One of the things I like about making my YouTube MFT-centric videos is that they make me think hard about everything I say in them. Actually, that’s a what I don’t like about making them too. I recently made one on the Olympus 40-150mm f/2.8 ‘Pro’ zoom and included some shots of a band called Girls With Guitars taken at my local blues club. The shot here of Sadie Johnson is representative of the quality and a number of people contacted me, including one saying that the video had persuaded him to make the jump from a Canon DSLR to Micro Four Thirds.
My immediate reaction to something like that is always the same. I hadn’t intended to sell anything to anyone. Did I over-egg things? I took a look at the EXIF to make sure that when I said it was shot at ISO 6400, I had the right shot and the one I’d used wasn’t at ISO 400. Had I used massive noise reduction on it which was disguised by the video process? The answer was no, no and no. If the quality they had seen from an MFT camera/ lens in the (vestigial) light of the club surprised them….I can honestly say it surprised me too. This is 100th @f/2.8, with the zoom hosed right out to 150mm on the E-M5II. And sharpening off.
In fact when I first imported my RAWs into Lightroom and checked the results, I did a double take myself. These were at 6400? The RAWs have more noise than shows on this size repro, so I’ve included a 100% pull up but these are with no noise reduction applied. The only difference with the video frames is that they have been downsampled to 1920×1080 which is perhaps the most effective noise reduction of all. Nonetheless, even without the downsampling the 6400 is completely usable. I used to specialise in live shots for record companies, newspapers and magazines of bands like Abba, The Who, Wings and AC/DC and the quality I could get in those days from the best fully professional Nikon gear didn’t approach this.
So why did I feel uneasy that someone was persuaded by my video to move to MFT equipment. That’s easy. If MFT is so capable, imagine how much more so is a 36x24mm sensor with 4 times the image area and consequently bigger light storage ‘buckets’. On the other hand, my correspondent already had DSLR equipment so what he had alighted on was that smaller, lighter cameras could now do the job that he wanted. It wasn’t that I had hoodwinked anyone into thinking that MFT quality was better. Just that it was good enough for his requirements. I’m comfortable with that because he’s buying MFT for the same reasons I did.
Which led me to wonder whether, if I were a working pro in the media still, would I now be using Micro Four Thirds equipment? I think after the introduction of the Panasonic GH4 and Olympus E-M1 and the f/2.8 zooms for both systems, I probably would. The Achilles heel of the system, the continuous autofocus has improved by leaps and bounds, more in my view from greater and thus faster computing power than Panasonic’s Depth from Defocus or Olympus’s on chip phase detection. I only ever covered sport under protest anyway and back then it was manual focus so I can say in all honesty that even MFT continuous focus is a lot better than a bored photographer willing himself to keep focus on some £250,000 a week Chelsea footballer kicking a ball around apparently at random. I did say I didn’t like sport!
Leaving aside the system’s weakest (but not weak) point, what else would stop me using it? One thing would be if the cameras looked amateur, looked like consumer products. With the GH4 and E-M1, especially with battery grips, that just isn’t so. Client perception does matter, even if it shouldn’t. My Hasselblad equipment got me studio work in a way that no 35mm ever would. Once, when I was shooting a book cover portrait of a young, lively author for a new publishing client, I elected to use my Nikon and 105mm. The art director came in to the studio and remarked, ‘oh, we’ve hired a busker, then’ when he saw my handheld Nikon plugged into the Elinchroms. I went to the car and brought in my Hasselblad, bunged it on a tripod and shot away. The fact that the shot they used was taken on my Nikon gave me satisfaction but an art director is an art director, he’s in charge and he signs the cheques so there was no percentage in me labouring the point.
I think under modern conditions, I’d probably keep a Sony A7 with a standard lens plus short and medium telephone for studio in place of the Hasselblad. Maybe clients would still expect to see a medium format or a camera from Nikon or Canon, I don’t know. Whatever, I’d obtain one if it would bring in business.
In terms of my general work, though, stills on movie sets, features for magazines and women’s pages for newspapers, live music, occasional fashion, I can’t see any impediment now to the use of an MFT camera. The single shot auto-focus is impeccable and I cannot overestimate the usefulness of the electronic shutter on a movie set instead of the hideous sound blimps for DSLRs. And imagine being able to hear what people had to say at press conferences on TV without the chatter-clatter of those infernal mirrors! And single AF is more than fast enough for cat-walk model gait.
The only long term worry I’d have about the system professionally is if it went the direction of the GX8 and started to compete for pixel count. For professional purposes 16Mp is quite enough and any development energy should be in the direction of less noise on the present count. It is obviously necessary to keep the enthusiast market on board – more important than the professional one in terms of sales – but I’m not convinced that any serious photographer feels the need for more pixels over even less noise. I’m even less convinced that MFT with its interchangeable lenses and sophisticated – and complex- electronics is suitable for a beginner. That seems to me to be a market that MFT shouldn’t and probably couldn’t address.
A camera like the GM5 may be tiny and look like a compact but it most certainly isn’t, in reality having more in common with the GH4 than a £100 Fuji.
I’ll finish by saying a quick word of thanks to Sadie Johnson. Not only did she (and her fellow band members Heather Crosse, Eliana Cargnelutti and drummer Jamie Little) provide a fine evening of foot stomping full blooded blues for me, she’s probably sold a good few MFT cameras for Olympus and Panasonic.
Which means that I needn’t fret over whether I’ve misled anyone. If you bought one and feel let down, blame Sadie, not me. It’s all her fault.