This week, Julie Powell kicked things off by answering the question, should you become a professional photographer? Then, Bryan Esler told us what’s next for Olympus users, and Bob Coates introduced us to a great solution to easily change out your wall art.
Michele Grenier put the Sony a6400 and a9 head-to-head in a mirrorless face-off, and finally, Levi Sim gave seven tips to help photograph the NEOWISE comet.
What’s next for Olympus users? - When I first heard the news about Olympus’ intentions to sell its imaging division, I was pretty caught off-guard. Leading up to COVID-19, it was thought that the company was doing better. Olympus had just released the OM-D E-M1 Mark III — one of its flagship cameras — and for the most part I saw pretty positive reviews. Olympus seemed like it was on the up and up. But the fact of the matter is, for the past three years, Olympus has lost significant revenue. By signifying their intention to sell to Japan Industrial Partners (JIP), Olympus waived the white flag. They needed help. Understanding the decision While only JIP can answer what’s next for Olympus beyond this year, it’s important to understand where Olympus is coming from with this. Despite some positive numbers in Japan, the imaging division had struggled for the past three years. And when COVID-19 hit — like other camera manufacturers — sales were at a standstill. Selling the imaging division makes the most sense for the future of Olympus as a corporation. While it’s not a done deal yet — negotiations are ongoing — it’s something that Olympus sees as a positive for the future of the imaging business. What the future holds In a statement to Photofocus, Olympus confirmed that its goal of selling is to strengthen the operation of the imaging division. “First of all, we would like to stress and clarify that the sale of imaging division does not mean that we will withdraw from the imaging business. We will continue to offer unique and exciting products. Although there would be some changes in the management and transformation of the organizational structure after the transfer, these changes are intended to stabilize the business and to strengthen the organizational operation. Therefore, we believe this transfer will bring a positive effect to our imaging business.” Once the transition does occur, there’s been some questions about what would happen next. One idea that a lot are eluding to is that Olympus could focus more on high-end products. This was alluded to in a DPReview interview with VP of Global Strategy Setsuya Kataoka. “We will focus on the high-end market more than ever,” he said. “High-end cameras and lenses in the ILC lineup. There may be some changes in the product lineup for strategic reasons, but we don’t plan simply to reduce the number of products.” Additionally, in a joint statement by Olympus and JIP, the companies stated that “the new imaging company would assume and build growth strategy around the renowned Zuiko, OM and other brands, featuring optical and lens technologies developed and cultivated by Olympus over decades.” They go on to say that “the new imaging company would commit to deliver high quality and reliability products and services to the Olympus customers around the globe. Finally, Olympus debunked two reports by 43rumors.com that stated all non-Japanese sales staff in Japan had been let go, and that the glazing kilns had been shut down. To both, Olympus stated, “There is no such fact.” Why JIP? JIP is best known for purchasing Sony’s VAIO line of computers. In that case it stripped down the lineup to two laptops, and the company is still in business today. But why didn’t Olympus instead try to sell the imaging division to a company more familiar with the photo industry? In a statement to Photofocus, Olympus focused on JIP’s success of spinning off a business and maximizing its potential as reasons to why it approached it. “JIP is an investment fund engaged in a number of ‘strategic carve-outs’ that cut out businesses through spin-offs and maximize their growth potential. Based on the wealth of JIP’s knowledge, we believe that our Imaging business will be able to build a foundation for improving our profit structure and managing our business over the medium to long term as a new company, while accumulating innovative technologies and leveraging our solid brand position in the market.” What to do as an Olympus user This is where it can get a little complicated. For most, Olympus selling won’t mean much. The cameras will still work, and they’ll continue to be supported. You’ll be able to continue to open your RAW files in software made by Adobe, Capture One, Skylum and others. Cameras and lenses will continue to receive support by the company, and warranties will continue to be active. “Customers can expect all the same service they’ve had in the past. We’re still manufacturing cameras and lenses, we’re going to be making some announcements coming up and we’re still repairing and providing service for products,” said Jennifer Colucci, manager of public relations. The company is also committed to releasing the products it has announced already — including the lenses it announced a few weeks ago — even if the releases occur after the sale closes. Because of this, I wouldn’t expect major changes to the imaging division right away, even under new ownership. What Olympus has promised as coming will certainly be released at some point. What if you’re a pro? Again, not too much changes. If you’re a pro, you might want to think about the future a little more, though. I’ve spoken with several photographers that are considering investing in a second brand, while keeping some of their Olympus gear around. Maybe you keep your Olympus gear for your travel and “fun” photography, while investing in a second brand for your professional work. It’s not unheard of to use multiple brands of cameras — it’s more common than you might think. Different cameras work better for different jobs. What I think is next I see the Olympus imaging division following the lead of VAIO. It’ll be a slow change over time, but I can see the company phasing out some product lines and instead focusing on those that have been most successful. Others have also suggested that this might be the time that Olympus goes full-frame, or even APS-C. I don’t see that
The Xpozer 4Pack: Changeable art for your walls - Getting prints out of your computer and on the wall is a great way to enjoy your photos as art and decorate your home. It is even easier, and less expensive, when you use the Xpozer 4Pack system. I had the opportunity to try out and review Xpozer last October. Check my initial thoughts on making prints. Happy wife equals happy life We’ve all heard that expression and know that it is true. I used Xpozer prints to make my wife happy. I surprised her with some new photo artwork in the bathroom. I replaced frames that were looking a little tired with new unframed prints. She said, “It’s like we just got a face-lift in here. It feels like a spa.” ‘Nuff said! Why do I like Xpozer? In addition to a happy wife, I like that Xpozer images float one inch off the wall for a neat and clean look. Printing color has been true to my files. If you are not sure about your color correction and quality they have a service that will make sure your file is substantial enough for your print so there is no guesswork. Pricing is pretty incredible, with the 20-by-30 inch size I ordered coming in at about $80 plus $9.99 shipping. The nice part is you can swap out prints in no time when you’d like to adjust your décor or you’ve scored a new favorite photo capture ala the prints I spoke about above. The 4Pack Shipping prints is inexpensive because the system is light. In addition, the image above shows four prints and two 20-by-30 inch frames in boxes that are a little over 20 inches. Here’s my example. A 20-by-30 inch print with frame goes for about $80. A 4Pack is $191.95, which includes one frame. This saves you a little over $30 buying a frame and three extra prints. When you purchase you are set up with a credit for the four prints and you order them as you are ready. Order a print and frame and swap it out a month or six months down the road. One caveat is that each time they make a shipment it’s $9.99. If you know what prints you want you could order all four at once and ultimately save an additional $30. Get multiples Ordering multiple frames at the same time is also possible if you have other locations already picked out to hang art. I knew I wanted two prints to be hanging immediately and got an additional frame. I have two additional prints on standby to swap out when the time comes. Or, who knows? I might just order two more frames! Yours in Creative Photography, Bob
Mirrorless face-off: Sony a6400 vs. Sony a9 - In this mirrorless face-off, we put to the test the Sony a6400 VS the Sony a9. Is the $4k full-frame really worth buying over the $900 crop-sensor?
Seven tips to help you photograph the NEOWISE comet - The NEOWISE comet was discovered by a space telescope built at Utah State University, where I now work. I think that is so cool. When Comet Hale-Bopp passed by in 1997, I was just getting started in my high school photography class. I remember trying to photograph the comet with my black and white film, but my results were not worth keeping. Hopefully, these tips will help you make a picture worth keeping and sharing with your kids when the next great comet comes around. 1. Don’t buy expensive tools You could probably make a fair picture with your smartphone, using certain apps, but I’m talking here about using a DSLR or mirrorless camera. In fact, any camera with Manual mode could get it done. There are so many cameras out there that I can’t speak to every model, but these tips should work with most of them. All you need is your camera, the lens it came with, a fresh battery, an empty memory card, and way to make it stable. 2. Switch to Manual mode Your camera has lots of presets to help you make a good picture, but it gives up when you point it at the stars. Just switch it to Manual mode, the big “M” on the dial. Use your camera’s manual to help you dial in the following settings. 3. Aperture: f/11, or wider Set the aperture to f/11. This will help ensure you get a picture that looks crisp and sharp. If you’ve got a faster lens, by all means, use a wider aperture. Depending on your focal length, you may need f/11 to get the foreground in focus as well as the stars. 4. ISO: 3200 ISO determines how sensitive the camera is to light, and a high number is more sensitive. Crank it up to 3200 and you’ll see a lot more stars in your picture than you can see with your eyes. 3200 is pretty high, and the trade-off is that the picture will look a little grainy, a little noisy. It’s OK. It’s better to have a noisy picture than no picture at all. Many cameras can look good at even higher ISO’s. I shot everything here at 4000 on a Lumix S1. 5. Shutter speed: 4 seconds Turn the dial on your camera to change the shutter speed to four seconds. What you normally see for shutter speed is a fraction of a second. It may look like 1/250 or it might just say 250. Now turn the dial so it’s slower (1/10s is slower than 1/250s). When you get down to one second the display will read 1″, which means 1 second. Keep going to 4″. This is a good place to start, but you can change the shutter speed to make the whole picture brighter or darker. Remember, 8″ is one stop brighter than 4″. 6. Turn on Long Exposure NR This is key, and you might need to check your manual or Google it for your camera. Long Exposure Noise Reduction makes your picture look a whole lot better by removing most of that noise we talked about above. The only catch is that it takes twice as long to make a picture. Your shoot for four seconds, then it’s another four seconds before you can see the photo. Be patient, it’s worth the extra time for a better-looking picture. 7. Get composed & focused Focusing the lens on the stars is probably the hardest part, and it’s not too bad. Start by turning the ISO to its highest setting and setting the shutter speed to about 1/15s (you’ll go back to your other settings in a minute). With a high ISO and a faster shutter speed you’ll be able to see the picture immediately instead of waiting eight seconds. It’s hard to see through your viewfinder to compose a picture at night, so turn on Live View if your camera has it. That also makes it much easier to focus. Use the center-most focus point in your viewfinder — it’s the most accurate and easiest to use at night. Try to focus on the edge of the horizon or a far-away tree at the edge of the sky. The camera can’t focus on the stars well, but it may be able to see the edge of a tree against the sky. Once you get a picture with the horizon in focus, flip the switch on the lens to manual focus so it won’t try to re-focus between shots. Other tips Use a tripod or a bean bag or a rolled-up sweatshirt on the roof of your car to make the camera stable for four seconds. Turn on the camera’s timer for 2 seconds, or use Shutter Delay mode to allow the camera to stop moving after you press the shutter button. If you zoom in more, the stars will appear to be lines instead of dots because the Earth is rotating while you shoot. Turn the ISO higher and use a shorter shutter speed. Remember: The picture is supposed to be black! It’s nighttime, after all. Be courteous to other viewers and keep social distancing in mind. When can I see it? You’ll be able to photograph the comet about an hour after sunset. In Logan, UT, I was able to start photographing at about 10:15 p.m MT. Away from city lights, you might be able to see it sooner. Also, the comet is getting a little smaller as it now gets farther from the sun. But you’ve got some time, and if you’re an early riser you can even photograph it before sunrise in the northeastern sky. Where can I see it? To my eyes, the comet is a little brighter than the Milky Way. If you can get outside the city a little bit without major lights to the northwest you should be able to find it pretty quickly. Find the Big Dipper and then scan downward. Binoculars will help, especially
Should you become a professional photographer? - Perhaps you have been photographing for a while. Regardless of the genre, you’re quite good, everyone around you thinks so (and not just your mom and partner/spouse, they don’t tend to be impartial). Maybe it’s time to take the show on the road and go pro? Does the question then become should you become a professional photographer? The usual answer is yes, right? But what if there are other options? ‘ Consider the following … Do you like being told what to do and working long hours? Often as a professional photographer, you don’t get to pick and chose what you shoot. Sure, some stick to their guns, but they have already paid their dues, done the hard work and made a name for themselves. When you are just starting out, it is hard. Sometimes you have to take jobs and photograph things that are NOT your preferred choice. You also can have to deal with some really long hours. Sure there is the photoshoot and the edit, but that is just part of the job. There are accounts and bills, chasing invoices, advertising/marketing and so much more. Running your own business (whether it is photography or not) can be hard work. Do you like a lack of creative freedom? So you can pick a genre to shoot, but you don’t always have the creative freedom to shoot how you like. If you are lucky you can, but more often than not your client will dictate what they want. Especially in the field of product or food photography. Granted they usually come to you because they like your style, and once a relationship has built up, they can often learn to trust you to do what suits the subject best. Working with portraits is not always as glamorous as it seems, working with children and babies can be fraught without its own perils too. Sure the end results look cute and happy and sweet, but ask any family photographer and it’s not all kisses and rainbows. Do you like begging for work? Oh, the early days of being a professional photographer, it feels like you are begging for work, you give away far more than you should. You even cut your prices to the bone, just to compete with the two million other photographers in your area. And it feels like you are working for nothing. There is the glittering promise of making loads of money and a name for yourself. It’s a bit like Hollywood — everyone wants to be a star, but not everyone does. But wait, there’s more … I know I paint a bad picture, but it’s not all doom and gloom! If you actually have a great job and love it, there is NOTHING wrong with being a super keen amateur and just taking the occasional paid gig. That way you have the security of your normal 9-5 job and the fun of picking the choice work you actually DO want. Often you can build up a clientele that in turn could turn into a profitable career, or at least have fun doing what you love and maybe make enough money to fund that new lens or piece of camera gear. Alternatively, if you really want to become a professional photographer, go for it. There are loads of photographers making a decent living, why shouldn’t you be one of them? This might just be the ticket for you. Perhaps you’re possibly more flexible than me, or more of a workaholic. So are so dedicated to being a professional that you are happy to take the good with the bad, that’s great. But if not, there are other options. Do you have something more to offer? Think about this … who teaches photographers? Who educates them in anything and everything? Maybe you have something more to offer than nice photographs. I spent several years trying to ‘make’ it as a photographer, I was forever being told I was so good people should be lining up to my studio door and I should be picking and choosing my jobs, sadly that was not always the case. Truth. But when I switched from a professional photographer to a professional educator, it suddenly became quite different. Are you an effective teacher? I have a unique photographic style, and I am also quite good technically with gear and software. People are always asking me how I did this, how I did that. I have been told I explain things in an easy and understandable way. I make learning less stressful and even fun. In short, I am an effective teacher. So becoming an educator seemed a natural step. Don’t get me wrong, I found it quite difficult at first. My first workshop was small and I was terrified. But I found out really quickly, that I did, in fact, know WHAT I was talking about. Word of my workshops spread quickly, much quicker than being a photographer. In no time they were booked out. So I offered larger workshops, but they also sold out. I started adding a variety of workshop styles and themes, from still life to creative portraits. They still sold out. My following increased and I started getting asked to be a guest speaker at camera clubs and photographic societies. Fun but also VERY scary. You have to enjoy it I am not saying it’s not a lot of work — it is. But it is also the kind of work I enjoy. The best educators, in my opinion, are the ones who truly love what they are doing. Nothing makes you learn more and faster than being an educator. I NEED to know more than my students. If I don’t know something I am completely honest but endeavor to find the answer. The saying, “don’t bullsh*t the bullsh*itter …” don’t try to teach something you don’t understand. People can smell a phony a mile away. Be honest and truthful. But don’t be afraid to jump
