Lydy came home this evening wearing the completely restrung Angel!
We haven’t done a final accounting yet, but my best estimate right now is that we are, in fact, completely funded (any excess goes to Lydy, as initially announced, that being the simplest way to handle it in accordance with the initially-announced goal to “Do Something Nice for Lydy”).
Turns out physics is (more and more) setting performance limits on digital cameras. (Title is a reference to the controversial Tom Godwin story “The Cold Equations”).
I’ve been maintaining two camera systems for a while now—Nikon, and Micro Four Thirds (my bodies have all been Olympus). That developed sort-of accidentally; I got an E-PL2 to replace a Panasonic LX3 as my “point and shoot”. But of course, over time, lenses accumulated, and it started to be a significant camera for more than just snapshots. And when I upgraded to an OM-D EM-5 it was pretty good at video, too (most of my work on the Cats Laughing reunion concert at Minicon 50 was done with it). And after the body upgrade it became my main camera, except for sports action (almost all roller derby) and nasty low-light (often music in bars).
Having both systems leads to having the wrong one, or carrying both, on trips. And to ongoing expenses. And a certain level of duplicate lenses. And to having only a single body on either side.
And, just recently, the OM-D EM-5 body has packed it in (“beyond service life” according to Olympus service). This kind of brings the question of just what the heck I should do to a head. Without spending too much money, of course.
The Nikon gear (both what I have, and the models I might buy) is an old-school DSLR. Viewing is optically, through the taking lens, via a pentaprism and a moving mirror, which means I have to line my eye up with the lens to see anything (crawling on the ground or whatever as necessary), and that in low-light situations it can be hard to see. It also means manual focus is hard, since the view can be dim and the focusing screen is not optimized for manual focus. Auto-focus is by phase-detect sensors in the bottom of the body, fed by semi-transparent spots on the moving mirror plus pivoting sub-mirrors on the back (how does that ever work?).
The Micro Four Thirds gear is of the more modern “mirrorless” design. There’s no big mirror flapping around to make noise and cause shake. Older models including my dead one use contrast-detect auto-focus based on the data from the main image sensor; some more recent ones like the OM-D EM-1 mark II and the Sony A7R II integrate phase-detection AF sensors on the main sensor, making AF much faster (phase-detect sensors tell it which way to adjust, contrast detection does not, among other issues).
Watching the development of cameras over the last decade, I think I see that we’re past the time for silly flappy mirrors. I’m starting to feel about them a little like the way Heinlein described internal-combustion engines in The Rolling Stones:
The prime mover for such a juggernaut might have rested in one’s lap; the rest of the mad assembly consisted of afterthoughts intended to correct the uncorrectable, to repair the original basic mistake in design—for automobiles and even the early aeroplanes were “powered” (if one may call it that) by “reciprocating engines.”
A reciprocating engine was a collection of miniature heat engines using (in a basically inefficient cycle) a small percentage of an exothermic chemical reaction, a reaction which was started and stopped every split second. Much of the heat was intentionally thrown away into a “water jacket” or “cooling system,” then wasted into the atmosphere through a heat exchanger.
What little was left caused blocks of metal to thump foolishly back-and-forth (hence the name “reciprocating”) and thence through a linkage to cause a shaft and flywheel to spin around. The flywheel (believe it if you can) had no gyroscopic function; it was used to store kinetic energy in a futile attempt to cover up the sins of reciprocation. The shaft at long last caused wheels to turn and thereby propelled this pile of junk over the countryside.
Apart from the risk of simply being completely wrong, I’m wondering if it’s too early to go all-in on mirrorless designs. The main players are Olympus and Panasonic (in the Micro Four Thirds collaboration) and Fuji. Canon and Nikon have minor lines of no particular market or technological significance (though rumor has it that Nikon is coming out with a full-frame mirrorless line next year), Leica makes a few full-frame models at Leica prices, and Sony has some very interesting full-frame models (but the lens lines for them are limited and pretty expensive).
Oh, and there are some medium-format mirrorless models now, from Leica, Hasselblad, and Fuji at least; those aren’t oriented towards sports-level action, and are getting into five figures instead of mid 4 in price, so they’re not anything I should or can think about.
Mirrorless cameras are very easy to adapt to use any old-style SLR lenses (and many others), in strictly manual mode. Because they don’t have to have space for a mirror to flip up, the back of the lens mount flange is very close to the sensor; and when making an adapter that’s one of the inescapable limits (the other is the coverage of the lens being adapted). And, with electronic viewfinders and modern technology like “focus peaking” and just magnifying the image, manual focus is vastly more usable than it was with SLRs. I do still need AF for fast-moving subjects, though, especially sports, and it’s convenient some of the rest of the time. However, my current mirrorless camera wasn’t modern enough to have focus peaking, so I don’t have more than passing direct experience with it (playing with other people’s cameras).
While I lived with film for decades, I now casually expect modern levels of low-light sensitivity out of my equipment (and I am, after all, mostly competing with people who either have it, or don’t want it). Micro Four Thirds uses a sensor half the area of a “full-frame” sensor. The Fujis and the Canon are APS-C. The bigger sensors will always capture more photons per pixel at any given resolution (each pixel is simply physically bigger). And while they’ll all get better at capturing, and at processing the data they capture, they’ll all be reasonably in step on those improvements. Bigger will always win.
Here are the DXOMARK stats on some of the cameras I have or am considering:
My old Nikon D700 has a “sports” score (which is basically high ISO quality) of 2303. The fancy new OM-D E-M1 Mark II has a score of…1312; not that much better than half as good. And the Sony A7R II, one of the very top low-light cameras, scores 3434. In the nearly 10 years since my D700 was released, sensors and processing haven’t improved enough for any smaller sensor to catch up with it, but sensors the same size have moved well past it. So the latest fancy Micro Four Thirds body would be a considerable step backwards in something I care about (possibly mitigated by a lens a stop faster from 200mm to 300mm, see below).
Just to confirm the DXO methodology, here are lab test shots of some of the choices from dpreview.com:
(Note that the Nikon D750 is considerably more recent than my D700; but they didn’t have anything that old in the database, not even the D3).
That’s kind of interesting, in that the Sony doesn’t look as good as its rating would suggest. The E-M1 Mark II does look somewhat better than the E-M5. And of course the D750 beats them all, but that’s a modern full-frame DSLR.
Going solely to any mirrorless system requires buying some high-end lenses, too; at least their 70-200mm f/2.8 equivalent. And there, Micro Four Thirds wins big; the Olympus equivalent (40-150/2.8 Pro) has equivalent angle of view of an 80-300, which is enough longer to be very nice (a stop faster anywhere beyond 200mm equivalent than anything I have now), and costs “only” $1400. The only choice for the Sony (no Sigma or Tokina models available) costs $2600.
Oh, and there are some fairly significant Olympus rebates and trade-in deals for the next couple of weeks.
My primary camera came back as “beyond service life” and hence unrepairable. Even the guy at the camera store was surprised, he had to look up when it was released (it was announced in February of 2012).
Meanwhile, I could easily get a Leica M3 (made around the same time I as) or a Nikon F (about 5 years newer than the Leica) repaired. Of course those two are special cases, they’re both regarded as important classics. And, being old-school completely mechanical cameras, the parts they need can be manufactured pretty easily today, without any help from the original manufacturers.
This was my only video camera and my primary still camera (though the D700 still does a much better job on roller derby and in dark bars and music circles).
I’ve been playing around in my head with where to take the camera collection from here, given that both sides (this Micro Four Thirds body and the lenses for it, and my Nikon D700 and those lenses) are getting old by modern standards (the D700 is even older, having been released in July of 2008; I’ve already had one autofocus system repair). This is rather financially constrained, among other things. (Some of the Nikon lenses I’m using I bought in 1981, and they still work fine, and still could be repaired though perhaps not by Nikon themselves.)
I think it’s time to abandon flappy mirrors; they’re a silly idea in digital cameras. However, full-frame sensors do seriously better in low light than smaller ones (no smaller sensor has yet matched the specs of my 2008 D700 full-frame sensor), and DSLRs have better auto-focus for tracking and fast action than any mirrorless (except possibly maybe the hugely expensive top-of-the-line Sony A9, which doesn’t take any of my lenses). And there aren’t many full-frame mirrorless lines; there’s the Sony, and a Leica (which makes the Sony look cheap). But the state of the art in sensors and electronics is advancing constantly; while no smaller sensor has caught up to my D700 yet, they’re close, and no doubt will catch up soon. Of course today’s full-frame sensors are five generations (or some such) better, and still well ahead, but at some point something becomes “good enough” and it’s not worth paying hugely for small improvements for most kinds of photography. Nikon is allegedly about to release their own mirrorless full-frame system, but how well it will work with old Nikon lenses is anybodies guess. For that matter how well it will work at all is still up in the air.
With financial constraints, concentrating back into one system is nearly certainly the way to go, and for cost and flexibility the Micro Four Thirds seems to be the best choice starting from where I am.
Have to think about it; I wonder what I’ll actually do—and when?
Kind of a shock; nobody seems to have known of any reason to expect any such thing any time soon. A phone call had reached Sharon and Richard (who were hosting the Minn-StF meeting yesterday) just 5 minutes before Lydy and I walked in.
The information that’s reached me so far is that he probably died quickly of a heart attack in his home about September 4th, but wasn’t found until the 14th (hence the lack of certainty on date and cause of death).
So it was a bit of a subdued meeting with a lot of reminiscence.
Dave, who most of the years I knew him insisted on the capital “E” in DavE (but mostly dropped that after becoming a Baron of Ladonia), moved to Minneapolis quite shortly after I became a permanent resident here, I think in 1978. He was already a photographer and interested in the history of fandom, so we had that in common, and he was an accomplished bridge player and this was during Minn-StF’s bridge period. He moved into the apartment I vacated in the basement of the Bozo Bus Building when I bought Finagle’s Freehold.
I will say that, Facebook profile to the contrary, he did not live in Memphis Tennessee.
Oh, about that Barony—DavE described himself as being “a real baron of a fake country.” The people running Ladonia appear to have properly granted him that honor in line with their historic traditions (which go back to 1996, it looks like).
Here are a few of my photos of DavE over the decades: