1.1 1.2 1.3 Photographic Equipment

Panasonic Lumix DMC G1

This is my first Digital SLR camera, it is my choice since it has all the features of more expensive DSLR's whilst, with its innovative design, it is lightweight and unobtrusive.  I can carry it with me comfortably and use it to take quick pictures of family, friends and things I find interesting as well as more serious studies without having too much kit.

Lumix G Micro System Digital Camera G1 - Ultra compact digital interchangeable lens camera with live view

The Micro 4/3 (four thirds) mount allows the LumixG1 to be both compact and light. These qualities allow the camera to be very portable making it an ideal travelling companion.

TYPE
Camera Type - Digital interchangeable lens system camera
Recording media - SD memory card, SDHC memory card, Multimedia card
Image sensor size - 17.3 x 13.0 mm
Mount - Micro Four Thirds mount

IMAGE SENSOR
Type - Live Mos Sensor
Total pixels - 13.1 megapixels
Camera effective pixels - 12.1 megapixels
Aspect ratio 4:3 (horizontal : vertical)
Colour filter - Primary colour filter
Dust reduction system - Supersonic wave filter

RECORDING SYSTEM
Recording file format - JPEG/DPOF corresponding/RAW
Image quality - RAW/Raw+Fine/RAW+Standard/Fine/Standard
Colour space - sRGB,Adobe RGB

VIEWFINDER
Type- Live View Finder (1,440,000 dots equivalent)
Field of view - Approx 100%
Magnification - Approx 1.4x/0.7x(35mm film camera equivalent) with 50mm lens at infinity;-1.0m-1
Eye point - Approx 17.5mm
Diopter adjustment - -4.0 +4.0(m-1)

AUTO FOCUS
Type - Contrast AF system
Focusing mode - AFs/AFc/MF
AF mode - Face detection/AF tracking/23-area-focusing/1-area-focusing
AF detective range - EV 0-18 (F3.5lens,ISO 100)
AF assist lamp - yes
AF lock - AF/AE LOCK button or shutter button halfway pressed in AFs mode
Light metering system - 144-zone multi pattern sensing system
Light metering mode - Intelligent multiple/centre weighted/spot
Metering range - EV 0-18 (F2 0 lens,ios 100)
Exposure mode - Program AE, Aperture PriorityAE, Shutter priorityAE, Manual
ISO sensitivity - Auto/100/200/400/800/1600/3200/Intelligent iso
White Balance - Auto/daylight/cloudy/shade/halogen/flash/White set 1,2/Colour temp setting

SHUTTER SYSTEM
Type - Focal plane shutter
Shutter speed - 1/4000 ~ 60 and Bulb (up to approx 4 mns)
Self timer - 2sec/10sec/10sec, 3 images
Remote control - Remote control with bulb function by DMW-RSL1 (optional)

The specification also includes ; Scene mode, Burst shooting, Built-in-flash, LCD monitor, Live ViewLive View, Film mode, Playback, and Protection/Erase.

LENSES

14-45mm

This is the standard lens supplied with the G1 camera, and gives me the flexibility of a wide angle to normal
view.

Lens Construction              12 elements in 9 groups
Mount                                 Micro  Four Thirds mount
Optical Image Stabilizer      Yes
Focal Length                       f=14mm to 45mm (35mm film camera equivalent 28mm to 90mm)
Aperture Type                     7 diaphragm blades/Circular aperture diaphragm
Minimum Aperture              F22
Closest Focusing Distance   0.30m at all focal lengths

Maximum magnification     Approx 0.17x/0.34x(35mm camera equivalent)

Weight                             195g

45-200mm

Lens Construction              16  elements in 13 groups

Mount                                Micro four thirds mount

Optical image stabilizer        Yes

Focal length                         f=45mm to 200mm (35mm film camera

                                            equiv 90mm-400mm)

Aperture type                       7 diaphragm blades/circular aperture diap.

Apeture range                      f4.0(Wide) - f5.6(Tele)

Minimum aperture                F22

Closest focusing dist.           1.0m at all focal lengths

Max magnification                Approx 0.19x / 0.38x (35mm film camera equiv)

 Weight                                380g

This is a zoom lens which allows me to magnify a small part of the field of view to fill the frame  and still has the optical image stabilizer  and a light weight giving me the flexibility to use it without a tripod for support.
                                                                                    

FILTERS

I also have a number of coloured Cokin filters, as well as a polarising filter and a graduated filter, however these were bought some years ago and do not fit my Panasonic G1,  but I have ordered an adaptor ring which should enable me to fit them to the camera I am using.

Many coloured filters are no longer used with DSLR cameras since enhancements can now be made through one of the many computer programmes available.  However Panasonic recommend that a UV filter be permanently fixed to its lenses to protect them from damage.

Landscape photographers however, make use of polarising filters since these cut down on reflections when photographing water and can darken skies, in addition graduated filters can add colour and contrast to a dull sky.

COKIN FILTERS

What are Cokin filters made from? CR-39 Organic Glass: All Cokin filters are manufactured from CR-39 organic glass - originally launched for the vision lens industry, CR-39 organic glass boasts several major features: Extra lightweight Highly resistant to shocks, meaning that photographers, videographers and cameramen can handle the filters in complete confidence and safety Excellent optical transmission and high compatibility to colouring, making Cokin filters the proven choice of photographers worldwide.

How the Cokin System works The Cokin Creative Filter System consists of three main components: A filter holder / Adapter ring and a Filter. Screw the adapter ring onto your lens. Slide the filter holder on the adapter ring until it snaps in place. The filter holder is now solidly attached to the lens, yet it can rotate both left and right. Slide the filter into one of the filter holder slots. The one closest to the filter holder housing is the narrowest; it allows the use of round filters with notched edges (polarizer, star filters..). The two central slots are intended for square filters. The outer slot can be used either for an additional filter or for a coupling ring.

Most popular filters - There are over 140 filters to choose from in the range. The most popular are: Polarizers - Designed to eliminate unwanted reflections and darken skies. Graduated - Add colour to a scene by using a Cokin graduated filter to enhance a dull sky, or use a Sunset filter to add warmth. Pastels and Diffusers - Ideal for portraits, still life and landscapes, to create a moody atmosphere and a softer effect. Warm-up Filters - Add warmth to a portrait shot, giving improved skin tones. Colour Filters - Colour correction filters are available, as are Neutral Density filters and filters specifically designed for use with black and white film. Optical effects - There is a wide range of filters available to add special effects to photographs, such as Starbursts, Multi-image, close-up, Rainbow, Double exposure etc.

	COLOURED FILTERS		DIFFRACTERS - STARS
	POLARIZERS		PASTELS - DIFFUSERS
	GRADUATED & ND FILTERS		OPTICAL EFFECTS
	CENTRE SPOTS		SPECIAL EFFECTS

TRIPODS

This is my tripod which I purchased second hand a number of years ago.  It is a Kenlock 2000 SQ, alluminium and very durable.  It extends from 0.5m up to 1.5m and has a  pan and tilt head.  A tripod is essential to keep the camera steady at long exposures.

1.1, 1.2, 1.3, 1.4, 1.6, 1.7, 1.8, 2.1, 2.2, 2.4, 2.6, Photographic Research/Experimental Pictures

This the work of Joe Cornish, I find his pictures very inspirational and will try to study them in more detail, so I can understand what it is, that makes an ordinary or good photograph great, how to look at the landscape and see a framed picture that has all the elements to make it interesting to others, how to use the changing light and seasons and understand the technical elements, so I can reproduce them in my work.


Joe Cornish came to photography gradually whilst studying fine art at university. His influences are Ansel Adams, Edward Weston, Paul Strand and Walker Evans to name some. He tried social and portrait photography for a while but didn't like to be inside a studio, prefering to work outside, he was fascinated by maps as a young boy and liked to discover open landscapes and coastal areas. He was given work by the National Trust, they needed black and white photographs for a book, following this he met Charlie Waite, a successful landscape photographer, and worked with a number of other photographers on a photolibrary 'Landscape
Only'.

I have been studying 'Light & Land, Working The Light, A Landscape Masterclass', put together by Joe Cornish, Charlie Waite, David Ward & Eddie Ephraums.
It is full of beautiful pictures by various photographers and carries critiques as well as technical information about the pictures.

I have put together some photographs by Joe Cornish, click HERE to view.


I love the coastal view below, it clearly demonstrates the use of thirds since 2/3 of the picture is composed with sea and land and the final 1/3 of sky.

The tower on the hill in the distance adds interest in this area, with the eye having been drawn around and up to it, after first alighting on the highlighted boulders in the foreground, my eye then travels to the left down the sloping hillside to the lightening sky, then back over the outcops of rock in the middle ground finally resting on the shoreline and rocky beach.


The sky is a moody reflection of the water and seems to convey a latent power which has just been tamed by the rising sun, colours are muted and of similar dark tones, except for the breaking light on the horizon which is reflected on the boulders in the foreground, this brings the picture to life and adds contrast.


There are different textures in the scene, a slow shutter speed has been used to soften the water on the shoreline breaking on the solid shiney boulders which add pattern and shape, the coastline receding into the distance appears to be hard and rough against the softer billowing clouds, with the sun breaking through to add yet another element.


There is interest all through the picture with the different elements providing an obvious foreground, middle distance and background, it would appear that a small apperture has been used to keep detail sharp all through and probably a graduated filter to give more emphasis and interest in the sky.


I also like the "inner landscapes" of Joe Cornish, details of the landscape, can carry as much impact as panoramic views. There is a fantastic range of colours in the picture 'Beach Pebbles' , although there is great harmony in the picture since all the colours are of the same tone. The photographer repeatedly uses lots of pattern and shape in his pictures to add interest and keep the viewers eye moving from one spot to another.


In order to practice more landscape photography I have decided to take a trip out to Dovedale in the Peak District National Park and will try to keep the work of Joe Cornish in mind when composing pictures.














Venue ; Dovedale, Peak District National Park, Derbyshire
Equipment ; Panasonic Lumix G1, 14-44mm & 44-200mm lens, tripod

Comments ; I have been studying the work of Joe Cornish, (see above) and particularly like his landscape studies which include water. He has used slow shutter speeds in order to soften the flow and make water appear more interesting and frothy.

I decided to try and capture water in this way and took a number of pictures before I achieved the effect I wanted.

I particularly liked the rock with water flowing around it, I wanted to get a close overhead picture and had to find something close enough to the bank where I could lean over with my camera without danger of slipping into the water, I couldn't use a tripod since the bank was muddy and soft, so had to ensure to hold the camera steady. I used my standard lens at f16, shutter speed of 1/4 sec at iso100.

I should have preferred to compose the picture with more thought, perhaps with the rocks better placed and more interest in the foreground, a polarising filter may have been useful to cut down on reflection and give a better view of the green weed under the water. I shall take more time to think about composition when I next go out with my camera.

I also took some larger landscape pictures trying to use the rule of thirds and ensure that I had interest in the foreground, middle and background. Some are more successful than others but I am still not satisfied with the colour. I am sure this will improve as we move more into spring and the hillsides and trees become more green. I have tried to limit the sky to the top third of the picture in many of the shots, since it was uniformly grey the day I could get out. I am however, looking at filters in order to improve colours and add more interest in the sky.

More images can be viewed in my Picasa folder, CLICK HERE

1.6 more practice

I was hoping to improve on my landscape photography last weekend but the weather was so cold and grey and I didn't have much free time so I went down to the local spinney to cheer myself up with the snowdrops.

Since they are such small flowers I decided to take close-up pictures using a large aperture and took my Panasonic Lumix G1 camera with 14-45mm lens. I also took a board to rest the camera on and something to kneel on.

I took landscape as well as portrate pictures with an aperture of 5.6, iso 100.