Tag Archives: m43

Why I left Nikon and went Mirrorless

This is a post in two parts, and conceptually this is Part 2. Stay tuned for Part 1, How Nikon could be the Next Kodak (if they aren’t careful).

A few years back I was feeling particularly hemmed in by the classic DSLR experience. I was happy with the images from my Nikon D300, but not happy with the “eye to the finder” mode of shooting. Among the reasons is that I am a former Rolleiflex TLR user, and waist-level viewing is very pleasurable. It is less “in your face”, it gives a more natural eyepoint on some subjects, and it doesn’t involve blocking your face with a camera body. I also shoot a lot of live music and event photos, and shooting overhead is better when you can look up and see a real-time preview.

Some DSLR’s have live-view and an articulating display. I thought I had it figured out with a D3200. It was a very affordable way to hang a newer and more friendly body off of my existing DX glass. It was also light, had decent live view, a decent LCD display, shot HD video. The other side of the coin is that I was still lugging a heavy kit (17-55DX, 70-300VR DX, and a 35mm f/1.8 normal lens). The body was a little lighter, but not enough to make a day walking around the city any easier.

As I perused the camera landscape I saw that Olympus and Panasonic were making cameras with a newly spec’d “Micro Four Thirds” standard. As well, these cameras depend entirely on the sensor to provide the preview. Some have an electronic viewfinder (EVF), and all have a nice bright display (most articulate for waist level and overhead viewing at a minimum). Good glass was available, and the cameras were well received by the finicky photographic press. I took a walk over to my local Brick and Mortar (Camera Bar in Hartford, CT) and checked out the cameras in-person.

Rant on.

I did the right thing and bought my camera, a Olympus E-M10, from Camera Bar. I have been known to browse in person and buy on-line, but not for purchases where I have picked their brains and gotten some good non-pushy advice. YMMV, but I’m happy I did that. I’ve bought other cameras and accessories there, and will continued to do so. Good folks deserve my business.

Rant off.

The point of all this is that Nikon just announced that the DL, their anticipated entry into the mirrorless game, is being scrapped (the weak-selling 1-Series is not a factor here). I think they made the right move but for the wrong reason. What they should do (IMO, selfishly) is design a mirrorless camera that accepts their DX-mount lenses, which are affordable and often excellent, and ditch the swing-up mirror. A swing-up mirror is an anachronism in a camera for anything other than a few specialized pursuits. Of course it made sense at the birth of the DSLR. These cameras were built using existing 35mm film bodies and had digitals sensors swapped in where the film plane/pressure-plate had been. It allowed the big SLR makers to leverage their investment in SLR technology. Sensor technology was in its infancy, so asking the sensor to stay on all the time, as well as provide output to multiple displays, was a bridge too far.

For all the advances in DSLR technology, and those cameras continue to be excellent performers for both stills and video, what exactly is the mirror doing in a camera like a Nikon D7000 Or a Canon 5DMKII? My feeling is that it is truly vestigial and an annoyance for most users. These cameras have sensors that are clearly capable of running full tilt all day. Why have a mechanical swing-up mirror? Or more specifically: Why have a mechanical swing-up mirror in every level and every price range? (If you think Canon has fared any better in catching up with mirrorless tech… read THIS)

One of the advantages of the mirrorless generation is that they can use a shorter focal distance (the distance from the lens flange to the film plane), allowing a shallower and smaller camera body. But there is another advantage is the lack of a mirror mechanism. Entry-level gear like the Nikon D3200 I experimented with have a mirror mech with an expected MTBF of 50-100,000 actuations. Most could probably outlast that by a bunch, but then again most entry-level cameras will never see that many shutter presses. A professional or prosumer camera might be good for 150k actuations. Still, that’s a lot. But I’m not sure it is ever anything other than a noisy inconvenience in a consumer camera.

So that is where a company like Nikon, an also-ran in the story of mirrorless cameras, could really clean up and deliver something better than they currently provide without actually developing a new camera system and without the question of “do we throw yet another freakin’ lens mount into the alphabet soup that is modern photography equipment?”. Nikon should transition to a Mirrorless DX camera to supplant/continue the already good/great 3xxx series. Hell, you could reflex the light path 90-degrees with a fixed mirror/prism and gain a shallower body while still using the DX flange distance… just sayin’….

I wish I could have thrown in on an upgrade to my D300 and gone on loving the Nikon DX experience. But now that I have a few years of mirrorless under my belt, and my Nikon gear has languished (actually being passed on to my nephew) I can say with confidence that I am not ever going back. I could end up moving to Sony or Fujifilm and their excellent mirrorless products, or I could upgrade my E-M10 when the time is right, or maybe another Micro 4/3 body like Panasonic/Lumix… But no. Not going back.

I’ll speculate in Part 1, the prequel, about how things could really go sideways for Nikon if they screw this up and decide that they can be the torchbearer for traditional SLR technology.

P

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How big is Micro-Four-Thirds?

I began to share my experiences with my Olympus OM-D E-M10 in two previous posts. The transitions from my Nikon APS-C gear has been a mixed bag. Technically it has been fairly easy. Artistically it has been more challenging.

My expectation was that the steepest part of the learning curve would be adapting my Nikon routine to a new system. And sure, the Olympus menu system is different, and in some ways more complicated/arcane. That turned out to be  a one time thing. How often do you really rework your everyday settings? For me, not often. I now know the Olympus menus well enough to get what I need most of the time. I have been thrown off a few times but once you remember that all the time/bulb/comp modes are in the manual shutter settings it solves most of those problems too.

The real joyride has been artistic, with a side of camera capability. The photos from the Olympus have a different look. The exposure curve is different. It does not demand a maniacal devotion to underexposure the way the Nikon does. I don’t think I ever intentionally used a positive exposure compensation on the Nikon. That would be suicide in anything other than deep overcast conditions. You would be asking for a world of blown highlights.

Conversely the Olympus seems to have broader latitude, and a more accurate matrix metering system. There is a caveat: areas of high tone seem to block up without being clipped. If I am shooting an area of white, like clouds or sea foam, the image will lose detail in that bright zone.

the SABINO, Mystic, Connecticut

Here is a photo of the steamboat Sabino. The image is not overexposed, but the chine of the hull is lacking detail. It doesn’t look awful, but it does lack depth. This would not have happened with my D300.

On the other hand, I took a few images at an indoor farm market, under mixed lighting, where I was not expecting much and the result is:

Wild Mushrooms, Matane Public Market

Beautifully saturated colors and crisp detail, without having to resort to much in the way of post-processing. That is the kind of image that has kept my D300 in the bag.

The difference between my two systems reminds me of the differences between color print films, or color transparency films. You liked Kodak, or Fuji. You probably did not like both. With DSLR you probably fall in with Nikon or Canon. I think of Nikon as Kodak and Canon as Fuji. You get more pop and saturation out of the Canon. You get a warmer, natural image out of the Nikon. If that is the case, then the Olympus is leaning more toward Canon. The images out of the camera look amazing. Sure, the M43 systems give up some resolution, and the images seem a little noisier. But the combination of the glass, sensor and firmware combines to generate some extremely pleasing images.

Speaking of glass, I sprung for a Panasonic 20mm f/1.7 pancake lens and it is very nice. Sure, the automatic focus can be glacial, and the manual focus control feels like a greasy zoom control. However, the images are very good, very flat (in terms of distortion) and the focus speed only becomes an issue in low light. In combination with the OM-D it is a lot like shooting with my old Oly 35SP rangefinder: light, fast, crisp, and easy. What it leaves me wanting is a real old-school manual focus control, and having the aperture on the lens barrel would be cool too. At least I know what I want out of my next fast prime.