Tag Archive: Ctein


OT: The Art of Tea (for Two)…Pu Erhs

By Ctein

When I first wrote about the art of tea, I mentioned pu erhs, and several people asked me what they were.

It's no wonder. Pu erh teas have only been freely available in the U.S. for a score of years, and so are little-known and even less understood. Some of them have a unique flavor most commonly (and accurately) translated as "dirt," but describing all pu erhs that way would be no more accurate than describing all cheeses as being cheddary. The variety of flavors available in pu erhs makes them perhaps the most diverse of the groups of teas.

A new pu erh may be drinkable, but it is as likely to be bitter or astringent. Pu erh teas, though, are not merely dead dried leaves; they are chemically and biologically active. Pu erhs are supposed to age. Think cheeses and wines. The leaves continue to undergo oxidative and enzymatic changes, and they harbor microflora that further digest and ferment them. Pu erhs are eminently drinkable within a few years, but it can take anywhere from 10 years to 60 years for them to become truly brilliant. And, just as with cheeses and wines, many of them become totally forgettable.

Pu erhs come in four major types. Each type has its own broad flavor characteristics. Uncooked is traditional. The leaves are packed together, either loosely or compacted into bricks and bings (discs), where they start to age. Over the long run, uncooked pu erhs are more likely to produce the most spectacular teas.

Cooked pu erh is either gently heated or allowed to heat more from fermentation. This greatly accelerates the aging process producing a mature beverage much more quickly, but also denatures some of the chemical/biological components, so a cooked pu erh ages much less later. Like the uncooked versions, it can be aged as loose-leaf or compacted.

When it comes to brewing, pu erhs are practically bulletproof and thrive on vigorous brewing. They are one of the few teas where the universal recommendation is to start with boiling water. Brewing times range from 1 to 5 min., typically, but it's pretty much impossible to overbrew these teas. A half hour steep may produce a brew stronger than one would like (and so need a bit of dilution), but it will be flavorful, not bitter.

Pu erhs are designed for multiple infusions. I had one very nice pu erh that was only good for three brewings and I felt kind of, well, cheated. Another one was still doing well on the eighth pot. The flavor can change with each successive brew. A pu erh may be intensely dirty and smoky on the first pour and by the fifth be so grassy and fragrant that you'd think it was a floral tea. I can have one pu erh pot that I'm drinking from for the entire day, and it's like I'm drinking a whole bunch of different kinds of tea.

This unique characteristic, combined with the wide variety of flavors that pu erhs have to begin with, makes it pretty much impossible to characterize them as a group.

The ongoing aging process that makes pu erhs so fascinating is responsible for my comment last time that they are simultaneously some of the best bargains you can buy and an easy way to go bankrupt. For proper aging, the leaves are kept slightly warm (room temperature or a bit above), definitely dry, away from light, and open to air, because many of the reactions are aerobic ones. Paper's a common wrap. If you find a bing that is sealed in airtight plastic it's likely to be very cheap and of low quality.

Blog224figure1Do not judge a bing by its cover. These are all very cheap pu erhs, colorful boxes notwithstanding. Entirely drinkable, entirely uninspiring. But with time, who knows?

Low grade but entirely drinkable bings in the 12 ounce range are available for prices between $5 and $15 in many Chinese markets. At that price, one can afford to experiment. Jon Singer picked up a very cheap bing in a market a dozen years back. Some of it was put aside and forgotten until about a year ago. When brewed up, it was so complicated and subtle that Jon and I couldn't describe it. We could pick out a slightly lemony flavor note, but it was like trying to pick one single instrument out of a large orchestra. It was as far from smoky and dirty as you could imagine.

Jon sent me a couple of these very cheap bings. They are drinkable, if uninspiring, and I've put one of them in the back of the cupboard to see what it is like in another decade or so. It'll probably be lousy, but what the heck, it was $6.

Blog224figure2Three excellent and promising pu erhs. The two on the left came from Cha Guan and are no longer available, while the small bing on the right is one I just acquired from TeaSource.

Excellent bings and bricks go for $30–$60 when relatively young; my absolute favorite pu erh is a 500 gram brick that cost me $40 (that's enough for the better part of a year's worth of steady tea drinking). Daniel at Cha Guan (see my earlier tea post) was so proud of this find that he made it his shop's signature tea until it ran out. It's so smoky on the first pour it's like drinking a campfire, and it changes wonderfully with successive infusions. I was suffficiently impressed that I ordered a second brick and that is in the back of a cupboard. I'll see what happens to it in another decade. Truth is, I'm only a third of the way through the first brick after a year and a half.

Here's where financial madness can set in. You can acquire huge numbers of bings at individually reasonable prices. Before you know it, you have a substantial fortune tied up in dried camellia leaves (with the risk of finding down the line that you have the caffeinated equivalent of vinegar.) Happily, I do not have the collector allele in my genome. Still, one is tempted, especially when someone like Roy Fong comes back with a taster's set of eight bings, designed to appeal to a variety of palates and situations and which he has even greater hopes for when aged. A mere $350. I resisted. But I thought about it.

You don't want to know what will happen to the prices of some of these when they are fully aged, if they turn out to be as good as hoped. Really, you don't. Small amounts of the very best aged pu erhs sell for princely sums. I've never tried them; I never expect to. Fortunately, I am entirely happy with my modestly priced, delicious brews.

Ctein

Sometimes, Ctein's off-topic columns on TOP grow on you, and get better with age. If you don't like them now, set them aside for a little while. Who knows what might happen?

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Featured Comment by Mano: "Here in China (hello from China), puer tea is widely considered to be top dog, though a few years ago there was a scandal that this prized symbol of Chinese culture was actually being produced in Africa and sold in the country with fraudulent credentials. Back then you could spend the typical worker's entire year salary on a quarter kilo brick of the tea; after the African issues and other problems with hoarders and speculators the price of the tea dropped like a rock. Now anyone can get a decent aged tea for an affordable price, and it has become very common. In fact I may have a few bricks of it sitting in the back of some cupboard in my kitchen. People like to give it to each other as gifts, which get given again to other people because no one can drink all of it."

Featured Comment by Fabian: "I will check back in a decade or so, to see if I hate this article by then. Today, though, I found it to be a very interesting and inspiring read. 'Drinking a campfire' certainly sounds like something worth testing! Thanks, Ctein!"

Featured Comment by Bob Rosinsky: "I never did get the 'tea' thing. My grandfather used to drink Lipton Tea. He'd plop the tea bag into a cup and add a couple of little saccharine tablets to it to sweeten it up. He was an odd man."

Featured Comment by Jerry Lewis-Evans: "Pu erh, or a phrase sounding phonetically similar, was a phrase that cropped up on various live Frank Zappa albums. It seemed to be one of those band 'in' jokes, but being from England I always took it to be a phrase that you would say while holding your nose to indicate an unpleasant smell! Maybe he was just indicating that it was time for a tea break!"

Lenses are to Cameras as Applications are to Computers

By Ctein

I got a bit of amusement from Mike's #1 choice for "Most Desirable Camera on the Planet" a few weeks ago because only two days previously I had been thinking about that very same camera and...well....

I was out taking an afternoon walk on a lovely sunny Daly City day (we don't get many of those) with my Olympus Pen and my beloved 45mm ƒ/1.8 lens, our Lens of the Year for 2011. No agenda in mind, just walking and photographing for the idle joy of it. My mind, being free to wheel, was thinking about the review I'd just read in Pop Photo of the Sony NEX-7 and the test results I had just read at DxOMark. Not to put too fine a point on it, I found myself desirous.

Blog222figure1That 45mm ƒ/1.7 lens sure is a sweetie. Fits me like a suede glove. But...

And why not? Forty percent more resolution than my Olympus (very nice), three stops more exposure range (very, very nice), a good stop more low light sensitivity (very...you get the idea), and a substantially better rear screen and a good eye level viewfinder. All at no special penalty in size and weight.

Blog222figure2...I could sure use a couple of more stops of exposure range.

What's not to like! Oh, okay, I lose in-body stabilization. The world is not a perfect place. But, damn, in every other way that NEX-7 sounds like a lovely upgrade from my Olympus.

Six months ago, I'd have jumped. The only especially noteworthy lens in my kit was the Panasonic 20mm ƒ/1.7 that Mike likes so much. The Sony ZA 24mm ƒ/1.8 Carl Zeiss Sonnar-E lens would be an entirely satisfactory replacement for that. The other two lenses I owned then were nothing so special that I couldn't find comparably good ones for any camera system.

In between, though, I went on a modest buying spree and partnered up with the aforementioned 45mm. That is the lens I have a hard time imagining living without, more than the 20mm. I was torn: stick with the system I have and the lens I really like, or move to a system that is in almost every other respect substantially superior?

By the time this camera and lens become readily available, perhaps there will be other optical offerings that will resolve my dilemma. But what if there aren't?

As I've asserted in "The Lens is Not More Important Than the Camera," cameras matter as much as lenses. (No, we don't need to rehash that argument: please read the previous column and the comments there to see if you have something truly new to say on the subject. Otherwise, please consider it all said and read.) Now I was having to apply that thinking to myself, and I came to a realization: the title to this column.

If I may elaborate:

When someone asks me if they should buy a new computer, one question I ask them is what software will they have to replace on their new system. Rarely have they considered that switching operating systems definitely means acquiring a bunch of new software. Even a major system upgrade can break older programs.

Most applications have close cousins on every imaginable platform. Maybe not the same make and brand, but something else that will serve equally well. Maybe even better. There's a good chance they can get the same functionality on their new machine they did on their old—they just have to remember to budget for it.

But, what about that unique program, the one that won't run on the new machine and doesn't have a close equivalent? I've got more than a few of those that I don't want to give up. There's not always a satisfactory answer. Compelling reasons for moving to a new platform vs. loss of unique functionality.

Doesn't that sound awful lot like the kind of decisions and cost/benefit analyses one has to make around changing cameras? At least the money situation with cameras is somewhat easier. I don't have to worry about licenses, activation codes, and other nonsense with lenses. They'll fetch a decent price on the market; should I decide to sell my Micro 4/3 kit, I'll easily get enough money to pay for an NEX-7 with the 24mm lens.

Does this answer my question for me? Absolutely not. It does give me a more sophisticated and nuanced way of thinking about the problem than simply "which do I care more about, my lens or my camera?"

Given my schedule and the lack of availability of gear, I'm not likely to settle my Micro 4/3 vs. NEX-7 question for some months. Maybe by then there will be a really sweet 50–60mm NEX lens in the ƒ/2 range that will resolve my dilemma.

That would be so much better than having to make a hard decision. He whined.

Ctein

Ctein, whose weekly column appears on Wednesdays, has been choosing, buying and using cameras for 48 years.

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Featured Comment by Benjamin Marks: "I am not really sure that there is a decision to be made. Yet.

"The choice you posit is a version of the generic problem faced by all of us who are susceptible to the latest-and-greatest photo-thing. You haven't really identified any shortcoming of the tool you have; you just like the published specs of a tool that may become available. Don't get me wrong, I use the NEX cameras and the Olympus Pens (E-P2 and NEX-5 for me). But, until I started using it, I didn't realize how much I hate the NEX-5's arm's length focusing and the software driven menus/adjustments. I went out and bought a contraption called a Hoodman that I strapped to the back of the NEX-5 with a big red rubber band. Focusing problem solved, but the Oly is such a much better thought-out device, from a photographer's point of view. My point is not that the NEX-7 won't be the bee's knees in some way, but that you are caught in a 'choice' between a well-thought-out camera that you own and...a published feature set. Until you get your hands on one (and your eye to the VF), you won't really know—can't really know—whether it works for you. By the way, the NEX-5 is a living, humming example of the fact that cameras matter. Sheesh, exposure compensation can't be accomplished on the fly with the camera at your eye. The 'feel in the hand' of this tool practically killed the concept for me."

Featured Comment by David Jacobs: "Sorry to say, but...

Sony50
"(The upcoming 50mm ƒ/1.4 short tele lens for the Sony NEX cameras. Note that it has 'built-in Optical SteadyShot image stabilization.')"

Featured Comment by Peter: "I am also lusting after a nice 60mm lens for that system. I'm mildly annoyed that they have a 50/1.8 planned, but nothing on the horizon for an 85/90 equivalent. Seventy-five millimeter equivalent is most definitely not the same as 90mm-e, although I could live with 85mm-e. Basically, I just want a digital CLE kit. The search goes on."

How to ‘Scan’ Film with a CameraWell (Part 2)

Editor's Introduction: This week's column from Ctein, a continuation of last week's, outlines the technique needed for a procedure we don't necessarily recommend. Ctein's purpose in these columns is a) to help people who are trying this as well as b) to perhaps persuade them not to try. And, as you might understand, sometimes reading about even difficult and non-optimal technique can be interesting for its own sake. —MJ

By Ctein

Two weeks back I wrote about the gradual demise of dedicated film scanners and how that might make it increasingly difficult if not impossible to conveniently scan film photographs for digital printing in the future. Many readers expressed interest in the idea of using a good digital camera in lieu of a dedicated film scanner; a few had even tried.

Doing this really well requires knowledge and skill. If you don't care about doing it really well, and many of you don't (for good reasons, I do understand) then don't even bother. A flatbed scanner, even one a generation old, is going to do this better and a lot more conveniently. Mail-order outfits that charge circa a dollar a scan will easily beat your thrown-together rig.

Now, on to camera and lens resolution concerns.

The actual resolution of a digital camera is only about half that of the pixel count. For example, a 24-megapixel camera will produce approximately 2800 x 4200 pixels worth of resolution (assuming a 2:3 format, just for the sake of conversation). Thirty-five millimeter film is about an inch wide [film width, not frame width, ignoring perforations —Ed.], so you ought to be able to get 2400 PPI worth of "scan" resolution out of that, if you're doing everything right. Many people find that quite satisfactory. I don't, but I'm not normal people. If you pride yourself on the sharpness of your film originals and have spent good money for really good glass, you may find that you won't be either.

For larger film formats, a single camera exposure isn't likely to cut it, regardless of which camera you own. In that case, or if you own a lower pixel count camera, or if you're looking for better than merely adequate quality, you're going to be looking at stitching. Assuming you've properly addressed the alignment and illumination-uniformity issues I raised last column, this will not present a problem.

Now we come to the matter of the lens. You cannot use just any old lens for this purpose and expect to get good sharpness corner-to-corner. You need a lens that's designed to deliver flat-field coverage with uniformly high image quality at the magnification you need. If you're working copying sheet film with a less-than-full-frame digital camera, the best solution is any top of the line enlarging lens, reverse mounted. Don't know which ones are really the best? Download a copy of my book Post Exposure, which includes my list of the very best enlarging lenses ever made, so good that they're visually flawless. Search the web for a used one; with the collapse of the darkoom business, you can often find some amazing bargains.

Any of these lenses will work well down to about 1:5 magnification. Below that, things get iffy. 1:1 magnification is really the worst situation to be in; hardly any lenses perform well there unless they've been designed specifically for that magnification. Ken Werner found that of all the general purpose enlarging lenses, the Schneider Componon-S 50mm ƒ/2.8 was the best of the lot at 1:1, but it's still not great. When you're getting down in the low magnification range, you'll get better results with a lens designed for that. That would be the Rodagon D series lenses. The 120mm version is optimized for 1:2 or 1:3 magnification; the 75mm for 1:1.

Blog221figure1This is TMAX100 film, scanned at 1200, 2400, and 4800 ppi. Observe that the film grain is still visible, although mushy even at 1200 ppi. Just because you can see grain in your scans doesn't mean they're sharp. Click on the image here to see it at 100%; the auto-resizing of TOP's blog
software masks some of the differences.

Don't imagine that you can stop your lens way down and get around its deficiencies. This is one of those cases where you really do want to be working near the optimum aperture of your lens or you'll be losing sharpness. Just because you're seeing film grain in your camera-scans doesn't mean you've got a sharp image. Film grain behaves like noise, which means it doesn't average out at low resolutions. It just gets big and mushy and lower in contrast. You can see the film grain of fine-grained film in a 1200 PPI scan; it just looks horrible, like looking at a print made with a really, really cheap enlarging lens, badly focused (see illustration above).

Well, that's everything I can think of for now. This is what you should be prepared to deal with if you want to do camera-scanning of your film and get results that are much better than you could get with an ordinary flatbed scanner. As I said at the beginning, you may not care about that or need that. That's cool; go live a happy life. But if you want really good quality scans, this is how to do it right.

Ctein

Ctein's regular disquisition on quality occurs at an approximate interval value of "Wednesday."

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Question from Marcin Wuu: "And what about dedicated macro lenses? Aren't they supposed to be excellent when it comes to sharpness, contrast and field curvature?"

Ctein replies: Depends on the lens. Some of them are really excellent—Pierce [Bill Pierce, master printer and former "Nuts and Bolts" columnist for the Digital Journalist, known universally to his friends by his surname only —Ed.] reported to me that the classic 55mm Micro-Nikkor made a damned good enlarging lens, in fact.

But many aren't. In fact "macro" is frequently invoked by lens manufacturers to mean "Anything we make that'll focus really close." Calling a lens a macro doesn't tell you any more about its quality than labeling something an "enlarging lens."

Unfortunately, while I have tested almost every credible enlarging lens ever made, I have not done the same for macros. So I can't tell you which ones in current production (if any) are really suitable and which aren't.

Featured Comment by Pierre Smith: "I must admit I have tried pushing this to the limit after my Coolscan failed. As a Macro equipment junkie I assembled a Wild camera stand for Microscopes. Leica Visoflex bellows, and 65mm Elmar. The negatives are held in a Pentax filmholder attached to a Zeiss microscope XY drive. Focusing is by a hydraulic Z drive designed for micron focusing movements. I have also used a Zeiss Luminar 65mm, and Schneider 50mm Macro and 80mm Componon lenses. Photoshop is used to stitch 4x10MP files. this resolves grain on Rollei ATP1.1 with very sharp dust particles.

"The light source is diffused to minimise scratches. I have posted some results on the Leica forum. No unsharp masking required, and it results in the smooth high resolution I prefer."

Featured Comment by Barry Wheeler: "The ASMP website of Digital Photography Best Practices has a nice page on camera scanning and links to a .pdf paper by Peter Krogh with more specific advice. I think it is a good starting point for many photographers. Here at the Library of Congress we've digitized tens of thousands of photographs, including from the original FSA negatives, using Sinar and PhaseOne and Aptus camera backs on a variety of commercial and specialized camera bodies and copy stands. While most individual photographers cannot afford our setup, they can get high quality results using Ctein's approach."

[F. Barry Wheeler is Digital Projects Coordinator at the Library of Congress in Washington, D.C. —Ed.]

Where Are They?

By Ctein

Okay, so my "keeping the 'X' (as in, the unknown) in 'Xmas'" column normally appears the week of the solstice. There's a good reason it's a week late this year.

I forgot.

When I did remember, I had already done my "Art of Tea" column and didn't want to run two off-topic columns in a row, so I put this off another week. Consequently, a somewhat delayed Salubrious Solstice to you all. Now off we go, into the wild blue yonder.

The title of this column is a quote from Enrico Fermi, infamously referred to as the "Fermi Paradox." The infamy lies in the fact that it is not anything like a paradox; it is simply a statement of utter ignorance. Why that is so will be the topic of this week's column.

The Fermi question concisely goes like this: there are tens of billions of planetary systems in this galaxy alone, thousands of quintillions in the observable universe. Even if only 1% of those develop life, even if only 1% of those life bearing planets develop intelligent life, even if only 1% of those intelligent life forms develop advanced technology, that's a heck of a lot of technologically-advanced, intelligent species out there. Furthermore, based upon the single data sample we have, it takes less than one third the age of the universe to go from a coalescing cloud of gas to an advanced technological intelligence. There's been plenty of time for other intelligences to evolve, several times over, and to advance far beyond us.

So far, though, we've seen no broadly-convincing evidence for extraterrestrial intelligence—and it ought to be pretty obvious. Hence the paradox.

Except it's not really a paradox. That word assumes we understand the situation well enough to see a logical contradiction. Let me illustrate. If I become reasonably convinced that millions of people every year travel by airplane, but every airport I visit and every airplane I inspect is empty of people, then I've got a logical problem. I understand air travel well enough to know that these two observations—millions of travelers, and empty airports—aren't compatible. Something must be wrong in my assumption.

But try this one on: if a god (or gods) exists, she can certainly work miracles. Yet, as I walk through the world, it does not seem to be lousy with self-evident, irrefutable miracles. So, obviously there are no gods.

Well, anyone above the grade school level can poke holes in that logic. It assumes you actually have some idea of what a god would think, what she would want to do, what would be her motivation for having created the whole shebang in the first place, etc. Most everybody with a lick of sense, whether or not they believe in a god(s), full well understands that there is no possible way they could have any idea how a god would think. You can't disprove the existence of deities by looking at an absence of miracles, because you have no way to conclude that commonplace miracles are an inevitable consequence of godhood.

The Fermi question is much more like the second than the first. To assume that advanced technological intelligence leads to either a signal, or interstellar travel, that we would recognize as such (that's important) requires making a huge number of unproven and untested assumptions about the physical universe and about what intelligence wants and does. You can create almost any scenario you want to imagine to explain the lack of observable data and at our current level of knowledge it is just as probable as any other scenario. Anything could be true. No thing in particular is very likely to be.

There is one data point we do all know something about: almost everything humans do makes no sense in any abstract, logical way. The overwhelming majority of our time, energy, and resources go into activities that cannot be explained as a consequence of intelligence. They aren't even behaviors that are typical of all species on Earth (although they aren't necessarily unique to ours). We are chock-full of species-specific behaviors that can be explained after the fact but couldn't be predicted purely on the basis of intelligence and certainly weren't inevitable on the basis of biology or evolution. They are just how we work.

Not every human being is subject to all these impulses. A sufficient majority are, across time and space, that it's pretty safe to say they're characteristic of human beings as a species. Individual exceptions noted: Dear Reader, this is not about you. Let me regale you with a short and highly incomplete list. (I intentionally leave out a couple of very obvious biggies, because I don't need them to make the point; I can do it entirely with "trivialities.")

1) Body ornamentation and decoration. Not limited to such things as jewelry or tattoos; includes hairstyling, makeup, clothes or fashion sense of any sort, whatever. All the stuff that goes into making you decide that you "look good" when you face other people.

Imagine how much time and money are expended by every man, woman, and child because they don't feel it is sufficient to simply wash up occasionally and throw on a gunnysack.

2) Food "composition," for lack of a better term. Cats find food that they can play with appetizing, but they sure don't seem to care much how it looks; we'd rather it sat still but are terribly sensitive to the aesthetics. At the high end we have things like sushi; that the low end we have the wonderful cliché movie images of slop being splashed into a tray in a military mess or high school cafeteria line. Makes you lose your appetite just thinking about it, doesn't it?

3) Acquisitiveness. The packrat instinct. Collecting, acquiring, hoarding of any sort far beyond what one can reasonably use within a reasonable period of time. It may be all those books you don't throw out, even though you're hardly likely to read them again. Or all the music you own, regardless of form and format; videotapes, DVDs, stamps, coins, barbwire, cameras or lenses that you haven't picked up in years but you might, you think. Clothing you never wear, furniture stored in the attic along with an extra set of dishes because, well, you never know. Think of how much smaller (and less expensive!) a living space you could dwell in if you limited your ownership to things you might reasonably need in the foreseeable future.

4) Pets. 'Nough said?

5) Real property/territory. Lots of species seem to do just fine without the concept of my/your real estate. Not humans. (Yes, a minority of cultures have explicitly rejected the concept of land ownership but (a) they are not the norm and (b) if the impulse weren't there, there wouldn't be a need to reject it.

6) Religious impulse. Note that this is not the same as theology. The existence (or not) of gods and the inclination to believe in (or not) gods are entirely separate. Humans are intelligent and humans have religious impulse but we have no special reason to think that one is a consequence of the other. It just is.

Now tally it all up. How much of your life, of the totality of society, is consumed and defined by satisfying one or more of these species-specific impulses?

Overwhelmingly, almost every aspect of our lives is driven by this arbitrary set of inclinations that have no connection we understand to technological intelligence. We imagine that the nature and actions of hypothetical advanced civilizations can be rationally discussed and analyzed, yet most of our own is based upon characteristics that have no rationally-predictable basis for existence. They simply are.

We think we can even start to talk sensibly about the Fermi question as being a "paradox?" We don't know enough to make sense out of ourselves. We certainly don't have clues about anyone else.

To paraphrase Pogo, "We have met the X and he is us."

Ctein

Every year around this time, TOP columnist Ctein (it's his only name, and is pronounced "kuh-TINE") puts the X in Xmas.

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Featured Comment by icexe: "Our great advancements in intelligence and technology might simply be meaningless to any far more advanced civilizations out there. Here's an example: There may be a colony of ants living under a rotted tree stump somewhere in the Amazon jungle who consider themselves the master of all they see around them. They have conquered and controlled the world they know. They may even be on a quest to find other 'intelligent' beings like themselves, but so far to no avail. Yet, unbeknownst to them, they share an entire planet with humans, who are thousands of times more intelligent and advanced, who are fully aware that such a thing as ants exist, but who simply don't care enough to ever bother looking for more of them under some random tree stump in some random corner of the world. And even if by the greatest of random chance some humans did stumble upon their nest, any attempt to communicate would be on a level completely unknown and undecipherable to both humans and ants."

Featured Comment by Alastair Smith: "As so often, XKCD put it nicely."

Featured Comment by Trevor Small: "No paradox. The reason we've seen no signs of intelligent life is that Earth is under quarantine. Out there, somewhere, is a whopping great sign that says 'KEEP OUT. INFECTIOUS DISEASE RISK. EARTH HAS HUMANS. HIGHLY CONTAGIOUS.' Or the alien equivalent. Kind of makes you feel proud of our virility, doesn't it."

Featured Comment by Mark L: "There is no doubt that there are more advanced civilations. The odds are stacked against this not being the case. The only questions are: 1) Do they know we are here and 2) what will their intentions be when they know. Let's hope that deep fried human being is not some advanced alien delicacy. And hope that a Canon 1DS can split their exoskeletal big cranium in half if they come for us!"

Featured Comment by Zeeman: "Since this is a photography site, the following begs to be added to Ctein's list of human impulses: 7) The aesthetic impulse, which drives us every day to seek or create what is beautiful. However, given the acquisitiveness of current shutterbugs, it might be that this will eventually converge with #3. Also, given the propensity of acquisitive shutterbugs to worship one among a limited pantheon of deities named Canon, Nikon, etc., the aesthetic impulse might also be headed towards convergence with religion. Now that is scarier than most alien invasion stories."

Featured Comment by Wil: "Jeez, I read to the end of that long article only to find, I don't give a damn."

Featured Comment by Skip Davis: "Sorry I am so late to comment, I was just so taken by this post that I had to think on it a bit. This one post was worth reading this site all year.... There are a lot of things to think about because of it. I am going for a long bike ride today just to enjoy this paradox called life."

Burning Our Bridges

By Ctein

Are we losing the ability to scan film?

I like my digital prints from film much better than my darkroom prints (dye transfer notwithstanding). To those of you who still like darkroom printing of film, I think that's fine! I'm not dissing what you do, heaven knows, so please don't get defensive. Darkroom printing is great! You just happen to be a minority (much as black-and-white photography is a minority of all photography); the majority of serious photographic printers out there see hybrid as the better way to go.

This particular column is for said hybrid printers. If you're either entirely traditional or entirely digital, from camera to print, you can skip this—it's irrelevant to you.

Workarounds
Two weeks back, I mentioned that my Minolta DiMAGE Multi Pro AF-5000 scanner had died and was in need of electronics servicing. I put out a call to any readers who knew of someone who still serviced this scanner. I came up with no one—neither Precision Cameras nor Mack Cameras, the only two suggestions I got, work on this model, because they don't have a supply of parts for it. This is the first time in my experience that the hydra that is the TOP Readership, with its astonishing collective store of knowledge, was incapable of solving a photographic problem. It is all too possible that there really is no one repairing the scanners any longer, anywhere (if that's not true, please e-mail me: ctein@pobox.com).

In the meantime, I was able to circumvent the problem. My scanner had started behaving erratically and then wouldn't boot up at all. After some research I ran across a posting that pointed to a failure in the FireWire interface as the source of the problem. I switched the scanner to SCSI I/O and it booted up just fine. Well, I no longer have any SCSI-interfaced computers. More online research found me a SCSI-FireWire converter/adapter. So far, it's working fine.

But what happens when something goes wrong that I can't hack my way around? It is becoming more and more difficult to economically or conveniently get high-quality film scans.

This situation is one that I honestly did not expect anywhere near this soon. The wholesale switchover from film photography is a recent phenomenon. It's about a dozen years old for medium and large format film, and less than a decade old for 35mm film. That's not a long time, compared to how long most photographers have been photographing. The majority of important photographs in the world (either to the collective consciousness or the individual photographer) are on film, and the majority of serious photographers' stock is film photographs.

It's a legacy problem that the making of new photographs doesn't eliminate. Yet, it has already become just about impossible to do medium format film scans without throwing a great deal of money at the problem or scrounging around for old hardware.

Minolta is no more and Nikon no longer makes medium format film scanners. The other major photographic manufacturers never did. There is still a high-quality medium format film scanner made: it's from Hasselblad. The low-end model starts at $13,000. Cough. Realistically, getting really good medium format film scans means either spending substantial sums of money with one of the few labs out there that still does scanning, or finding a used medium format scanner, which are in sufficient demand that they now go for about 50% more than they did originally.

If your scanner breaks, you will likely be in trouble. If you get a new computer, you'll likely be in trouble. No companies write updated drivers for these old scanners. Why should they care? You're going to have some very interesting problems if you try to run your old scanner under Windows 7 or Mac OS 10.7 (Lion). As in, you're not going to be able to! You'll need legacy hardware and software for that.

It is not going to get better. The issue here is not whether you can access an old photograph for secondary or casual use, it's whether serious photographers, who really cared about making good photographs, will have a way to make full use of the quality of those film photographs in the digital realm?

Flatbeds
By and large, flatbed scanners don't take up the slack. Many of them will scan film, but they do it at a much lower level of quality, unless you spend very large sums of money for professional-level units (we're talking about gear that most photographers have never even heard of, with prices that can easily start in the high four figures and go into the mid-fives).

I've been talking about medium format scanning but it's happening to 35mm, too. It just hasn't yet reached the crisis level. There are a lot fewer 35mm film scanners being made today than there were five years ago. I have a bad feeling that by the end of the decade, they are going to be as hard to find as medium format scanners are now, and they will be just as poorly supported.

Before I die (or give up photography) I may no longer have "access" to my 30-odd years of film photographs. Until recently I had not even imagined that this could become a possibility.

It is not a happy-making thought.

Ctein

Ctein's regular weekly column appears on Wednesdays. To access older columns, click on the "Ctein" category in the right-hand sidebar.

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OT: The Art of Tea

Blog217Figure1This is my tea shelf. You can only see about half of what I have; the jars are ranked three rows deep. The cardboard and paper packages contain my
pu-erh bings; the rest are various looseleaf teas in airtight jars.

By Ctein

Once again, we wander far afield from photography. If my off-topic columns are not your cup of...(oh, I can't say it), skip this column and tune in again next week.

My off-topic topic is tea. Expect several columns on this, because I'm a real tea geek. No, I'm not an expert, just a geek. I do not have a seriously refined palate and I don't know most of the descriptive vocabulary. I just really, really like my tea, and I insist upon good tea.

Tea's my major extravagance (other than living in the San Francisco Bay Area). I live on the stuff. Don't like coffee (except iced, when it's hot out). I can't abide the taste of alcohol, I don't smoke, and I've not used any drugs except theobromine. I am an effete, intellectual, elitist teetotaler, and I raise my pinky in your direction.

Lipton's, or one of its brethren, packaged in little tissue paper bags, thrown in a cup, boiling water poured over it, and steep until it's dead? That's the tea equivalent the coffee that's been sitting in the pot at your local gas station since ungodly-A.M. in the morning. It's no wonder you have to load it with mega-amounts of lemon or milk and sugar to make it palatable.

Good tea, properly brewed, is another matter. For a start, "properly brewed" generally means no boiling water (unless it's a pu-erh). Pouring boiling water on tea is a lot like making coffee by tossing the grounds in a saucepan of boiling water and cooking it for a while.

Depending on the tea, the proper brewing temperature may be anywhere between 140 and 190°F (60–90°C). Not that there's one right way to make tea. In my various books, I've seen brewing instructions for the same delicate green tea that went from 140° for 90 seconds up to 165° for 3–5 min. Still, a far cry from boiling water.

Speaking of brewing, here's a handy trick if you're caffeine-sensitive. My housemate, Paula, is very much so, as are several friends. They testify that this works. Take those unbrewed tea leaves and pour hot water on them for 30-45 seconds. Pour off that brew and toss it. Ninety percent of the caffeine goes away in that first infusion.

(Important: the results may vary considerably with the tea. While I have found this to work reliably, if caffeine is severely contraindicated for you for medical reasons, do not rely on this!)

My tea preferences lean towards the Japanese and Chinese teas, mostly greens, wulongs, and pu-erhs. Most of it costs real money. Tea prices have skyrocketed this century. Ten years ago I had an absolute upper limit of $100 a pound for tea. These days I often spend several times that, although I've discovered some wonderful and excellent teas in the $10–$50/lb. range.

Even at double digits per ounce, tea is still a remarkably cheap beverage. I describe it as an extravagance, but I'd be surprised if I spend over a dollar a day on tea and I drink about a liter a day. I need only a gram or two of high-quality tea in an individual infuser; 20 portions from an ounce is normal. I get anywhere from three to eight infusions from one portion. Compare that to the price of Starbucks, or even your local gas station coffee.

Blog217Figure2
This just has to be the world's greatest tea infuser. The owners of Aroma gave me one after making a large purchase at their shop; it changed my life.

How do I brew tea? I am like a total fan of the individual PIAO 1 infuser. It makes brewing a fresh cuppa easy, no fuss and very little muss, and it's fun to play with. Measure in a teaspoon or so of leaf. Pour in water of the appropriate temperature. Let it steep for the appropriate time. Push the little button on the top and a ball valve at the bottom opens and filtered tea flows into the container. The leaf remains in the top part of the infuser.

Where do you get good tea? There are some good mail-order companies, especially ones that specialize in certain types of teas. For general offerings of all varieties and nationalities, I think Uptons is by far the best. Their catalogs are wonderful and informative. That's where I learned the decaffeination trick. You'll also learn what all the terms of art mean (Lipton's famous "flowery orange pekoe" is not some fancy varietal, it merely denotes a rather low grade of tea quality).

Unfortunately, while they're really quality teas, their tasters just don't have the same palette as I do. Consequently, I don't buy a lot from them. The very best thing about Upton is that they have small sampler packs (good for 2–3 pots) for just a few dollars apiece, so for not very much money I can try a whole lot of different teas. I regularly get samples from Upton to check out and every so often I hit on a winner, like their gyokuro kenjyo.

Most of my buying is from local fine tea shops that I visit, using the word "local" rather loosely. Here are my personal favorites:

San FranciscoAroma—Haymen Da Luz and Ying Wu

San FranciscoImperial Tea Court—Roy Fong

St. PaulTea source—Bill Waddington

MontréalCha Guan: La Maison du The—Daniel Ng

They all do mail-order, but the nice thing about shopping in person is that you can smell teas, often order a pot of something you want to try out, and discuss your tastes and preferences with the clerks and proprietors. Mail order, you're kind of working blind, until the proprietor gets to know your tastes. Look for one in your own city and you'll discover that a good tea shop is like a good bookstore; the proprietor will be knowledgeable, helpful, and enthusiastic about finding teas that you will especially like.

When I revisit this topic, I'll clue you in on those mysterious pu-erhs I mentioned. They are among my favorites. They were illegal in the U.S. 20 years ago and most people still don't know about them. They're simultaneously the biggest and most affordable bargains in the tea world along with being the easiest way to blow your entire family fortune. How's that for a teaser?

•     •     •

Blog217Figure3
You must buy this holiday music. What does this have to do with the subject of the column? Well, Franks's first major album was "The Art Of Tea."

And now a quick free-associational, seasonal segue.

"The Art of Tea," from which I lifted this column's title, was jazzy singer-songwriter Michael Franks' second album. His "Watching the Snow" is my favorite.

Best. Holiday. Album. Ever.

Not even close to your usual psuedo-carolly, excessively-treacly fare. It plays well year-round. Check it out.

Ctein

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Featured Comment by Emily Cartier: "Sad, we can't share a pot. I much prefer black teas. I'm not terribly fussy about which exact tea garden grew it. If it's black, chances are there will be interesting flavors, and I'll be happy to drink it. Maybe we could share some herbal tisane instead? I am pretty flexible in my tastes there as well, tho' I have an abiding fondness for chamomile."

Featured Comment by KeithB: "I would have thought that you would like 'Tea, Earl Grey. Hot.'" [The favored drink of Captain Picard of the Starship Enterprise in "Star Trek: The Next Generation." —Ed.]

Featured Comment by Benjamin R. George: "I have to take exception to this generalization that 'properly brewed' tea generally means no boiling water. Green, white, and oolong teas are often ruined by boiling water, but many non-pu-erh black teas are great with it. Since you don't drink a lot of black tea, this is of little interest for you, but your readers should know that your advice is not fully general."

Featured Comment by Roger Bradbury: "I have to have two cups of tea every morning to raise my I.Q. above single figures."

Featured Comment by Robert Roaldi: "Another good Holiday album is 'The Bells of Dublin,' by the Chieftains, on which they host many guest artists."

Featured Comment by Gavin McLelland: "Mmm..I prefer the darker teas—I have always loved Lapsang Souchong—the smokey flavour goes so well with dates. Quite a treat."

Featured Comment by Richard Man: "Ctein, as you may remember, I drink a lot of tea myself. I'm glad to see a refreshing cup of, um, article this morning :-). As for the vast fortune wasted on Pu Erh, that's indeed quite a story. I won't spoiler it. Capitalism at its 'finest.' There are lots of stories about tea of course, but this is a fun one: all the tea, whether it's green or black, are from the same species of the plant. Green is unroasted while black tea is roasted and sometimes fermented (pu-erh). One of my favorite is Jasmine gunpowder. Strong and bold flavor. I confess that there is one tea that I could not like—the Lapsang Souchong—too much like drinking burnt BBQ wood, which is pretty much what it is :-)."

Featured Comment by Arne Croell: "Throwing away the first short brew was actually the standard procedure during several tastings in Chinese tea shops (Shanghai and Tunxi) that I had last year. The explanation at that time was not the reduction of caffeine but that the first infusion has a rough taste and the best flavor comes out actually in the third steeping (both for green teas and Oolongs). We could taste test side by side the 2nd, 3rd, 4th and 5th steeping of several teas and the change of the flavors was certainly there. Personally, after trying out many teas in the last 39 years (I became a heavy tea drinker at 15), I've settled on Darjeeling first flush teas from certain plantations as my favorites."

Storyoftea
Featured Comment by Willem: "This book really was my cup of tea: The Story of Tea: A Cultural History and Drinking Guide by Heiss & Heiss."

 

Introduction to Digital Printing Part III

By Ctein

[Before we get started, a brief aside: My Minolta DiMAGE Multi Pro AF-5000 scanner has died and is in need of electronics servicing. Precision Camera no longer works on this model. If you know of someone in the U.S. servicing this scanner, would you please drop me an e-mail at ctein@pobox.com? Thanks! —Ctein]

This is the next-to-last (I think) of my columns on getting started in digital printing. Mike asked me if I would do some articles geared toward the folks just getting into it, and I agreed that was a good idea. The intended audience is those who haven't done any serious digital printing but would like to. In other words, this is the introductory stuff (and, to pre-answer the question I know I'll be asked again, no, there is not going to be a series on advanced printing). It doesn't matter if you have wet darkroom experience or not. If you don't have digital printing experience, this is for you.

In the first part of this series I told you about all the things you shouldn't be taking into consideration when getting a printer. In the second part I told you about what you should. This time I'm going to talk about color management. Do not run away in fear (usually a justifiable reaction). I'm going to keep it as simple and straightforward as possible.

The Monitor
First, let's talk about the monitor. Monitors cannot display tones and colors the same way they look in a print. It's only an approximation. Serious professionals (like me) use very expensive monitors, and we profile and color-manage them to make them look as much like the print is possible. They still don't look exactly like the print. For someone starting out, I don't think that level of display refinement is important. What you really will need to do is to learn how the monitor will look different from the print, and that just takes practice and experience.

I do recommend that you run the "monitor calibration" utility, if one is included with your operating system. This will produce a generally correct tone, contrast, and color balance. It's nowhere as sophisticated and accurate as full color management, but it's more than good enough at this stage.

The Printer
Now, about your printer. While I don't think color-managing the monitor is especially important, I very strongly advise it for your printer.* You remember me recommending that you find a printer and paper combination you like and sticking with it for the time being? This is part of the reason why (the other part being that you could spend your whole life just testing different papers out and never getting around to making a print you liked).

A printer does not automatically produce good color. All it knows how to do a shoot droplets of ink at a sheet of paper. The thing that tells the printer what combination of ink droplets it needs to squirt to produce a particular color is called a printer profile. A profile is basically a conversion table that tells the printer, "Hey, that RGB value of so-and-so in the image file? You need to squirt precisely these amounts of each of these inks to match it." Without a profile, a printer will produce prints much like the top one in the illustration below. With a profile, you get the bottom print.

Blog216figure1

All printers today come with canned profiles that get installed when you install the printer drivers. Those profiles vary in quality from pretty good to downright awful. On average, they score maybe a B. You can kick that up to an A. You will get markedly better color out of your printer—even the cheapest printer—by getting a profile made for it for the particular ink/paper combination you're printing with. Personally, my favorite source for profiles is Cathy's Profiles [Note: You might want to hold off on this. We're looking into it. —Ed.]. One of her excellent profiles runs $35.

Don't think because you bought a cheap, low-end printer, the profile is less important. It's actually likely to be more important; canned profiles for low-end printers are rarely very good. It's quite astonishing the improvement a good profile will make for low-end printers; it can turn them into very decent photographic printers.

To get a profile made, you print out a small set of 8.5x11" prints that contain color patch patterns, using files you download from Cathy's website. You send the prints off to her, she analyzes them, and she e-mails you back your profiles. You install those profiles on your computer. I think in the current flavors of both Windows and Mac OS, that is as simple as right-clicking on the profile file and selecting "install," but I won't swear to it.

Using profiles isn't that difficult, but I can't give you specific instructions on how to do it; sorry about that. It's different for every flavor of OS and every image processing program. So which exact buttons you have to push and which settings you have to set how? You'll have to research that for yourself.

It's worth it, believe you me.

Ctein

*(Regular readers may remember me writing about some vexatious problems I had with getting a good print that turned out to be solved by not using full color management. That was an extreme exception to the rule; for every photograph I've printed that was made worse by proper printer color management, I have printed hundreds that were made markedly better.)

Ctein's regular weekly column on TOP appears on Wednesdays.

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Featured [partial] Comment by yunfat: "I agree with everything said here, but would like to add [something]...If you are getting good prints, don't mess with anything, it's not worth it, and you may never get back those 'good prints' again, because you started messing with stuff." (Read the rest of yunfat's comment in the Comments section —Ed.)

Featured Comment by Robert Roaldi: "Printing has driven me nuts for a while. I don't mean getting museum quality or fashion industry colour reproduction—I mean getting a simple proof print that doesn't annoy the hell out of me.

"I own a slightly upmarket dye inkjet, an 8.5x11, 6-ink thing. Using the profiles that came with the printer and the papers from that same manufacturer, and after tracking down on the web which to use with which (because the manufacturer's documentation does not make that clear), I could not get prints that even looked remotely right. Worst for me was muddy greens.

"Then I found this print profiler utility that came with my monitor profiler; it was just sitting there on the CD. It's based on visual comparison. That is, you generate a profile based on their base files, make a test print, look at it, adjust the profile, print again, and so on, until satisfied or totally annoyed. I tried this a few times in the past two years and always got totally annoyed.

"Then two days ago, I figured out that the software has a bug, and so the test prints were meaningless. I had to get out of that utility and print from Aperture to see actual changes from tweaking the profile. Cost me a lot of paper and ink, but I can now makes prints that don't annoy me. Greens are greens.

"So, the canned profiles from the manufacturer were beyond bad, and the print profile utility combined with the driver had a bug so bad it made it unusable.

"In my previous life, I made my living writing software. What we put up with from the software we buy today is beyond belief. In no other domain do we tolerate this low level of quality control. Twenty-five years ago, I would have been fired for producing product this bad."

Featured Comment by Edward Webb: "One of the main problems with colour management for printing, in my experience, has been software and operating system updates, which play havoc with settings used to print profile calibration prints, and with print settings generally. After years of frustration, I bought an old computer (for £50) which is connected to my printer, and is never connected to the internet and never updated. I use it just for printing, and never change the workflow or the settings. I do all my retouching on a newer, faster, regularly updated computer. I have had no profile problems for two years now. My prints come out of the printer looking just like the images displayed on my calibrated screen on my main work computer. When it comes to colour management, sometimes old but stable technology is a hundred times better than new and constantly changing technology."

How to Review (or Buy) a Lens (or Camera)

By Ctein

'Tis the "Season of Spending"—at least that's what the radio commercials tell me. They wouldn't lie to me, would they? I thought I might devote this column to some consumerist advice. What goes through my head when I think about reviewing a product isn't a lot different from when I think about buying one.

Once some shiny bauble has caught my eye, the very first thing I contemplate is what I might do with it. Just what kind of photographs do I envision making with said lens or camera? Understand that this is a rather different question from the one of what kind of photographs I make in general. The answers to both questions may be the same. Case in point being the Olympus 45 mm ƒ/1.8 lens, which matches so closely how I see the world photographically. I use it for indoor, outdoor, low-light candid, landscape, urban/architecture, and night photography. Where I goes, it goes.

More commonly, the answers are somewhat different, and it's that specificity that informs one's decision-making around a purchase. Particular tools for particular tasks. For example, I didn't envision using the Rokinon 85 mm ƒ/1.4 lens for anything else but available light "candid" photography. Given the range of my interests, that's a fairly small subset of my photographic activities.

Which gets to my next point; can I imagine I'll be getting appropriate value for my money? That involves comparing the goals for the product with what it costs. I didn't see the Rokinon lens being generally useful to me. Had it been a $1,000 or even $500 optic, I probably would have removed it from my list. I'm not that interested in supporting my candid proclivities. $250, though, fell within the range of my "whim" budget.

Now, I know plenty of people for whom $250 is a substantial sum to spend on a whim (truth be told, it pushes a bit beyond the top end of my "whim" range). I also know plenty who'll drop $500–$2000 on a lens and not blink. They can indulge a much more expensive level of whimsy than me.

Everyone has individual comfort levels for price vs. functionality. It's one of the major ways you can legitimately disagree with a reviewer without even testing a product yourself. For instance, I rarely agree with Michael Reichman or Lloyd Chambers on what is a worthwhile purchase. Their photography budgets far exceed mine. It doesn't mean that I think their reviews are in any way inaccurate, but they're willing to throw far larger sums of money at a photographic problem that I am. Conversely, their standards are sometimes higher than mine. It's easier to complain about the rattle in your Camry when you can afford (and have driven) a Bentley.

Blog215figure1I made this photograph with a small, relatively inexpensive camera. I could have made it with a large camera...but I didn't need to.

Of course the reviewer's priorities may be different than yours, which is why it is so important to understand yours. After nearly four decades of carting around a Pentax 67, these days I put some premium on portability. Using cameras that I don't mind hauling everywhere changes what I do artistically, and I enjoy the freshness (see above).

Blog215figure2I made this photograph with a large, very expensive camera. I could not have made it with a small one. But, is the high price and inconvenience of such a camera worth it to me to make more of these photographs?

At the beginning of the year I got to use a medium-format Contax with Zeiss optics and a Phase One back for several weeks. It was great fun, and I did some really good work with it, adding several extremely fine photographs to my portfolio.

Do I want to make it my standard go-to camera kit? Oh heavens, no! Can I afford such a rig? See previous answer. Still, it has had me thinking for the better part of a year on how I might review that medium format behemoth against my Olympus Pen. Yes, it sounds like the worst apples versus oranges comparison, but after some reflection you'll see it makes a lot of sense. There's a basic consumer question in there: "I am using X; what am I missing by not moving up to Y?" Specifically for me, given that I am a smallish-camera, smallish-budget photographer, what would I gain, photographically, if I could/would get one of those medium-format rigs?

Sometimes this just breeds dissatisfaction; other times it's genuinely revelatory. Harking back to the film days, I've known of more than one photographer who, upon using a 4x5 view camera for the first time, realized they had been making themselves crazy trying to exact almost-unreasonable levels of quality from their 35mm. Many others tried it and decided they had as little interest in routinely using such an ungainly contraption as I would have relying on the Contax boat anchor.

The question, "What should I buy?" has no answers. The questions, "What can I afford?" and "What do I want to photograph with it?" do. They are your friends. Remember, shop wisely, if not too well.

Ctein

(Entirely off-topic...Steven Halpern, if you're reading this, could you please email me? I have a question about a future column for you. Thanks)

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Featured Comment by Bob Rosinsky: "I use three cameras. Each camera is one magnitude cheaper than the next. Oly Pen EPL-1: cheapest; Sony a850: not cheap; Hasselblad H2f with 39 MP multi-shot back: expensive. As a pro and a hobbyist, each of these cameras serve a purpose. My favorite camera is the Oly Pen with the 14–42mm kit lens. It's a blast being able to have a camera with me in all situations. The Sony is great for photographing dogs and environmental portraits; the 'Blad is great for commercial product photography and fine art reproduction. Every time I pick up the Oly to take a snap, my blood pressure goes down. Picking it up and viewing the world through the nifty EVF is like taking a leisurely Sunday afternoon drive. It is fun."

Featured Comment by Jeff: "Another question I ask myself, which seems implicit in your post, is 'Will I see a difference in my prints?' For me, the benefits of a new tool may not relate to different types of photos, but rather to the quality of final product, which for me is the print. Generally speaking, I see greater gains from printing hardware and software than from any new camera and/or lens combination. (Perhaps use of Leica leaves little room for improvement, but I suspect the same would hold for most top end gear.) In my film days, the priorities seemed more on the 'front end' of the chain; now with digital there is increased emphasis on the 'back end' of the workflow. Testing new print solutions is unfortunately not as easy as renting cameras or lenses; one only knows through experimentation."

Featured Comment by Michael Bearman: "Your 'whim' budget is governed by Bearman's Laws. These may be stated as follows:

  1. The amount you will spend on goods without considering the price or undertaking a cost benefit analysis is known as the spending pain threshold or 'SPT.'
  2. The SPT applies to discretionary purchases.
  3. The SPT level is proportionate to the unnecessary purchase desire or 'UPD.'
  4. The greater the UPD the higher the SPT.
  5. Importantly, the SPT is inversely proportional to absolutely necessary purchases of 'ANP.' Hence, the higher or greater the ANP the lower the SPT.
  6. Finally, the SPT converges absolutely with the ability to pay for the purchase, or 'APP.' Hence, the less you can afford the purchase, the more likely its is you are to make it and vice versa. This is known as the likelihood of purchase or 'LOP.'

"Let us test these Laws by applying them to known two goods a) my wholly unnecessary new Zeiss lens or 'NZL' and b) my wife's badly needed new dress for a wedding or 'WND.' It is safe to assume that NZL has a high UPD and WND has a high ANP. Hence, NZL SPT is greater than WND SPT. It is known that in respect of discretionary goods in December my personal APP is A$1000. As SPT converges absolutely with APP, we can assume that the difference between NZL SPT and NZL APP (being infinitesimal) is zero. It follows that NZL LOP = 100%. And because UPD is inversely proportional to APP, it follows that WND SPT (being infinitesimally small) is also zero. Hence, WND LOP = 0%.

"Hence, assuming that the NZL price = $1000 and WND price = $500, I will necessarily purchase the lens because 100% LOP = ($1,000 SPT/$1000 price) and will necessarily not purchase the new dress because 0% LOP = (0$SPT/$500 price).

"And that, Darling, is why I didn't have any choice when I bought the lens I wanted instead of the clothes you needed. Really."

Mike replies: I assume she knew you were like this when she married you? [g]

Olympus M. Zuiko Digital ED 12mm f/2 Lens: Review

By Ctein

"You get what you pay for."

This bit of anti-consumerism is frequently trotted out as an excuse for high prices, as if it were some law of nature. It's not. Sometimes you get a lot more than what you pay for. Sometimes you get a lot less.

Blog214figure1The Olympus 12mm Micro 4/3 lens, with the focus ring pulled down
to reveal the distance and depth of field scales.

At $800, the Olympus M. Zuiko Digital ED 12mm ƒ/2 lens is a case of getting less. A lens this pricey should be great; this 12mm (equivalent to 24mm in full frame format) has too many warts and weak spots to qualify as anything more than good. Its deficiencies are serious enough that I strongly considered returning it.

The main reason I didn't is that it occupies a unique spot in the lens selection for Micro 4/3. Fast wide angles are rare; the closest competitor I know of is the Panasonic 14mm ƒ/2.5. I have the Olympus 14–42 mm kit lens, and it's a better lens than most people give it credit for. I didn't need another 14mm lens just to gain a stop. I did hanker for something wider, but, because I'm not a major wide-angle fan, I didn't yearn for one of those small-aperture, large-size wide-angle zooms.

Truth is I was looking forward to this lens almost as much as the 45mm ƒ/1.8 I reviewed last week. It would fill a conspicuous hole at the end of my focal length range, and its fast aperture would let me use it for available light work as well as nature photography, my primary activity.

The first thing I did with the lens after I got it from B&H was take it out for some field tests. When I pulled the photographs up on my computer, I was sorely disappointed. On-axis sharpness was only adequate, even at ƒ/4.5–ƒ/8. Not good. Worse, edge quality stayed mediocre at all apertures (below). I don't expect great edge quality from a 24mm-equivalent at ƒ/2. I do when it's stopped down several stops, at least if it costs as much as this lens does.

Blog214figure2This photo was made at ƒ/4.5 with my first sample of the lens. Shown below are the central and corner portions at 100% scale.

Blog214figure3Click to open 100% sections of RAW files, converted using my ACR defaults. On the left is the central portion of a photograph made at ƒ/5.6 with the Olympus 45mm ƒ/1.8 lens for comparison. By comparison, the central portion of a photograph made at ƒ/4.5 with the 12mm lens looks very soft (middle). Corner performance (right) shows clear smearing. Stopping the 12mm lens down further did not significantly improve image quality.

Allowing for the possibility that my expectations were unrealistic, I ran this past TOP's panel of experts. There was a general agreement that this was not stellar performance and that there was a fair chance I had a defective lens. Jeff Goggin, who already owned a 12mm, sent me a JPEG of one of his photos that looked a lot better than any of mine.

I exchanged my lens for a new one. The new one was a lot better. Center sharpness was very good wide open, and became excellent stopped down. Edge quality? Well, it still wasn't particularly good wide open, but I would not expect that from a 12mm ƒ/2 lens at any price. It got a lot better stopped down than my first sample did, but it never got great. Most important for me, it was only marginally acceptable in 15x20" image area prints. That's my standard size for sale. It's pushing what this camera can do, but my other lenses perform well there. This lens makes the grade, but only barely, and you better not be looking too closely at those corners:

Blog214figure4A second sample of the 12mm lens performed much better. Please note this is not a straight RAW conversion; this is a print-ready file I worked magic on in Photoshop. It illustrates the best sharpness and fine detail I can extract from this lens.

Blog214figure5100% sections of the center and corner illustrate that central performance is excellent, but the corners still show some smear, even at ƒ/7.

$800 should get me better optical quality than that.

One much-touted feature of this lens is full manual focusing. Pull back on the knurled focusing ring and it reveals a distance and depth of field scale. The focusing ring no longer free-wheels as it does in normal manual focus mode; it locks into place so that you can manually focus this lens like an ordinary camera lens. A very nice idea when you need to focus quickly; scale focusing is a valuable technique with wide-angle lenses, which benefit from generous depth of field. Fixed-position focusing rings are also easier to use than the free-wheeling kind; you quickly develop tactile feedback that lets you focus very quickly in situations where autofocus won't cut it.

Olympus's implementation of this has three big problems:

  1. The focusing ring focuses well past infinity. The end stop is at about +ƒ/4 (I'm using the depth of field marks as indicators). You can't blindly set the lens to infinity, or you'll actually be focused well beyond infinity. This kind of slop is often needed with telephoto lenses to allow for thermal expansion, but that shouldn't be an issue with a 12mm lens.
  2. If you align the infinity mark with the focus line, you're still not in focus at infinity. True infinity focus is when the infinity mark is at about –ƒ/2.8. Consequently, scale focusing isn't going to be very accurate.
  3. When you focus in this full manual mode you don't get continuous focusing, as you do in normal manual focusing where the ring free-wheels. The manual ring only provides coarse zone focusing. Focus snaps from zone to zone abruptly; the separation between zones is about the same as the separation between the focus line and the ƒ/5.6 mark. That huge jump makes it impossible to achieve either precise or accurate focus.

Blog214figure6
Full manual focus is poorly implemented. The top close-up shows the position of the distance scale when the focusing ring is turned to the full left; the lens is actually focused well beyond infinity. The middle illustration shows the ring's position at the point of best infinity focus; the infinity mark is well off the distance indicator. The lower illustration shows how much more the focusing ring needs to be rotated to change the focus by a single zone. That is a very large jump in focus.

I began to wonder if I might not have another defective lens. Jeff graciously loaned me his copy. The results are reminiscent of good news/bad news jokes:

Our two lenses perform essentially identically, so the good news is that I didn't get a second defective lens.

The bad news is that this isn't a defective lens. This seems to be as good as it gets.

Actual good news
Unexceptional image quality and an amazingly awful manual focus ring. Is there anything I can wholeheartedly praise in this lens? Yes: image stabilization.

Blog214figure7This lens shines at available light work. I made this photograph handheld at ISO 100 at ƒ/2 with an exposure time of 2/3 second. There was no light on in the dining room; the only sources of illumination were lights in other rooms. It is actually much darker in there than normal dim indoor lighting. Note how little blur there is in the 100% section on the right.

This lens is so stable that I would swear the image stabilization system in the Olympus EP-1 had been designed around it. I can handhold this lens at 1/4th second and get photos that are sharp down to the single pixel level three-quarters of the time. At 1/2 second I'm good half to a third of the time. On rare occasion, when the gods smile, I can push even further (above), although a full second seems beyond my capabilities.

If I crank the ISO up to 800 (the maximum ISO for high quality with this camera), the results become amazing, as you can see below. If I can see it, I can photograph it (assuming, of course, that "it" is standing stock still).

Blog214figure8ISO 800 at ƒ/2 and 1/2 second, handheld. It's the middle of the night; the only illumination is a street lamp up the road and the ubiquitous urban night sky illumination. The white spots in the sky aren't hot pixels, they are stars.

Blog214figure9100% sections from the frame above, showing how rock-steady the image it is. The faint white dots on the right? Those are the Pleiades! They're just barely visible in the full frame, near the top center of the frame.

For available light work, this lens is a true champion, due to its combination of acceptable wide-open image quality and unbelievable stability. Under more normal conditions, the lens is less impressive. This is not a bad lens. But it is no better than merely good, and its performance doesn't come anywhere close to justifying an $800 price tag.

For the present time, I'm keeping it. If a better fast wide-angle comes along, I won't hesitate to replace this lens. It is only its uniqueness that makes it a keeper for me.

Ctein

Olympus 12mm ƒ/2 from B&H Photo

Olympus 12mm ƒ/2 from Amazon.com

Olympus 12mm ƒ/2 from Amazon U.K.

Ctein's regular weekly column appears every Wednesday on TOP.

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Featured Comment by Jeffrey Goggin: "While I agree with most of what Ctein says about this lens factually, I disagree with him a bit as to a few of his subjective statements of opinion.

"For a start, $800 doesn’t strike me as ridiculously expensive for a lens, at least not these days. I have paid quite a bit more than that for several of them over the past three years, including the Olympus 4/3-format 7–14mm and 14–35mm zooms I happily use with my E-P1 and other Micro 4/3 bodies, and I personally consider the 12mm ƒ/2 lens to offer good—but not great—value for the money.

"Second, the maximum size print that I can make from the average Micro 4/3 file is 12x16", slightly less than two-thirds the size of Ctein’s preferred 15x20" prints. At that larger size, I am not surprised that he is less than delighted with E-P1/12mm combo’s image quality overall, but at 12x16, I find that I am generally satisfied with the quality of the results that I achieve with it.

"Third, the various focusing quirks he cites, while definitely annoying in theory, don’t seem to be nearly so annoying in practice. At least not to me; your mileage may vary, of course.

"However, I do agree that the E-P1/12mm combo handles handheld, low-light photography with considerable aplomb. Last summer, I used mine to photograph handheld inside the underground parking garage at the office building where I work and was amazed to find I could consistently capture sharp photos using shutter speeds in the 1/8 to 1/2 second range, especially when I would hold the shutter button down and capture batches of three images consecutively, as the middle one almost always proved to be slightly sharper than the other two.

"Bottom line: If you’re considering purchasing this lens, I suggest that you check it out personally and decide for yourself whether it meets your needs and/or fits your budget, rather than rely solely upon the opinions of others. And I suspect Ctein will agree with me on this point."

Featured Comment by Christina Brandon: "For those of you who haven't tried the 12mm ƒ/2, don't put your wallets away too hastily. I have had every wide-angle lens for the 4/3 and m4/3 formats—the $1800 7–14mm ƒ/4 lens (for 4/3); the $890 7–14mm ƒ/4 lens (for m4/3); the $600 9–18mm ƒ/4–5.6 lens (for 4/3) and the $700 9–18mm ƒ/4–5.6 lens (for m4/3)—and this is hands-down my favorite of the bunch.

"I have had the 12mm ƒ/2 lens since July and to say I am blown away by it is an understatement. As somewhat out-of-control collectors of cameras and lenses, my husband and I have plenty of other gear for comparison, including a Nikon D3 setup, a Canon 5DMII, and lots of truly stellar manual focus legacy glass we use on the Sony NEX 5n. We both agree that this little 12mm is a gem on all fronts.

"Here's what's great about it:

  1. Image quality—By far the most important aspect of a lens to me is its image quality. Over the four months or so I've been using this lens, it has delivered consistently sharp, contrasty images under a wide variety of shooting conditions and with an equally wide variety of subjects, from portraits to architectural interiors. It's one of those lenses I feel I can depend on to give me not just good images but truly special images.
  2. Wide aperture—I love this lens for interiors in available light, and guess what—an ƒ/4 or ƒ/4–5.6 lens is not much fun to use in low light. An ƒ/2 lens makes all the difference, and it's so sharp wide open that I find myself using it at ƒ/2 for the majority of my shots.
  3. Minimum focusing distance—It's closer-focusing than any of the other wide and ultra-wide angle lenses I listed above (20 cm vs. 25 cm). This is a big deal for me as I enjoy getting in close to many of my subjects. Not only that, but an added benefit of getting in so close is that at ƒ/2 the backgrounds can be thrown significantly out of focus.
  4. Aesthetics and ergonomics—Nothing to forgive here, either! This is truly a beautiful lens to hold, use, and just gaze at.

"Do I think the $800 price tag is appropriate? You bet I do. The lenses I listed above range from $600 to $1800. The only cheaper lens is the $600 9–18mm for 4/3, and I really struggled to get sharp images with that lens, so much so that I sold it. And of course all of those other lenses are ƒ/4 or slower! I consider it a minor miracle to have such a beautiful, tiny, jewel of a lens that is both super sharp and super fast for less than $1000.

"I am scratching my head a bit about Ctein's experience with edge sharpness. I get consistent sharpness across the frame at all apertures with this lens. I can't speak to the manual focus issues he discusses, as I've only shot it in autofocus mode.

"By the way, I have the 45mm ƒ/1.8 lens as well, and while that lens is also excellent and the 'right' focal length for my way of seeing most of the time, I have to say that the 12mm would be the harder of the two to part with if I had to make a choice. It's that special."

Olympus M. Zuiko Digital ED 45mm f/1.8 Lens: Review

Oly45-2
By Ctein

The Olympus 45mm ƒ/1.8 lens for Micro 4/3 is a moderately priced ($400) moderate telephoto, equivalent to 90mm in 35mm terms. I fell into lust with this lens as soon as Mike first described it last summer. It was exactly what I wanted. I decided then that if my TOP print sale did especially well, I would treat myself to some optical presents.

By the time the sale rolled around, I had decided to hell with the conditionals, I was going to buy it, regardless.

One reason is that it's a fast lens. I'm an available light photographer by inclination. Other people do great with strobes and the like; I never cottoned to them. Most of the time I don't need anything like ƒ/1.8; I'd rather be down somewhere around ƒ/4 or ƒ/5.6. But when I want it, I want it.

The other reason is that it's a longish lens. For many photographers, their focal "sweet spot" is in the 30–40mm (equivalent) range. Me, I've always been a telephoto kind of guy. When I bought my first Pentax 67, I didn't think twice about choosing the 105mm lens over the 90mm. I didn't even get a wide-angle lens for that camera until I'd been using it for well over a dozen years.

The Panasonic 20mm ƒ/1.7 lens is superb, but it's wide for my tastes. I readily adapt, but when I put the 45mm Olympus on the camera, it's just like we were made for each other. It sees the way I do. I hardly ever have the experience of immediately feeling sympatico with a piece of equipment, but this is one of those times. It's compact and lightweight to boot. I can put my Olympus Pen with this lens in the same little padded stretchy pouch I use for carrying around the camera with the Panasonic 20mm.

Optical questions
So much for physical issues. How does the lens perform optically? The key questions for me are, how good do its images look wide open, when I am in one of those available-darkness situations? And, is it uniformly excellent across the field stopped down? My portfolio prints are large: 15x20" image area. I want a lens that can keep up. Issues that are not important to me are "color rendition" of the lens and bokeh. I'm not even convinced the former matters when one photographs in raw, as I always do, and I am sufficiently insensitive to bokeh that I only notice it when it is exceptionally awful. If you wish for an evaluation of that, wait for Mike's upcoming review.

This lens exceeded any expectations I had. It is so good that it's hard to tell what aperture I'm working at except by the amount of light falloff. Wide open, the lens exhibits a bit over half a stop of falloff from center to corner, but it's down to under one third of a stop at ƒ/2.2 and below a quarter stop by ƒ/2.8. There's no focus shift that I could detect going from ƒ/1.8 to ƒ/8.

At ƒ/1.8, central sharpness is close to the camera's limit, and corner resolution is only a little worse than that. The only hint that you're working wide open is a slight softness to the edges (acutance); they are just ever so slightly smeary. Other than that, the lens is already almost as good as it gets on this camera. There is no sudden jump in image quality as you stop down, like there was with the Rokinon 85mm. It just gradually creeps up from very, very good to excellent.

Blog213figure1

This lens is phenomenal wide open. Above is the full frame; below is a 100% section from this (after you click on the image). It's a little grainy 'cause it's ISO 800.

Blog213figure2
At ƒ/2.8, photographs are visibly crisper than wide open, especially at the corners; at ƒ/4 there is very little to complain about anywhere in the field. Continuing on down to ƒ/8, the corners to pick up a bit more contrast and sharpness along the way, but it takes some really serious pixel peeping to see any differences anywhere between ƒ/4 and ƒ/8. Acutance falls off a little from that optimum range at both ƒ/2.8 and ƒ/11 (diffraction has to dominate, eventually) but you can confidently use any aperture from ƒ/2.8 to ƒ/11 and be assured of excellent results. The differences are, frankly, subtle.

Blog213figure3

Above is the full frame of this test scene. Below, 100% sections from the centers and the corners of the frames. From top to bottom, ƒ/1.8, ƒ/2.8 and ƒ/5.6 (click on the image to see it 100%).

Blog213figure4

Correction for chromatic aberration is extremely good. There is maybe one pixel's worth of lateral chromatic aberration. I didn't notice any longitudinal chromatic aberration until I started pixel-peeping for this article; then I detected just a hint of magenta-foreground/green-background longitudinal color. It is small enough that I didn't notice it before this.

What all this tells me is that this lens is a lot better than the camera. If the Micro 4/3 format survives long enough for us to see a 25–30 megapixel body, I have no doubt that this lens will still be a strong performer. This is not one of those optics where a significantly better camera body will make you long for a significantly better lens.

Blog213figure5When I'm looking for corner-to-corner uniform sharpness, this
is going to be my go-to lens.

Is there anything I can complain about in this lens? Well, I do wish it stabilized a little better. Sharpness is pretty reliable at 1/40th sec, but not so much at 1/20th. That's nice, but it's nothing to write home about. I've seen similar behavior with other lenses in this focal length range; I think maybe the image stabilization in the Olympus Pen EP-1 just doesn't optimize all that well for this focal length.

Verdict
All in all, I think this lens is worth every bit of the $400 price tag. Even if it weren't a fast lens, it would deserve accolades. It is that good.

Well, that's it for the 45mm lens (the Amazon link again—B&H is currently out of them). Next week I'll be reviewing the Olympus 12mm ƒ/2. If you've been thinking about buying one of those, you may want to hold off until you read my review (that's what English majors call foreshadowing). Until next time....

Ctein

ADDENDUM by Mike: Peter Vagt, in the Comments, asked to see a picture of the lens on a camera, so I made a quick snap of mine on a Panasonic G3. Subjectively speaking I'd say the 45mm is about the size of a 50mm Summicron, but quite a bit lighter.

Oly45oncamera

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