To this day I still get excited when I feed a card into the computer and begin to play with the images; it’s like painting or sculpting, getting my hands dirty. It’s a step of the process I thoroughly enjoy, however time consuming it may be.
Indeed. I like playing around with a few images, just to get the look and style down, and then going to town on the rest.
What else I’ve found helpful: not touching the photos for a while – like a month or longer. It makes editing/culling easier, because there’s no longer an emotional attachment.
It’s really winter now. The high temperatures have been in the 15-20 F range, and the snow and ice are starting to stick around.
Nothing will grow until March. There will be nothing on the trees until April. Any sunny day is the best Michigan will look for a few months now.
Despite the bitter cold, I do enjoy getting out when it’s sunny and taking photos. The slants of light, the position of the sun – everything is different this time of year. It looks like winter.
So it was with these faded milkweed plants. The sun was setting and lighting the cotton in a wonderful way. It was one of those pull-the-car-over moments.
Even though the wind chill is about zero, and the snow is starting to blow, there’s still beauty out there.
Oh, you know. Just a Pentax K1000 hanging out on the beach.
Just about done with this roll of black and white film, finally. It’s getting to the point where I hardly remember what’s on it. But on this day, Labor Day, it was on the beach.
The now-famous Franck–Hertz experiment elegantly supported Niels Bohr’s model of the atom, with electrons orbiting the nucleus with specific, discrete energies. Franck and Hertz were awarded the Nobel Prize in Physics in 1925 for this work.
I don’t take many landscape photographs. Landscapes are lovely to see, when done right (read: not obnoxious HDR), but it’s probably the patience required that turns me off. You have to wait for the right combo of weather and subject.
But toward the end of summer, things line up just right, especially in my daily commute, and especially near where I live. The fall light, the earlier sunrises, the mist covering the fields – it’s all great for photos.
This one is a country block from my house. I caught it on the way home from the Jackson County Fair, in early August, and snapped it with my Canon EOS M (and edited with VSCO Film 04). Not bad for a little mirrorless camera with a pancake lens.
Landscapes still don’t interest me all that much, but I take advantage of the scenery when I see it.
As a kid, my family often went to Stagecoach Stop and Prehistoric Forest, and played putt-putt and drove go karts at the little amusement parks. Even back then there was a level of hokeyness – but it didn’t matter. Those places were tons of fun.
But now, it’s all shutting down. There are a few attractions that are still humming along. The majority, though, lie in disrepair (or worse).
In high school, my dad and step mom were married at Stagecoach Stop’s little chapel, and their reception was held in the old timey tavern.
Stagecoach was a bustling place back in the day. You could watch a gun fight in the town square, grab some ice cream, pet a goat in the petting zoo, and even stay overnight in the motel. There was a working lumber mill, and horse rides, and a drive-through haunted Halloween tour.
Driving down US-12 now, and passing through the Irish Hills, it feels like a ghost town. It’s almost like a run-down part of town, with all the windows broken out and no one left to protect it. Eventually, I’m sure, these roadside attractions will be mowed down completely.
So last fall I took a drive out there, seemingly back in time, to capture some of those attractions I remembered from childhood. Before they disappeared.
At Stagecoach, I ran into a couple that was hosting a garage sale of sorts on the property. Most of the area was closed off, but I asked if I could walk around to grab some photos, and they said “yes.”
The Irish Hills Fun Center, a general amusement park with putt-putt and go karts, was completely abandoned. The kart track was still in decent shape, but the rest of the property was fading fast.
Prehistoric Forest, the true goal of my trip last fall, has been known as a target for vandalism. With motion sensors and cameras guarding the place, it was risky to try to grab photos of the place. When I drove past, there was a utility truck and a man taking measurements, so I played it safe and drove on.
It was weird to see a place that was so bustling turn into such a dead spot. I may take another drive out there this fall to see what’s changed – if anything.
After toying around with the mirrorless camera world, I got to appreciate the conveniences – what I call the throw-it-in-the-car effect. Mirrorless cameras like the Fuji X100 are light, small, and not prone to bang into things with a lens sticking out of the front.
Just $300 for a small, portable camera with a prime pancake lens and a Rebel T4i-caliber sensor. Touchscreen controls. Firmware update that speeds up the autofocus.
The only bummer? The white one was discontinued. Otherwise I would’ve (and believe me, I tried) purchased that one in a heartbeat.
As it was, with just the black model, I did think about the purchase for a few days. Did I need this camera? Would I put it to good use? Was the quality enough that I wouldn’t be frustrated with it?
No, yes, and maybe.
Camera Design
After the Canon EOS M arrived, it was pretty fun to unbox it. There’s lots of stuff that Canon packs in that box – and the minority of the material was the actual camera.
The camera itself is a solidly-built little instrument. It feels dense, but not heavy, so that it feels like a good, quality hunk of camera.
The 22mm lens is light and well-built as well, although I’m not a fan of the sound it makes as you screw it into the camera. It feels like it’s rubbing or scratching agains something it shouldn’t be.
The back screen is large and bright enough to be seen in most situations, although with screens of this type, it does get tough to see what you’re shooting in bright sunlight (more on this later).
Canon includes a thin camera strap with little metal hooks that slide into the rivets on the camera – a nice system. Putting the EOS M around my neck helped me appreciate how small and light it is.
Image Quality
Touring around with the Fuji X100, and my Canon T1i, I had weak expectations for the image quality on the EOS M.
Happily, this camera beat those low expectations handily.
Bright scenes, dark scenes, color and contrast – they’re all great, and I was shooting mainly JPGs. I found the image files flexible enough to grab the details I needed in Lightroom.
The 22mm focal length is a bit wider than I like, but it does make the M flexible for most situations: landscapes, architecture, street-type scenes, macro, even portraits. Pairing the EOS M with a quality 35mm or 40mm prime lens would be perfect for the way I shoot.
So the quality of images isn’t where this camera gets annoying. Not at all.
I felt it was a good exercise to get used to the camera, and to learn its ins and outs.
Given that, this thing was perfect as an everyday carry-around camera. I could swing it over my shoulder heading out the door, throw it in the front seat, and carry it with me wherever I went. When I did go out and shoot, it was light and small enough to not get in the way.
The pancake lens simplifies things, too. Just one focal length, with a wide enough aperture to do what I like to do. All I have to think about is taking the lens cap off.
It’s not quite iPhone camera simple, or point-and-shoot simple, but it’s more simple than choosing a lens, lugging the DSLR around, etc. My DSLR is a pro tool that gets me exactly what I see in my head. The EOS M is what I carry around with day to day that’s convenient enough to be useful.
That’s been the breakthrough for me with this camera, and the Fuji X100 before this. The portability, the convenience, and the image quality make these mirrorless cameras the equivalent of the iPad: in between the iPhone’s race car and the Mac’s utility truck lies just the right touch of Good Enough.
And, it’s fun. It’s a lot of fun to carry this thing around and just have it there, being simple, and grabbing nice images.
Camera Quirks
I’ll say that my number one issue with this camera is the random exposures it takes because of the touch shutter. In the bottom left of the screen is a Touch Shutter Enable/Disable button – but seemingly at random, it switches modes. It could be because of an accidental touch, but I get enough random exposures from the camera bumping into me that it gets annoying. Quickly.
If I could turn off that entire area of the touchscreen, I would.
Also, the 22mm lens will sometimes search endlessly for focus, especially for macro-type shots. I find that switching the camera off and on again helps, but sometimes it doesn’t and I need to take the lens off the camera.
Finally, the touch-screen buttons seem randomly and frustratingly placed. I have to stop and think about where I need to put my finger to change the white balance, say, whereas with DSLR canons my fingers can go automatically to some dial or button for instant access.
More On the Touchscreen
Yes, the touchscreen is hard to see in bright sunlight (especially if you wear sunglasses). And yes, that touch-to-take-a-phone feature is a downer for me.
Overall, the touchscreen is just a big ball of frustration. Touching to focus, so easy on an iPhone, is cumbersome on this thing. I find the focus point randomly moves around because of accidental touches, and changing settings like aperture and ISO are clunky.
And trying to focus on something below or above you, with the screen barely in view? I agree with others: make it a swivel display and you could solve a few of these problems.
Hitting the “Info” button, I’ve learned, helps to help with some of those accidental touches, since the “buttons” on the screen disappear. And pressing the delete button on the scroll wheel helps place the focus point back at center.
But trying to do all this while holding and the camera and pressing the shutter button – maybe it’s just going to take some getting use to. I find I often take too many accidental exposures fumbling with the settings and getting the camera ready to shoot.
Final Thoughts
The Canon EOS M was the first step for Canon in the mirrorless world, and with a few needed firmware updates, they’ve made their initial product a decent one – especially at $300.
I can see going fully mirrorless someday, should these cameras become as practical and fast to use as a DSLR (and if they stick around). Until then, these cameras are a lot of fun to use – and I think that counts for a lot, especially for a hobbyist like me.
Adding a nice portrait-length prime lens to the EF-M lineup would be killer, especially fast lenses in the f/2 range like the stock 22mm.
Rumors are that a new EOS M model is headed our way, so we’ll see what Canon does. I’m happy that I pulled the trigger on this first model, no matter what comes.
It’s added a new dimension to my hobby that’s been a lot of fun to explore.
I have this list of things I want to stop and photograph on my way into work. Concord, Mich. has quite a few little things like this sign that are on my list.
This month-long project is the perfect excuse to pull over, grab the camera, and check one off the list.
I’ve watched these weeds envelop this sign all summer long. Now I got it.
Renting a camera is the perfect way to try before you buy. It’s also the perfect way just to try – and that’s why I rented a Fuji X100 for two weeks. Just to try.
I see other photographers that I admire doing fantastic work with the Fuji system, and speaking its praise as the Next Big Thing. Being a Canon guy, it was tempting to see what all the fuss is about.
I also rented it because I was covering a wedding for two co-workers, and thought it would be fun to take it to their destination ceremony in Petoskey, Mich.
There, it performed very well. I had to make sure to keep it on a setting that worked for whatever situation I was in, but from there I just pointed, framed, and shot.
The things this camera can do with mixed light situations, dynamic lighting, and low light is spectacular. And sharpness? Just perfect.
There were times when I felt lost. That feeling probably comes from knowing my Canons so well. I also like having things like ISO and white balance ready at a button push. Too often, with the X100, I had to dive into the menu system to switch up the settings.
I’ve read that people use the X100 as a slower device. Take your time, adjust your settings, frame your shot, click. So maybe throwing it into a fast-paced wedding situation wasn’t entirely fair.
For those instances where I could take my time, it was perfect. The size, too, made it a handy carry-around camera. It’s a throw-it-in-the-front-seat-of-my-car camera – a walk-around-the-neighborhood camera. And it was light enough to feel like a regular accessory to the day.
The film modes are fun (like the Velvia setting above), but were an extra step in the process. I found taking the RAW files and adjusting them was more my style.
At first, I blanched at the idea of using the Electronic Viewfinder. But the rangefinder-style Optical Viewfinder missed focus points just enough to get pretty annoying, so I switched as time went on fairly easily.
Switching to Macro Mode, however, to get those close shots was not easy. I never quite got the hang of it, and would often forget which mode I was in and shoot in the wrong mode.
The picture files? Glorious to work with. Plenty of flexibility to lift shadows or pull back highlights – again, especially in those mixed lighting situations. Skies, especially, were lovely. For a lot of my shots, using the VSCO Film Fuji profiles worked well.
All in all, using the Fuji X100 really was like shooting with a film camera. The photo files had personality, and flexibility, and were a lot of fun to play around with.
The camera itself was an adjustment. I feel like, with more time, I’d get used to its particular quirks. Maybe not.
But sometimes it was nice to set the setting and not touch them, and just worry about making nice photos.
This time of year is both happy and sad. Happy because, hey, it’s still technically summer.
But it’s sad because it’s the Sunday of summer – the last little bit before fall starts creeping in. Nothing says this more than harvest time, especially this cool summer in Michigan that feels like half-fall anyway.
Fall is a lot of people’s favorite season, but not mine. The crops, though. Man, I’ll take those all autumn long.
Michigan is known mainly for its cherries, apples, and blueberries, but we’re lucky in that a lot of crops grow well here. Peaches, melons, corn.
“You can tell it’s a Michigan [insert crop here],” my family used to say. “They don’t grow these like they do in Michigan.”
I’m not positive that’s true. But I do know that everything tastes pretty darned good this time of year.
Lots of abandoned goodness in Albion, Mich. Took a little drive Friday afternoon during lunch and spotted a row of buildings that looked like they used to be thriving businesses.
VSCO Film recently released their newest set of film emulation presets, a lovely set of slide film reproductions that model classic Fuji, Agfa, and Kodak positive film.
And while the digital version of those classic films doesn’t exactly mimick the original, it’s enough to feed into the back-to-our-roots photographic trends that Instagram, Hipstamatic, and VSCO itself kick-started. Pros, amateurs, iPhoneographers – a lot of us are using film-style presets these days.
That got me thinking: why does it take a company like VSCO to come out with these film simulations? Why the hell didn’t Fuji, Kodak, and Ilford – with their diminishing film stocks and questionable financial future – come out with this kind of product?
Why leave it to a digital competitor to develop a copy of your signature films?
I take it that Fuji is doing okay with its new X-Series cameras. They’re supplementing their film business with a great series of cameras – cameras that, yes, are simulating Fuji films like Velvia and Astia.
But Ilford? Kodak? Agfa? How are they doing in this modern photographic age? Are they comfortable with staying a hyper-niche product for hobbyists and the declining number of professional photographers who still use film?
Why not say, “Hey, no one knows our film better than we do. We’ll help photographers simulate our classic films with a set of presets that we can sell for real money.”
It used to be that film stock, with quality glass, was how you achieved a certain look. Velvia was different from Portra was different from Polaroid. Now, in the digital age, it’s a combination of camera, software, lens, and (for those who use them) presets.
For film companies, their role in that process should be in the software/presets realm.
“Great photo!” an imaginary film company representative says. “Now make it look how you want it to look with our specially-engineered family of film simulations.”
Instead, companies like VSCO swoop in with the right mixture of finesse and quality and eat the film companies’ lunch. They also offer options for today’s photo enthusiast: desktop and mobile software.
Kodak? Their mobile app offerings look like a messy discount aisle in a dimly-lit drug store: nothing but apps for purchasing film(!) and printing photos (that last one is pretty handy – at least they’re encouraging people to keep printing photos).
Fuji is at least doing a bit better in this space. But still. Why keep those X-Series film simulation modes exclusive on the cameras? Why not make a few bucks selling a mobile camera app with those simulations, and beat VSCO at its own game?
I love Camera Noir and Hueless for my iPhone. But where is the Ilford app?
Don’t get me wrong. There are tons of photo filter apps – more than one could ever want or use. But shouldn’t the film companies be in this space and doing it better than anyone? Shouldn’t they have been here first, for crying out loud?
Developing software and apps doesn’t replace the film business. I get that. But what else are the film companies going to do? Wait it out like some passing phase?
When the world switches, you switch with it. As it stands, disrupting upstarts like VSCO are taking the film companies out to the darkroom woodshed.
