Wayne wrote:
> I guess you gotta be a devotee to love Olympus stuff these
> days.
Haven't we always? The OM system has always been the odd-man
out. There was a day, though (just before AF), when the OM
system was a killer wildlife system because it was so much
quieter. Some things haven't changed--the E-1 is still ultra
quiet.
It all really depends on your application. Last night I had to
shoot a hundred or so pictures for a cover shot. This was the
first time I ever NEEDED to shoot F22 in anger on the E-1. I
had only one spot show up in the pictures and I think it came
from something on the lens--not the sensor.
When used for "common" commercial applications, the E-1 is more
than sufficient. There is a point of diminishing returns when
the final output is a full-blead 8.25x10.75 half-tone cover.
These are bread-and-butter applications for a professional
camera. When is "good enough" good enough? Would any increase
in resolution result in better output? These pictures are not
intended for billboards or high-grade wall-art, just a cover
where the screen-resolution is still less than the DPI being
provided.
BTW, the 4/3 sensor actually saved the day in this shoot. I
needed a DoF that extended from about four inches to 50 feet.
Hence the F22 at 14mm. I could have probably gotten by with less
aperture, but without scales you really don't know. I
definitely could have used that 7-14mm lens last night. In the
final result diffraction WASN'T a problem as I was able to
correct much of that during conversion with RSE 2006.
It all really comes down to intended output. There are projects
that I do avoid because the camera isn't up to the task.
Nothing new there. I've always had to avoid certain types of
projects because I didn't have the right lenses (mega
telephotos) or flash gear or studio space. This hasn't hurt me
too much. But when it comes down to missing out on
bread-and-butter jobs because of technical reasons such as pixel
count or FPS or something like that then it's time for me, as a
professional, to get what I need to stay viable. For this,
Olympus has been extremely pathetic. It grouses me to no end
that I have to look to Canon to get what Olympus refuses to
provide. You think I WANT to get a 1DS? Hardly. I'm putting
that off as long as I can.
Last night's assignment was a classic example of why it's so
important to KNOW YOUR EQUIPMENT. I shot over 100 pictures in
just under an hour in three different locations around town.
One was in the center of town and the other two locations were
on the extreme opposite corners of town. I cooked a brake pad
on my Audi doing it.
AG
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