusing on cats, dogs, and horses—which is helpful, as these are the more common animals that photographers will likely be working with.
The author explains the various tools that Corel’s Painter program offers users. She also explains the powerful tools that Photoshop offers the digital imager who wants to use that program. Sperling also includes shortcuts, including explaining the benefits of utilizing a Wacom pen and tablet in turning a photo into a painting because of the added control offered by the device.
Sperling completes the book with a discussion of over-painting techniques and the supplies needed to do so. Over-painting is the technique of painting with acrylic or oil paints on top of the canvas that the image has been printed upon. It is becoming a popular technique and adds an extra quality of uniqueness to images that receive this treatment.
Sperling notes that she finds painting both on the computer and with traditional paint to be more about confidence and suggests that if the reader practices and familiarizes themselves with the materials and techniques used, they’ll be more comfortable in working with these varied media. Sperling closes by bringing the reader back to her opening sentiment that, “If you think you can, you probably can.”
Creating painterly art from photographs is ideal for the professional photographer, who can use this to add a new dimension to their studio’s offerings. The guidance and education in Karen Sperling’s Painting for Photographers takes the intimidation out of turning photographs into painted masterpieces.
Check out Karen Sperling’s website at www.karensperling.com to see examples of her work. Go to www.artistrymag.com for Sperling’s Painter tutorial site.
— Diane Berkenfeld
Impressions of PhotoPlus Expo 2009
Having just recouped from three days of attending the PDN PhotoPlus Expo (www.photoplusexpo.com), held at the Jacob Javits Convention Center in NYC, I thought I’d
share my impressions of the show. PhotoPlus is designed for professionals in the photographic and imaging industries, and showcases the latest in photography. October 22-24, 2009 marked the 26th consecutive year of the show. This year there were a number of companies that chose not to exhibit, including Fujifilm, Pentax, The MAC Group, Calumet, and Adobe. However I didn’t feel that made a big difference in attendance. There were also a number of new companies to the industry showing product for the first time.
Although no registration figures have been released yet—I felt the show was well attended. You see, for someone who has attended dozens of tradeshows over the last 10 years, I judge the attendance on the tradeshow floor by how easily one can navigate through the aisles. If you’ve got to weave among other attendees and stop often to wait for others to let you through, then its pretty crowded. If you can easily and quickly walk the show, then its not that crowded. Well, I’m pleased to say that even though we’re in the middle of a recession, PhotoPlus Expo 2009 was well attended—all three days. Normally the show which is held Thursday through Saturday is more well attended on the weekdays than on the Saturday, however this year there were just as many folks walking the tradeshow floor on Saturday as there were earlier.
In addition to the hundreds of exhibiting companies, over 100 special events, seminars and hands-on workshops were held over the three days of the show. Topics ran the gamut from portrait/wedding, commercial/editorial, lighting, marketing and business, Photoshop and color management, and more.
Stay tuned to the Picture Soup blog for more from PhotoPlus Expo 2009.
[By the way, if you want to put next year's dates in your calendar now, PhotoPlus Expo 2010 will be held Thursday, October 28 - Saturday, October 30, 2010.]
— Diane Berkenfeld
Lark publishes new Magic Lantern Guides book for the Olympus E-P1
Lark Books has published Magic Lantern Guides – E-P1. The new book is authored by Frank Gallaugher, who has years of experience shooting with Olympus cameras. The book (ISBN: 1-60059-671-1) costs $14.95 and will be available November 3, 2009.
Magic Lantern books help new digital photographers take the trial and error out of using and shooting with their new cameras. No matter if you’re a beginner or more experienced photographer, Magic Lantern Guides offer practical information and smart advice, while explaining all the features of a DSLR or interchangeable lens camera, and are written in an easy to read style. The Magic Lantern Guides are easier to understand than many of the manuals that come with these types of cameras.
You can check out the website at www.larkbooks.com to find out more about this book or see the other titles that Lark Books publishes.
— Diane Berkenfeld
[Editor's Note: Read the PictureSoup review of the Olympus E-P1 on this website.]
Camera Review: Olympus E-P1
Text & Photos By Diane Berkenfeld
Last fall, at the photokina trade fair, the bi-annual photography event held in Cologne, Germany, I had a chance to view what was at that time a non-working concept camera that Olympus had developed. Reminiscent of a Leica Rangefinder camera, the body was small yet elegant in its design. Fast-forward to the Spring of 2009 and the debut of Olympus Imaging America’s E-P1. Olympus touts the camera not as a P&S, not as an SLR, but a PEN.
The first-generation Olympus Pen camera appeared in 1959. The concepts embodied in the Pen Series eventually led to the creation of the legendary Pen F Series half-frame single lens reflex system. Check out the Wikipedia entry: http://en.wikipedia.org/wiki/Olympus_Pen to get a thorough look at the history of the Olympus Pen series cameras.
Its retro-chic look turns heads, from tech aficionados and camera buffs to the fashion-conscious and everyday point-and-shooter.
The E-P1 is a 12.3 megapixel interchangeable lens system digital. The camera offers the quality and flexibility of a DSLR in a compact (stainless-steel) body. The camera can be described as retro-chic and is available in two versions, silver with black accent or white with tan accent. The E-P1 is the first Olympus camera in the Micro Four Thirds system format. Two lenses were introduced with the camera—the M Zuiko Digital Micro Four Thirds 14-42mm f/3.5-5.6 (28-84mm equivalent) and 17mm f/2.8 (34mm equivalent).
The camera does not feature a viewfinder—optical or EVF—and that’s the one feature that I truly miss. A 3-inch LCD allows for the composition of images and video as well as playback. For the 17mm lens, an optional accessory viewfinder slips into the camera’s hot shoe. Consumers accustomed to composing and focusing using a P&S camera’s LCD won’t miss the lack of a viewfinder. The camera’s Live Control function allows menu icons to appear on the LCD—over the image you’re composing, for more seamless shooting.
You can shoot Jpeg, Raw, or Jpeg + Raw, which is how I normally shoot. The reason I like the combination of both Raw plus Jpeg is that it offers me the ability to shoot Raw and have access to all that great data, but also Jpegs so I can quickly edit through images. I also like that most cameras that offer Raw + Jpeg recording let you shoot B&W or in the case of the E-P1 by using various Art Filters but if you want to, you can always go back to the Raw file and reprocess the image without the filters or monochrome look. The way I see it, Raw + Jpeg lets you have your cake and eat it too. Images are recorded onto SD/SDHC media cards.
The E-P1 offers four aspect ratios that serve as masks to frame images: the standard 4:3, 16:9, which displays perfectly on a widescreen TV, 3:2 and 6:6.
The camera is fully manual as well as fully automatic, and practically everything in between; offering 19 scene modes, as well as Olympus’ intelligent Auto, program, aperture- and shutter speed-priority modes. One of the more interesting is the ePortrait Mode which enables you to smooth your subject’s face—in-camera and before capture. Additionally, edits can be made post-capture using the ePortrait Fix mode.
I have to hand it to Olympus—the scene modes of the E-P1 were right on the money. When I found myself shooting in tricky lighting situations, I found the scene modes did a better job than the camera set on Program, and faster than if I was shooting completely manual. Considering that this camera was designed for the P&S user that wants to step up to the next level in photography, it makes sense that the scene modes will most likely be used a lot.
The E-P1 offers Face Detection, of up to eight subject’s faces, tracking them within the image area. The Face Detection works well, in fact, I found myself relying on it during portrait shoots, especially with multiple people in the frame.
Images from the E-P1 are as sharp as those of any DSLR I’ve used.
Cropped view - actual pixels, from image on left. Flower is tack sharp.
Full image, macro shot.
Instant Gratification
One of the coolest aspects of this camera is the inclusion of the art filters, first introduced in the Olympus E-30 DSLR. The art filters are accessed through the mode dial. Each of the six filters—Pop Art, Soft Focus, Pale & Light Color, Light Tone, Grainy Film, and Pin Hole—can be previewed live on the LCD as you’re shooting. For imaging purists who want to shoot without filters, and apply the filters to images inside the camera later, or just edit images back at their computers, the E-P1 provides these options. The art filters can also be used while shooting HD video.
Examples of the Art Filters: (top row l. to r.) Pin Hole, Pop Art, Soft Focus; (bottom row l. to r.) Light Tone & Color, Pale Color, Grainy Film.
In addition to being able to view the Art Filters on the scene while you’re composing, other settings are also WYSIWIG (what you see is what you get). These include white balance and exposure changes.
One feature that is slowly making its way into higher-end digital cameras is the Multiple Exposure mode. The E-P1 allows users to create multiple exposures in camera, in real time, or by capturing both shots separately and combining them in the camera later. This is yet another creative option that photographers using the E-P1 have at their disposal while shooting—which for many folks using digital is ideal, as they don’t want to have to use software to alter images, but create photographs in the camera that can be easily printed out.
E-P1 – Packed with Features
The E-P1 is the first Micro Four Thirds camera introduced by Olympus, however the camera uses the same size Live MOS image sensor as the E-30 and E-620 DSLR models. The camera also utilizes the new TruePic V image processor. Some of the other features of the camera include in-body image stabilization; Olympus’ patented Supersonic Wave Filter for dust reduction; ISO range of 100 to 6400; an internal Digital Level Sensor that detects the camera’s pitch and roll; manual and automatic focusing; as well as a MF Assist Function and magnification display that lets you magnify the image on the LCD by up to 10x. Metering modes include spot, center-weighted and the 18×18, 324-division ESP metering.
The camera includes Olympus Master 2 software, for the Mac and PC. The software allows users to organize images and process Raw files. The software is also used for updating camera and lens firmware. The software is easy to navigate and offers more detailed EXIF data on the image files than does Photoshop or Lightroom.
In addition to video, the camera also has a built-in stereo microphone and can record audio narration. The E-P1 comes with five built-in background music options so users can mix stills and video in-camera to create multimedia slideshows, which can then be viewed on any HDTV via an HDMI cable.
As I mentioned earlier, I had to get used to composing via an LCD instead of a viewfinder, so a photographer who normally only shoots with a DSLR may feel the same way I did when they first pick up the E-P1, but you quickly get used to composing on the LCD.
The beginner or intermediate photographer will have no problem picking up the E-P1 and getting started. This type of user most likely has owned or used a digital P&S camera in the past and will be used to composing on an LCD, as well as using program and scene modes. The manual modes are in the camera so they can step up to the features as they learn how to use them.
For the enthusiast or professional photographer who has used Rangefinder cameras in the past, and want a more compact camera to take with them on vacations [i.e. when not working], the E-P1 would be a great choice.
And if this type of photographer already shoots with Olympus’ E-series digital SLRs, they can utilize their Four Thirds lenses with the E-P1 using the MMF-1 Four Thirds System Lens Adapter. This adapter also allows Four Thirds System lenses from Sigma, Panasonic, and Leica to attach to the E-P1. For photographers who go back further still, and were Olympus film SLR shooters, their OM lenses will work on the E-P1 with the MF-2 OM Lens Adapter.
The other feature that I miss on this camera is a built-in flash. Most compact digital cameras, super zoom digital Point & Shoots and even many DSLRs offer a built-in pop-up flash. The E-P1 does not. The camera does have a hot shoe so you can add the optional FL-14 accessory flash. Without the flash, you may be limited in low-light use.
As I did not have enough time to truly test out the video and audio features of the camera, this review only includes my views on the still capture features.
Overall, I enjoyed using the E-P1. It’s a great little camera. I’m sure we’ll be seeing more Micro Four Thirds format digital cameras from Olympus in the future. Oh, and the E-P1 does turn heads, so be prepared for the attention it will bring you!
Estimated street prices for the E-P1 body only: $749.99; E-P1 body with the ED 14-42mm f/3.5/5.6 Zuiko Digital Zoom Lens: $799.99; and E-P1 Body with ED 17mm f/2.8 lens with the optical viewfinder: $899.99.
For more information about the E-P1, check out the website at www.olympusamerica.com.
[Editor's Note: Read about the new Lark Books Magic Lantern Guide about the Olympus E-P1 on this website.]
Product Review: Datacolor SpyderCube
By Diane Berkenfeld
Earlier this year, Datacolor introduced the SpyderCube RAW calibration device. To use it, you simply place it in the same light as your subject, and take one frame with the SpyderCube. Then continue on with your shoot. The real magic comes during post-production. Using the SpyderCube, you are able to precisely adjust all photos taken under the same lighting conditions. You can use the SpyderCube with either RAW or JPG images, however its best used with RAW image files.
According to Datacolor, the company designed the product using ABS Cycoloy, a hybrid resin that is fade proof and extremely durable, so it will last. The colors are through-pigmented for durability, and carefully formulated for optimal color values.
Capture Phase
To begin, place the SpyderCube in the frame, in the same light that your subject will be photographed in. The SpyderCube doesn’t have to be in focus—and you can either hold it, hang it from the attached loop or put it on a tripod (the base features threads that fit a tripod or monopod). I found it easier to hold the SpyderCube or if I was shooting on a level surface, placing it in the shot. You want to make sure that you can see—and photograph—the specular, white, gray, black and black trap areas.
Let the Magic Begin
No special software is needed. Any RAW conversion software will do. Basically, once you’ve got the shot open with the SpyderCube in it, you correct the white balance and exposure. You can then set a preset and batch process the rest of the images taken under like lighting conditions.
Each feature of the SpyderCube is designed to provide a unique solution to RAW adjustment needs, yet work together to produce precise white balance and overall image adjustment when shooting in RAW. For example, the silver sphere is used to record the catch-light or specular highlights; the White face of the SpyderCube helps define highlights in relation to the catch-light; the Gray face measures color temperature and mid-tones; the Black face defines shadows in relations to the Black Trap; and the Black Trap defines absolute black.
For my review, I used Adobe Lightroom 2, which I normally edit images with; as well as Photoshop’s Camera Raw for review purposes.
The image when first opened in Capture Raw. No changes have been made at this point yet. Set white balance first, then exposure, brightness and black levels.
To get the white balance, you use the white eyedropper (sometimes called the gray eyedropper), clicking on the lighter gray area. This lighter side represents the primary light source.
After setting the white balance, you then correct the exposure, making sure that none of the color channels are clipped in the histogram.
The next step is adjusting the brightness by checking the RGB values of the lighter gray face. This area is 18% gray, you’re now adjusting the mid-tones.
Lastly, you set the black level. If your RAW converter doesn’t have a black eyedropper, use the black slider. You want to show a clear distinction between the black trap and the surrounding black area.
This is the order that Datacolor suggests you utilize, however I’ve read a number of other reviews suggesting that you may end up with better results if you perform it in this order: white balance, then exposure, then black level, then brightness.
Once the image with the SpyderCube in the frame has been corrected, you then set a custom preset and batch process the rest of the shoot.
The image at left is Raw, uncorrected. The image at right is the final image.
Results
The SpyderCube works really well. Like I described earlier, it’s meant to allow you to batch process your images in post-production with consistent results. And unlike some of the devices on the market that help you set the white balance before you start shooting, the SpyderCube helps you with your entire exposure, not just the white balance. Another thing I like about it is that the SpyderCube is small enough to throw into a camera bag, or even in a pocket.
Anything that can help give you consistent results from shot to shot is a good thing, and if it’s easy to use, that’s an extra bonus!
For more information or to view video tutorials on using the SpyderCube, check out the Datacolor website at www.datacolor.com.
Book Review: The Art of Digital Photo Painting; Using Popular Software to Create Masterpieces
By Diane Berkenfeld
As a photographer, I can take great photographs, but I can’t draw, sketch or paint, so when I first discovered software that allows you to transform your digital images into artistic masterpieces that have the look of a painting, I was giddy with excitement. Then I saw the great images that professional photographers and Corel Painter Masters have created and thought to myself, “there’s no way I can do that.” And then I read The Art of Digital Photo Painting; Using Popular Software to Create Masterpieces, by Marilyn Sholin; published by Lark Books, (www.larkbooks.com) ISBN: 978-1-60059-101-3.
Author Marilyn Sholin is a professional photographer, Corel Painter Master, and educator. She is known for her digital photo paintings, and has authored a great book for photographers who want to learn how to fulfill their painterly visions of enhancing their own images.
Corel’s Painter XI is such a great piece of software—it’s the best around for emulating the look and feel of a variety of painting/drawing media. It can also be intimidating when you see the amazing photographs that have been enhanced using the software, not to mention the freehand pieces that talented artists have created with the program.
The majority of the book covers Corel’s Painter program, although the author mentions a few other software titles and plug-ins that are great additions to any digital imager’s repertoire. A chapter is dedicated to explaining the basics of Painter, including an overview of the palettes, tools and more.
The publisher created a website with downloadable files that are used as examples in the book, so readers can follow along with the tutorials, and be able to see how the final product should look. It’s almost like being in a class or workshop—you’re doing the work so you’re learning—but you’re going at your own pace.
The author discusses multiple ways of using Painter’s powerful tools, including some great shortcuts. Sholin writes in an easy to understand tone so readers won’t feel overwhelmed. She offers step-by-step instructions for painting from multiple sources, portrait painting, and mixing media in one image. The book includes techniques for digital photo painting of portraits, landscapes, still life, and an entire chapter dedicated to flowers. Dozens of examples, screenshots and tips are included throughout the book.
Whether you want to add a realistic painterly effect or go wacky with color, this book will show you how.
Examples of different ways you can “add to” your images with digital borders—complete with instructions—shows readers a great way to add a little “oomph” to their final images.
Sholin also includes examples of painterly photographs from other pros, which is great, because it shows varied styles and techniques that different photographers specialize in.
I love the look of images that have been enhanced with Corel’s Painter software or other such digital photo painting techniques, and as I photographer, I want to be able to create such masterpieces of my own. After reading The Art of Digital Photo Painting; Using Popular Software to Create Masterpieces, I’m not intimidated anymore. In fact, I’m more excited than ever about working on my digital painting skills.
If you’ve thought that you couldn’t turn your photographs into digital paintings, buy this book—the $19.95 will be money well spent.
To see more of Marilyn Sholin’s work, go to her website at www.marilynsholin.com. To learn more about Corel Painter software, go to www.corel.com.
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