Fujifilm X100F

Concept: 4 out of 5
Execution: 4 out of 5
Yeah, but: I like it not because it's perfect, but because it's good.

The Long Version: There are hundreds of Fujifilm X100F reviews already. I’ve started a half-dozen myself in the six months that I’ve owned the camera, but always give up halfway through. Really, what more is there to say?

It’s an excellent camera.

Twenty-four megapixels is enough for almost everything.

Limitations can be powerful.

The sort of things the F can’t do will be fairly obvious. The things it can do can be fairly surprising.

“More Zoom” is never the correct answer to any question.

You can stand on the X100F as a foundation, figuratively speaking, but you can’t lean on it as a crutch.

Using one won’t make you a better person, but it will make you a better photographer.

Should you buy one? If you’re ready to argue with these first few points, probably not.

Carry as much as you’ll need and as little as possible: the F is an excellent camera to travel with.

Even when staying home, the F is superbly easy to live with.

The X100F might fit in a jacket pocket, but you’ll have to confirm on a case-by-case basis.

Colder climates have an advantage for jacket-pocketability, but small buttons and dials are not kind to gloves.

Despite moving its buttons to the right side the F still isn’t a one-handed camera.

The more powerful battery makes the F snappier than the earlier models. Even the shutter sounds a little crisper.

Battery life is about the same as earlier models. Sticking to the OVF squeaks out a few extra shots per charge.

If you’re used to SLRs, carry two or three times as many batteries as you’d expect to need.

The logistical burden of an unused battery is minor compared to carrying around an inert camera.

35mm-equivalent is the least interesting focal length ever created. Not wide enough to be eyecatching, not long enough to be isolating. It’s fundamentally unexciting.

A 35mm-e is versatile, though. There’s a reason why it’s a rangefinder classic.

Upgrades from the T that convinced me to buy the F: the new sensor, W126 battery, lift-turn iso dial, and acros. In actual use only the first two have mattered, though the others are sometimes nice to have.

Choosing a camera because it will let you take sneaky photos of people that they wouldn’t knowingly allow you to take is a moral failing.

There are words to describe people who do things to others without permission, and none of them are good. Don’t earn them.

The X100 looks pro enough that the people you ask for permission to photograph should assume you’re capable, without being so over-the-top that it’s intimidating.

It’s not Weather Sealed, but I put mine through the wringer at Niagara Falls and it’s fine. YMMV.

Setting the camera to jpeg-acros is a fun way to spend a drizzly summer night in the city.

Build quality generally is excellent, although I loathe the front and rear command dials.

Buttons should click, dials should turn. Fujifilm insists on getting this wrong.

It could really use a thumb ridge. One from any of the other x-series cameras would do nicely.

Daylight fill flash with a leaf shutter is awesome.

Overpowering daylight with a built-in flash is even more awesome. It’s possible at close range, but watch for shadows from the hood.

The flash control interface, sadly, is not the F’s strong point.

The [Q]uick menu “Flash Compensation” item allows control over TTL flash levels, but not manual flash power.

You also need the “Flash Function Setting” item enabled in the [Q]uick menu to turn the flash on and/or change modes.

The Fuji EF-X20 flash is perfect for the X100, but needs a refresh with a wider EV comp range.

Canon-compatible TTL cables work with Fuji; Canon TTL remote triggers do not.

You may need the ND filter to keep the shutter speed within the flash-friendly mechanical shutter range in bright sun.

The built-in three stop ND filter is real but only moves into place at the moment of exposure.

The ND filter should have an ‘auto’ mode, but doesn’t. Assign it to a function button and get used to checking to see if it’s on when it shouldn’t be.

Three stops of darkening is almost enough to play with slow shutter speed and motion effects. Almost.

Three extra stops can add significant oomph to screw-on ND filters.

A serious ND filter on the front of the lens auto-darkens the viewfinder into unusability in daylight. Assign the LCD/EVF brightness to a [Q] menu option.

The frame lines in the OVF remain too bright to use in the dark. The LCD/EVF brightness option in the [Q] menu doesn’t help with this.

The EVF/OVF/OVF+ selector should be a three-position toggle, not a momentary switch.

The OVF frameline and focus point need to wait for focus to show their parallax correction.

The “electronic rangefinder” LCD-in-OVF always shows the correct focusing point location regardless of defocus or focusing distance.

The ERF can also “zoom out” to show an accurately-framed but tiny view of the full image; this is rarely useful.

The histogram switches sides when changing between OVF and EVF. Sloppy.

I like the idea of the OVF, but usually use the EVF instead.

If I crop for more magnification I always want the crop to be off-centre. This rules out the “digital tele-converter” even if it worked with raw files.

The optical wide and tele add-on lenses substantially defeat the point of an X100, but they’re an option.

Almost all of the important camera settings can be seen, and even changed, when the X100 is powered off. That’s uncommon.

Manual mode is relatively easy to use here, but there’s rarely a reason to work that hard. Don’t go chasing the needle unless you really need to.

As a dense little camera with a leaf shutter the X100F is awesome on even a lightweight tripod for long exposures and night photography.

Fuji doesn’t make a tripod plate hand grip for the F. The RRS one is very nice but expensive; the eBazon knockoffs are less so of each.

The position of the tripod socket will make generic QR plates block the battery door, but it’s very close to the camera’s balance point.

There are lots of ways to trigger the X100F shutter remotely. A clone of the Canon RS60 is my favourite.

Using a threaded shutter cable reminds me just how often I still need to tap the shutter button when doing night photography.

When using Bulb mode the elapsed exposure time counts up on the rear LCD. No more need for a stopwatch; not as clever as the live displays that micro four thirds offers.

When the shutter speed dial is set to “T” the LCD counts down the exposure time remaining; it would be really nice if it could do this in Aperture mode long exposures as well.

Setting the self-timer when the camera is in a continuous drive mode makes it fire a burst of photos. Clever.

Cameras that blink the AF Assist light during the two-second self timer haven’t properly thought things through. The X100F, sadly, is no exception.

When the ears of the aperture ring are level the lens is at f/5.6. Set it by feel.

The lift-turn iso dial works and is useful. (Even some of Fuji’s tame camera-likers have had problems with this one.)

“Iso” and “raw” are words, not acronyms. Please write and pronounce them accordingly.

The Nikon DF’s design team is laughing at Fuji for including twin command dials on the X100F.

Needing to use the scroll wheel to change [Q]uick menu items is maddening. None of the other menus need this awkward extra controller.

Customize the [Q]uick menu. Most of the default options aren’t raw-relevant if that’s how you work.

The Q menu is also handy for checking that your electronic settings are correct.

The focusing joystick really does make the four-way controller redundant for menu navigation, but having those extra function buttons is nice.

Being able to reassign the custom function of a button by holding it down for a few seconds is brilliant.

The top-deck function button, right next to the shutter, can’t be used for video recording. There’s a message there.

If you’re shooting at the minimum focusing distance, wouldn’t you normally stop down anyway?

In-camera charging via micro-USB is very useful, and it’s fantastic that Fuji includes a proper charger as well.

The back indicator light turns green when the battery is charging in the camera, and turns off when it’s full. The wall charger light works the same way.

The W126 batteries have an orange square or circle that matches up with the orange battery latch on the camera. These little touches are so nice.

The Fuji X100F leather case has a good feel and adds a little extra protection to the camera body. It also looks better with age and extensive use: a goal to aspire to.

Having the half-case on the body also protects the focus mode slide switch, which otherwise likes to change position on its own.

The solid hood made for the X70 barely blocks the viewfinder any more than the vented X100-designed ones do, but only the solid hood blocks reflections when it’s pressed up against glass.

I’m proud of every nick and scratch my hood has earned. That’s secretly the reason why I use one.

The X100F is conspicuously pretty. It should come with an "Ask Me About My Retro Camera!" shirt to wear while using it.

I’d wear that shirt all the time.

It’s a premium camera. Don’t insult it with off-brand accessories.

(Except for a good third-party shoulder strap. That’s mandatory.)

Attach the strap in the Nikon manner, with the free end fed downwards through the buckle. Much neater than the way the Fuji manual shows.

The the exposure compensation dial needs skip spaces or a stronger detent to mark its zero position so that it can be set without looking.

A camera launched in 2017 should have a level that also shows pitch, not just roll.

Labeling both on and off power switch positions is redundant.

Electrical tape is a close match to the slightly shiny finish of the all-black camera.

A little silver sharpie on the power switch position needle makes the on/off position much easier to see.

Add a little highlight to the exposure compensation indicator while you’re at it. Check out the other x-series cameras to see how it should look.

Shadow and highlight tone adjustments are now sensibly named. A positive value increases contrast, negative shifts things closer to midtones.

Even if you only shoot raw, these jpeg settings affect the in-camera histogram and image review.

Raw to jpeg conversions are easy and a good way to play with film simulation modes.

When reviewing photos the [Q] button becomes a shortcut to the raw conversion menu, and the top-deck FN1 button activates wifi. Knowing this is like learning about the “J” shortcut in Lightroom. Transformative.

Wireless transfer only works with jpegs, naturally.

Wifi camera control works well as a remote viewfinder if you hate battery life, but doesn’t trigger quickly enough to capture action.

I remain happy with the 24mpx sensor results at about one stop higher iso than with the 16mpx generation.

A little barrel distortion remains even with after the software lens correction.

The evaluative metering is really good, and the sensor is forgiving. The exposure compensation dial still remains your friend.

I’ve assigned White Balance to one of the function buttons, but have rarely really needed to take it off of Auto.

Having WB on a button is the easiest way to set a custom value, though.

Should you buy one? If you’ve read this far, then probably yes.

The X100F is my favourite camera for practicing the Stephen King method of photography: Put myself in an interesting situation and wait to see what happens.

People from Fujifilm do pay attention to feedback and suggestions from photographers, and actually use it to make their cameras better. Try saying that about companies with the letters “on” in their names.

A camera that you feel enthusiasm about will take photos that are 37% better than those from a camera you dislike.

Statistics can be false and true at the same time.

Spend less time reading camera reviews.

Try not to care, and also don’t forget, that the most passionately adored electronics today will be outdated and set aside in a few short years.

Limitations are powerful.

The Fujifilm X100F is an excellent camera.

last updated 20 oct 2017

Sigma DP3 Merrill

Concept: 5 out of 5
Execution: 3 out of 5
Yeah, but: They say to think of it as a film camera…

The Long Version: There's something really incredible about the Sigma DP3 Merrill. It's small, it's light, and it produces great photos. Normally we need to trade off quality in exchange for smaller size or more convenience, and accept smaller formats with lower resolving power and coarser tonalities. The Merrill upends all of our expectations.

The DP3 Merrill looks strikingly different from traditional compact cameras. From the front it's a slab-sided box dominated by a large off-centre lens, and most strikingly it doesn't have a viewfinder. This hints at the camera's true nature, because where the film door should be instead we find a large electronic viewing screen. Yes, this is a digital camera – but don't be intimidated, because the Merrill still fits in with film cameras and the new hybrid 'digital darkroom' perfectly.

Instead of taking film – whether in sheets, rolls, or cassettes – the Sigma DP3 Merrill takes batteries. While film rarely holds more than a few dozen photos, and typically only a third of that, the Merrill can manage as many as fifty exposures per battery. And changing batteries is far simpler than film – no more catching sprockets or switching rollers! It's even faster than swapping cassettes in Advanced Photo System cameras, because there's no time needed to rewind or advance the film. And best of all, each battery can be replenished and reused over and over again.

The Sigma DP3 Merrill fits perfectly into the new 'digital darkroom' that is increasingly popular with amateur and medium-format photographers alike. Typically we feed our developed film into scanners to digitize our captured photographs for electronic editing, but the Sigma DP Merrill has this ability built-in. This saves hours of work and the ongoing expense of chemicals or a professional lab. It's an amazing ability and one that will likely be incorporated into all cameras in the future.

Sigma provides the dedicated software that is needed to see the images as they are loaded into the computer. This is called "Sigma Photo Processor" and works very similarly to other scanning programs. Images are visible in an on-screen array that looks like a contact sheet, and then each selected image can be individually developed for best quality. You can even choose whether you want colour or black and white photographs after they're taken – or you can do both. Remarkable.

From a quality standpoint the Sigma DP3 Merrill easily matches a good 645 negative, and can rival larger film formats as well. The only major drawback is that the DP3 Merrill has the 3:2 aspect ratio of the 35mm format, not the paper-friendly 4:3 or 5:4 of larger professional cameras, so take that into consideration when planning your crops for printing.

The lens of the DP3 Merrill is a bright short telephoto with exceptional quality despite its small size. There's pleasant falloff and slight edge softness at f/2.8, giving the photographs a rich, painterly feel. Stopped down to f/4 the lens becomes much more incisive instrument with uniform sharpness and excellent descriptive power. Aperture can be set in thirds-stops, giving plenty of flexibility, and its leaf shutter is capable of astounding top shutter speeds of 1/1250-2000 depending on the aperture selected.

The Merrill is also exceedingly good throughout the standard sensitivity range, with minimal grain as high as ASA400. If you're printing black and white the camera can be pushed up to ASA1600 with reasonable tones and substantial, but not objectionable, grain. A tripod is always recommended, as benefits any high-quality camera, but if you're seduced into hand-holding the DP3 its lack of a reflex mirror and quiet leaf shutter will keep shutter shock to a minimum.

The Sigma Merrill DP3 is a rare and cutting-edge camera. Despite its occasionally awkward implementation of electronic capture technology the entire thing comes together very well. Don't abandon the habits that you have tuned through years of large and medium-format photography, and don't be tricked by its small size into thinking that it will work like some fixed-focus pocket camera. Remember to treat it exactly like your better film cameras, and you'll be rewarded with excellent images and surprising ease-of-use.

last updated 12 sept 2014

MicroTouch ONE Safety Razor

Concept: 4 out of 5
Execution: 4 out of 5
Yeah, but: Safety razors are back, but did they ever really go away?  

The Long Version: Rick Harrison from the reality TV show 'Pawn Stars' has been pushing this model in commercials, which is what first piqued my interest. While my father was missing somewhere in Laos during the 1960s I used to dig around in his belongings fairly often, and playing with his razors was always the most fun--and I looked forward to shaving with them someday. The clamshell doors operated by a twisting knob on the end of the handle? Kid magnet!

Unfortunately my mom started me off with BIC disposables, and by the time I thought about it again dad's razors were gone.

So the design held a definite fascination for me, but not for the rest of the world because cheap plastic razors took over the market and the safety razor disappeared. Then one blade became two, three, etc. My most recent shaving tool had 4 blades, plus a fifth pointed in the other direction for "precise detail work around the edges".
And it vibrated (= Ate batteries).
And the blade cartridges cost about $5 each, but you had to buy at least 4 at a time.
In my opinion, it was a completely out of control situation and I was more than ready for a change--which is when I saw my first TV commercial for the MicroTouch ONE. 
Perfect timing! 

At first I started looking for vintage models at antique stores.
My mental pricepoint was $10, but most that I found went from $15 up and were in poor condition.
Then I tried the upscale shaving store at the mall, but they had sold out completely during the Christmas season and theirs started at $70 and included a brush for mixing and applying your old school shaving soap which I'm pretty sure I don't need.
Very nice pieces by far, but I was trying to save some money not find a new hobby.

Apparently I mentioned all this to my cousin and his wife while they were in town and the wife remembered, because within a week or two she had shipped me a nice new MicroTouch ONE they'd found at their grocery store in the "As Seen On TV" section.

The stand was a little wonky, but it was a quick job to pad the jaws of a small vise and twist it true.
Chrome plated brass, which as I recall is just how they used to be made.
Size and proportions are as before, too.

The instructions scared me a bit, recommending a warm towel to soften the beard and several other tips to avoid cutting yourself, but I guess it was only so much CYA lawyer-speak because it's just like using any other razor. Clean shave, no blood.
(As an aside, 15 blades might give you a closer shave, but after an hour the stubble is already coming back anyway, and super-close shaves invite the possibility of ingrown hairs, which suck).

Mainly I'm attracted by the solid heft of a metal razor, the way it looks and feels like something a real man would own. A cool "guy" device, you know?
Also the fact that it cleans up completely with none of the gunk that ends up stuck between blades 3 and 4 of my old rig. Open it up and rinse.

When you close it up all the way, the blade gets bent into a gentle curve that matches the profile of the doors, so you know these blades are paper thin. Staying sharp so far.

With a dozen double blades included, I should be good for a year at least.
I've already found a local source for replacements at a good price, and you can order them from MicroTouch, too.
At around $20 plus shipping I was employing delay tactics when it came to pulling the trigger on this razor, but I'm also sure that it would've happened sooner rather than later. Now I'm really enjoying what used to be my least favorite morning chore for the first time in my life. It just feels right.

And Rick Harrison is correct when he says in the commercials that you don't need all those extra blades.
Current disposable razors are a huge rip-off, and I'm done with them.

Obviously I like this razor on it's own merits. The nostalgia angle is pure bonus.
Hopefully this isn't just a fad, and more safety razors hit the market. The higher-end ones I've seen were very finely made and impressive, but it would be nice to see more on the lower end of the price scale to help increase familiarity and thus demand.


UPDATES:
1: My local grocery store just started carrying these razors and the packaging is identical to what I have. The original mail-order version comes with a carrying case that has an internal mirror, which may or may not make up for the price difference between sales tax and shipping charges.

2: The double-edge blades which to my eye are identical in design and execution to those from decades ago are turning up at more retail locations lately, even sporting store-brand names which is a good sign that the marketplace is committed to this product line. I looked hard for them mere months ago, and now they are popping up like weeds. $2 for ten blades that have 2 edges.

3: Cost VS Multi-Blade Cartridges: 
I shave somewhere around 23 times per month but it's all cheeks and neck because I've had a goatee and mustache for decades.
Starting anew with this safety razor, I pushed the first blade to it's limit. After 6 weeks I finally gave up and installed a 2nd blade, which astounded me with the improvement in smooth clean cutting. Gradual degradation just isn't as alarming as a sudden battery failure.
Lesson learned, replace more often, but how much?

I was pushing a $4 cartridge to last a month before, and now I'm thinking a new blade every other week at 20 cents each will do a MUCH better job.
So...10% of what I was spending after the initial investment.

And shaving cream/gel remains the same OR you can now afford to upgrade.
 

 
 

last updated 18 apr 2014

Victorinox Cadet

Concept: 4 out of 5
Execution: 4 out of 5
Yeah, but: They can be hard to find.

The Long Version: The Victorinox Cadet is one of the best Swiss Army Knives. At a modest 84mm length, with just two tool layers and Alox scales, this thing just disappears into a pocket until it's needed. Of all the knives I have, this is the one I can recommend to just about anyone without needing to know the specifics of where and how they'll use it. Besides, it's fairly cheap.

The Cadet is the knife that taught me that Swiss Army Knives don't need to be bulky plastic-handled four-layered boxes that aspire to be Swiss Champs. It has the standard openers layer, a large blade, and a nail file. As usual with Alox knives, there are no back-side tools, toothpick, or tweezers, but the metal scales lets this knife be the thinner than the single-layered Cellidor Bantam. While I like the classic red Cellidor handles, and their iconic visibility makes the knife seem harmless, there’s no doubt that the textured Alox handles give a better grip.

There are knives that I carry because I like them, others that I carry because I like to use them, and those that I carry because I need them. The Victorinox Cadet is one of the few knives that falls into all three categories: an attractive-but-utilitarian design and small size make it a pleasure to carry, it's equipped with a great blade that's big enough for actual work, and has other useful tools that expand its usefulness beyond what a single-blade knife can do.

Another way that I think about utility knives is to contrast how easy they are to carry with how useful they're likely to be for work. A small keychain knife is incredibly easy to carry with the tradeoff that it's not all that useful most of the time, while a folding knife over 3" or so can do a lot of cutting but requires a lot more dedication – and justification – to cart around. Once again my Cadet hits this sweet spot for me, being suited for near-ubiquitous carry and yet capable enough that I rarely feel the need to use something bigger. Yes, if I'm breaking down a skid-sized shipment then I'll reach for my Sebenza, but that's maybe a once-a-week thing, while I can use my Cadet several times a day.

The only real problem with the Alox Cadet is related to its strength of slimness: its ability to disappear. Mine went missing, making it only the second knife-bearing tool that I've ever lost. I hope that I find it somewhere in the house some day, or failing that, that someone else finds it, uses it responsibly, and falls in love with it the way I did. I liked mine so much, in fact, that I eventually went out and bought another one.

last updated 1 mar 2014

Olympus OM-D E-M5 Review

Olympus OM-D E-M5 body only with Panasonic Lumix 20mm

Concept: 4 out of 5
Execution: 4 out of 5
Yeah, but: The last Olympus camera I'll probably buy.
The Long Version:

This is a review that has been a long time coming. The Olympus E-M5 was introduced nearly two years ago on March 2012, and went on to become anointed as Camera of the Year on many photo web sites.. It took me nearly a year to finally purchase my copy in January 2013.

Since that time I've taken about 10,000 images with the E-M5. It has traveled with me down to Key West and half-way across the world to Japan. In all that time the camera has done yeoman duty, delivering images that I've been more than satisfied with. Other cameras have been introduced since (the E-P5, E-M1, and most recently the E-M10), but the E-M5 stands as Olympus' real breakthrough µ4:3rds camera, where everything finally "clicked." Olympus may tweak the design as it has with the newest OM-D cameras, but Olympus will be hard pressed to release the kind of camera the E-M5 represents unless there's a substantial leap in sensor technology, the kind of advance that led to the E-M5.

Prologue

In the past I've harshly criticized Olympus, specifically their E-P3 Pen and their Four Thirds E-5 cameras. I felt at the time of their release (and still feel to this day) that those two cameras were thrown out as a weak sop to their existing user base. They were DOA cameras, iterations built with ageing technology from a camera company that appeared to be growing more irrelevant in a stiffly competitive market.

All that changed abruptly in February 2012 with the announcement of the OM-D E-M5. The Olympus OM-D E-M5 is the complete antithesis of the E-P3 and the E-5. Here was the camera I'd been hoping for, waiting for. It didn't just merely meet my expectations, it exceeded them in so many ways.

The µ4:3rds Olympus E-M5 is the embodiment of the best of Olympus' legendary camera creativity and engineering. It is in my not so humble opinion the best digital interchangeable lens camera that Olympus has ever built. It is an "instant legend", a camera to rank with the OM series of film cameras (specifically the OM-1 through OM-4) as well as the FourThirds E-1, the E-M5's "distant" digital ancestor.

Before we go further let me make one thing perfectly clear: The E-M5 isn't a perfect camera. No camera ever made or currently being made is perfect, regardless of price. The E-M5 can't do everything. But what it can do is does exceptionally well, especially for the price being asked; the E-M5 is worth every penny.

Construction

OM-D E-M5 body cast magnesium alloy frame. Photo courtesy of  Gakuranman

The E-M5 is built around a cast magnesium alloy shell in much the same way as the top-end FourThirds E-1, E-3, and E-5 were built. It's also weather sealed, many say to the same high level as the aforementioned E-1, E-3, and E-5. I have yet to push my luck with the E-M5 in Florida's rainy weather as I once did with the E-3, in part due to the lack of a complete stable of weather-proof lenses in µ4:3rds native mount.

The only weather-proof Olympus µ4:3rds lenses to go with the body are the M.Zuiko 12-50mm zoom, the M.Zuiko 60mm macro, and the PRO 12-40mm zoom. Panasonic makes two zooms they claim are dust- and moisture-resistant; the Lumix 12-35mm f/2.8 and 35-100mm f/2.8. With these five lenses you can build a reasonable weather resistant system, one that's highly portable. Of the five that I mention, the M.Zuiko 12-50mm is the only one I own.

Olympus has a much wider weatherproof lens selection in Four Thirds. For a number of years I had the Zuiko Digital 12-60mm and 50-200mm High Grade lenses out of that collection. Olympus has, for whatever reason, yet to release native µ4:3rds versions of these lenses. While I've certainly missed those lenses, the mitigating factor for me has been the jewel-like µ4:3rds primes I've purchased as alternatives. The emphasis for FourThirds was all zooms, all the time. The µ4:3rds emphasis seems to have shifted back towards a major dependence on primes, such as the Panasonic 14mm and 20mm, the Olympus 12mm, 17mm, and 45mm, and many super-fast primes from third-party manufacturers like Voigtländer and SLR Magic. The only problem is that, with the notable exception of the M.Zuiko 60mm macro, none of the primes are weather sealed.

Operation

The EM-5 body is petite, even with both HLD-6 grips installed.

Olympus OM-D E-M5 decked out with the HLD-6 grips and Panasonic Lumix 20mm

E-M5 with rear touch screen swiveled out

Right-rear edge showing rear controls

HLD-6 Grips

In practice I tend to use the camera with just the horizontal grip installed most of the time to gain a bit more purchase with my right hand. I still have to remove the grip to change the body battery, but that's not a problem. I appreciate the side door loading of the SDHC/SDXC card instead of having to get it out of the battery compartment, like you have to with the newest E-M10 and every other Pen I've ever owned. That's a feature that Olympus has kept only with the E-M1.

Buttons

Many have complained about the squishy buttons. The buttons are not squishy; they're soft. What they lack are the solid detents that non-weather-sealed buttons have. In my case, I've just learned to push until the button stops or else some other visual cue shows that button contact has been made. It's not that big a deal in reality. The only button that really matters on a camera is the shutter release, and all those buttons (on the body and both grips) have the classic half- and full-press detents, which is all that really matters. Reading some reviews you'd think the camera was critically flawed because of its other buttons; trust me it's not.

Shutter

The shutter is remarkably quiet, as quiet as my one remaining FourThirds E-1. That sounds almost like high praise until you realize that the E-1 is nearly 10 years older and is flipping a mirror as well as tripping a shutter. The E-M5 should actually be quieter than the E-1, almost silent. I wish some times the E-M5 shutter were totally quiet, but it's not.  Regardless the sound coming from the E-M5 is what the Brits might call "refined", with absolutely no vibration to be felt in the body.

IBIS

The five axis image stabilization actually works, especially with video. And that's something of a waste on me as I seldom shoot video. As for still images I tend to shoot in fairly bright light with a fast lens, and let the camera auto-select the ISO. The shutter speed thus stays at 1/focal length or faster, negating the need for IBIS. As I said, it really does work if I force it to pick a very slow shutter speed, but for the most part the feature is a waste on me.

As for IBIS noise, I really had to work to hear it, and once firmware upgrade 1.5 landed, I set the IBIS to turn on only when pressing the shutter half-way down. From that point forward it became, for all practical purposes, totally quiet.

Physical Issues

My copy of the camera has developed tiny cracks around two of the three screws along the bottom edge of the swing-out LCD. This was the source of yet another Internet fiasco about the E-M5. It hasn't effected the operation of the LCD in the least, and unless you stick your nose right down into the camera you can't see them. I forgot where I first heard this, but my camera doesn't live in a museum, it gets used in the real world. If it develops a few dings, scratches, and cracks along the way, but continues to operate just fine, oh well...

External LCD

The most productive way I use the camera is with the external LCD swung out so that I can carry the camera at waste level, and touch set up so that I can touch the rear screen to both focus and trip the shutter. Oddly enough I seldom focus through the eyepiece any more, preferring to use the larger back LCD to compose and then touch to expose. I no longer focus, then recompose. The only time I use the eyepiece is in very bright sunlight because the back can get washed out, and in very dark venues to make sure light from the LCD doesn't cause a disturbance. Because of the design issue with the eye-level sensor, I don't have the E-M5 automatically switch. Instead I use the button on the side of the eyepiece to switch manually. Some complain, but I personally prefer it that way anyway.

And the one key feature I like about the rear LCD screen is that it DOES NOT pick up finger grease. Every other camera with LCDs does.

Recommendations

What I'm about to say will probably annoy the few true Olympians who come across this review, but here it is:

(Maybe) Don't buy Olympus.

Why? Because, after nearly a decade using Olympus equipment, from my first E-300 to my E-M5, I think I've had enough. Yes, I do love my E-M5 and won't give it up. But Olympus is now in the exploitative phase of their camera development, and I truly hate that phase. Since the release of the E-M5 they've been dropping a new variant of the E-M5 every six months or so.

I'm tired of being bombarded with how superior/more fun the next release is, and how this specific feature trumps the E-M5's equivalent, etc, etc, etc. Olympus will work really hard to deliver an innovative product (E-1, E-3, E-P1 and E-M5) then spend up to the next three years between innovative releases riffing the same thing over and over again. I consider the E-M1 and E-M10 to be little more than riffs on the E-M5.

When the E-M1 came out, with its built-in grip negating the HLD-6 grip, I knew then what was going to happen. Want to add an E-M1 as a second body? Well, guess what, you can't reuse the grips and possibly other gear. There is no sense of a camera system except at the lens mount.

And speaking of lenses, no matter how many you may have to choose from in µ4:3rds, a lot of them are crap, and duplicate crap at that. Prime example is the 14-42mm kit lens. Just how many 14-42mm kit lenses does Olympus have to keep producing? They're at four right now just for µ4:3rds.

And the 12-50mm kit lens? You can tell how the bean counters got ahold of that design and stripped it down to its bare essentials. Why else do you have macro at 43mm? And f/3.5 to f/6.3? Would it have really killed them to give us f/2.8 to f/4, or possibly f/5.6? And macro at 50mm?

The best all-around lens Olympus ever made in my opinion was the regular FourThirds 12-60mm f/2.8-f/4 lens. We have yet to get that quality of lens in µ4:3rds, the 12-40mm not withstanding. I've given up hoping for a µ4:3rds version that lens, and so many others.

Olympus is in the mode of charging premium prices for very small cameras, and for the kind of money they're asking I'm looking around at other camera makers.

So, if I had to do it over, who would I have bought or who would I buy now, and why?

Buy Nikon

I've owned Nikon. The last Nikon I bought (and still have) is the N90 in 1989. It was rugged enough to survive my use and disuse, and then when my second daughter got it for undergraduate use in 2008, it still worked just fine.

When I started to really buy into digital, it was in 2006 with the Olympus E-300. When I got really serious about digital it was December 2008 and the Olympus E-3. As they say, if I'd only known then what I know now...

If I had to do it over I'd probably have bought a Nikon D-300 instead of the Olympus E-3. Today, if I were getting started, I'd consider the D3300, D5300, and D7100. I know that Thom Hogan rails against the lack of Nikon-made DX lenses, and Ken Rockwell rants against Sigma, but you can build a quite useful DX-based system with any of those cameras and some excellent quality Sigma lenses to fill in Nikon's gaps. Keep in mind that the F mount goes back to the original F-1 of 1959. That means you can put any F-mount lens, good to trashy, on those bodies and shoot away, especially if you learn how to manually focus.

And let's face it, with 24MP and no low-pass filter on the current APS-C sensors across all  three cameras, what you're buying as you move up to the D7100 is better handling and environmental sealing (at the D7100 level). I'm not a big "FF" [sic] sensor fan, don't have the talent to justify spending that much money, and I've never believed in the cost of buying any of the "FF" [sic] bodies from anyone.

APS-C is more than adequate. No matter how much Olympus and Panasonic sensor tech advance, the same advances show up on APS-C sensors, and physics being what it is, the APS-C sensors will always out-perform µ4:3rds. I learned this, ironically, with the Sony NEX-5N, and chose to ignore it (Sony being another brand I would stay away from). Just to further underscore the point the photos of the E-M5 in this review were taken with my Sony NEX-5N and Sigma 30mm f/2.8 at ISO 400. And the NEX-5N has a 16MP APS-C sensor.

Buy Samsung

I've seen a lot of work produced by the NX-300 and its good. Samsung also has a decent range of lenses to choose from. And Samsung isn't going away any time soon, either. There is a new faux SLR mirrorless coming, the NX-30, which has the NX-300 sensor and a built-in SLR-like EVF. Samsung has the sensor portion nailed, at least at the lower ISOs.

What Not To Buy

There are other brands I would stay away from, and they're listed below.

Don't Buy Sony

Sony's biggest problem is lack of a decent selection of decent lenses across all four of their lens lines. They have the original Minolta 'A' mount (APS-C and full frame) and the NEX E mount (again APS-C and now full frame). Sony has four poorly filled out lens lines. Sony would rather toss out a new body (such as the very recent α6000, their replacement for the NEX-6 and NEX-7) with a given mount and sensor size than some decent lenses. Unless you have the patience of a saint waiting for a given prime or zoom not currently covered, you're better served by just about anybody else, even by the cameras I don't recommend.

Don't Buy Canon

My issue with Canon goes back to 1987 when they switched mounts, and I've never gotten over it. They're certainly a larger camera company than anybody else, including Nikon, but I just get the impression they're the GM of the camera world, and they're selling the camera equivalent of Chevy cars and trucks; boring, poorly made, and asking too much. You may like your Chevy, but the last Chevy I owned was a 67 Nova, and it was so bad I bought an import (Honda CVCC) in 1978 and have never bought domestic since. I dislike Canon about as much as I dislike GM.

(Maybe) Don't Buy Fuji

This will probably engender consider hate on the Internets. But I have my reasons. You're paying too high a premium for smallness in cameras, and not getting all that much back. I'm speaking primarily about all the original X series cameras, which I have held and used, and not the X-T1, which I haven't held nor used. The X-T1 may be Fuji's saving grace, so I reserve the right to change my mind on this one.

Fuji's true saving grace is their growing lens line. Lenses made with the same style throughout, and made of metal. That, and the fact you can buy Sigma and Zeiss lenses to fill out any holes in the Fuji X mount line, to name but two one third party makers of note.

What Next?

I'm emotionally and financially tapped out when it comes to buying camera equipment. I haven't bought a single thing in µ4:3rds in some time, not body nor lenses nor specialist gear. I'll use what I've got until it either breaks or I just give it up. The E-M5 is an excellent camera, and I have more than enough lenses to cover the focal lengths I care about.

And perhaps that's as it should be. Stay off the forums, stay out of the stores, and stay out shooting with the gear.

Update 12 May 2014

Olympus' financial results for the Imaging Group (the groups that makes cameras), for the last quarter and fiscal year, have been reviewed by Thom Hogan on his web site, Sans Mirror.  Needless to say they're very ugly. The highlights are:

• Olympus failed to meet its own mirrorless forecast by 41%
• Olympus lost money again, to the tune of 4.2 billion yen, and have forecast another loss this coming fiscal year.
• One third of all Olympus cameras are being sold in Japan, and that was down 5%
• SG&A (selling, general and administrative) were over 50%, meaning it costs more to make each camera than it makes selling each camera.

If you're into championing underdogs, then Olympus is the best example going in that category. But if you're concerned that the company you buy your camera from is going to be around for a while, then you might want to look elsewhere. I personally have been eying Sony, since (at this point in time) you can get a Nex 6, on discount, with a 16-50mm power zoom, for around US $530. And that's not a bad price. And for those who point out the lack of Sony lenses, might I point out that you can buy Zeiss and Sigma E-mount lenses to fill the gaps.

I love my E-M5 and will use it until it will work no more. But as for buying anything new from Olympus (like an E-M1 or E-M10), I won't unless some miracle occurs at Olympus.

Update 17 May 2014

Maybe I should follow my own advice (see above) about Sony. Or use the same financial yardstick on Sony I used on Olympus. Whether it's Sony's overall corporate losses that have mounted into the tens of billions over the past years, or just the losses in single billions over the past three years in Sony Imaging, Sony isn't doing well.

In imaging alone, Sony has racked up their third consecutive fiscal year loss of $1.29 billion (FY14 ended this past March). They peg that loss to declining sales in video cameras, and an overall decline of 2% in cameras in general.

In the midst of all this they've managed to introduce a refresh of the RX100, the MK III for $800, which is drawing rave reviews for its latest features that photographer's really give a damn about, such as a faster zoom at the telephoto end and a built-in pop-up EVF. And they've announced a selling price of $2,500 for the α7s. But still no new E-mount lenses.

As for Samsung, my definite buy has shifted to a maybe buy. I'm seeing too much flogging of the cameras. I finally got to hold an NX30, and to be honest I wasn't all that impressed with the NX30 in person. I'm a big Samsung booster when it comes to notebooks (Series 5 and Series 7), Android devices (Galaxy Tabs and Galaxy S4) and HDMI TVs. But that's based on personal use. Before I spend the amount of cash Samsung is asking for the NX30 it has to pass the personal feel test, and the NX30 isn't making it.

That leaves Canon, Fuji, Nikon, and Panasonic. And the last two are facing their own corporate fiscal challenges. Photokina is later this year, so Canon may pull off new hardware to excite me. Something worth the financial hit, something more worthwhile than a white SL1. Or I may lay hands upon the Holy and Blessed Fujifilm X-T1 and finally fall under the sway of its Reality Distortion Field and buy it.

last updated 17 may 2014

Ricoh GR: Image Quality

Concept: 4 out of 5
Execution: 4 out of 5
Yeah, but: Four months and no complaints.

The Long Version: Re-reading my favourite book I came across the expression "counting grains of sand". It's a metaphor for tediously wasting time on meaningless minutia; clearly the concept of "pixel peeping" predates digital photography. That's certainly something for me to remember going forward.

This has been a surprisingly difficult review to write. The Ricoh GR is an exciting camera, finally putting a sensor that's worthy of the GR Digital camera body behind an exceptional lens. But for this review I'm just trying to look at image quality; removing size, price, and design from consideration makes the GR a bit more ordinary for a 1.5X sensor. But then again, maybe if I didn't have a Nikon D800 and Sigma 35/1.4A I'd be more appropriately astonished by just how good the GR is.

The GR's previous-generation sensor shows some weakness when compared to kit-lensed SLRs that cost about the same amount, although the detail its fixed lens captures shames the SLRs. Put it up against a fixed-lens camera with the same sized sensor – often the same sensor – and you'll be paying more to carry a larger and/or inferior body.

Everything in photography is a compromise.

After four months with the GR my only image quality stumble comes from its autofocus system. From time to time it will miss the subject and lock on to the background, especially in lower lighting or at closer focusing distances. It's tempting to trust those wide-area AF confirmation boxes, but for critical photos using pinpoint AF is worth the minimal extra effort.

Attentive readers will notice that this isn't actually a problem with the camera. It's purely my own bad handling, sloppy technique, and the excessive vanity of turning off the focus-assist lamp. The GR's incredible resolution, and the narrower focus of its larger sensor, reveals sloppiness that doesn't matter for the small-sensor compacts that the GR resembles. I'd never trust wide-area AF on an SLR to choose correctly or accurately show what it has picked, and the GR demands the same respect.

The Ricoh GR is not a Nikon D800. Pulling up detail in very deep shadows can cause mosquito artifacts around fine details, even at iso100. It's subtle, but it's there. With some high-sensitivity photos I've resorted to monochrome conversions; I won't hesitate to use iso3200 or iso6400 when it lets me make the shot. While this is not unique to the GR, switching to black and white gives more adjustment latitude, and has resulted in some strong photos that I would have otherwise discarded.

Even though it's "only" 16Mpx, the GR's amazingly well-paired sensor and lens has per-pixel detail that rivals or exceeds anything that can be put on an SLR. That becomes very useful when cropping for composition, especially to mimic a 35 or 50mm-equivalent lens. Of course the GR's lens does have mild barrel distortion that's visible when straight lines are important, and there's a bit of vignetting wide open, which is fairly trivial.

My digital camera workflow is to put all of my select images through DxO Optics before doing final adjustments in Lightroom. The GR with v2.0.3 firmware is only compatible with Optics 9.0.1.27 and later, so waiting for the software to catch back up to Ricoh is part of why writing this review took a month longer than I anticipated. The good news is that FW2 and Optics 9 are both worthwhile updates.

That's not to say that the ACR'ed raw files are bad, or even that there's even anything wrong with the SOoC-jpeg images, but rather that this little pocket camera is worth the effort of wringing out the very best per-pixel quality. There are lots of cameras that don't merit that kind of attention, even if it does verge on counting sand.

I recently needed to make a small print, 5x7, of a photo that I took a few months ago. I was working on the details, looking at it at 100%, iso1600, and couldn't figure out why it was so soft with such bad noise. I seriously thought that something had gone tragically wrong to produce such mediocre quality from the GR – but no, it was shot with the Nikon V1 and 18.5mm standard prime. Then it made perfect sense.

The GR is the camera that I carry everywhere and use for as much as possible. It has been to Los Angeles twice, Las Vegas once, and I can guarantee that it will be my only camera for at least one upcoming trip to New York. Now when I'm idly considering adding another camera to my collection it's to be a companion to the GR, and when I'm carrying another camera, film or digital, the GR is always with me.

It doesn't have the best image quality of the cameras that I own, it's not quite the smallest, and it's certainly not the most versatile. But it's a solid little camera that's easy to use, easy to live with, and takes great photos. Everything in photography is a compromise; the GR strikes some excellent ones.

Quick links to the other chapters in the GR saga:

Ricoh GR: Travel

Ricoh GR: Preface

Ricoh GR: Buttons

Ricoh GR: Experience

Ricoh GR: Quality

Ricoh GV1 Viewfinder

Ricoh GR Brief Impressions

Ricoh GRD4 Review

last updated 31 dec 2013

Ricoh GR: Buttons

Concept: 4 out of 5
Execution: 4 out of 5
Yeah, but: This is the boring bit.

The Long Version: A friend of mine occasionally talks about an abstract special quality that he calls "thing-ness", and the 2013 Ricoh GR makes an exquisite job out of being a thing. Its design has been refined over generations of cameras, digital and film, so it makes sense that the GR is the only camera I've handled that improves on the feel of the slightly smaller Ricoh GRD4. The new GR is simply a pleasure to hold, and makes me wonder why any company would ever design a flat-fronted camera.

There's an odd paradox that high-end compact cameras often feel better-built than midrange SLRs that cost considerably more, and accordingly the immediate impression of the Ricoh GR is solidity. It has a heft and a presence to it, both in the hand and in action, that marks it as a serious little machine. Yet it's a light camera, weighing about as much as similarly-sized compacts from other makers, and less than the larger and self-consciously photographer-centric designs from Canon and Nikon.

The LCD on the GR is worth a special mention because it's actually usable in daylight. It defaults to a slightly lower brightness than the GRD4, which may contribute to the GR's strong battery life numbers, but I never resort to using the hotshoe-mounted optical finder to make up for any LCD shortcomings. The GR also removes my two complaints about the GRD4's LCD interface: we can now choose how many info screens there are, which streamlines the interface, and it's able to show both the alignment grid and the electronic level at the same time.

The GR charges its battery in the camera, via a short custom USB cable. I like that it can charge via USB, since it means that booster batteries for phones can keep the camera running even without AC power, but Ricoh should have included a stand-alone charger instead of yet another 5V USB block. But now that the decision's been made, someone needs to kit up an extra DB-65 battery and BJ-6 charger for GR owners to buy at a discount.

For what it's worth, the battery is the same as the venerable Panasonic CGA-S005, making clones and compatibles rather easy to find, although I haven't tried this myself. Ricoh's batteries tend to be the cheapest of the name-brand ones that are compatible, and I've never had an off-brand battery that matched a branded one.

When the camera is plugged in to charge the green LED on the LCD bezel lights, and turns off when the battery is done. Unfortunately the camera can't do anything else while charging, so forget about plugging it in while reviewing images or working through its menu. Ricoh doesn't get much wrong, so making two missteps with its power supply is very surprising.

Setting up the GR's customizable settings can be overwhelming, and may take months to dial in properly, but there's so much that it does right straight out of the box. The front control wheel changes the active shooting parameter – Av, Tv, program shift – and the vertical +/- toggle on the back gives direct access to exposure compensation. The horizontal 'Adj' toggle can be set for direct access to the iso level, or choose the "auto-hi" iso mode that lets you specify a minimum shutter speed and sensitivity limit. Unless you're shooting jpegs, there's really not much else to worry about. But of course the GR can do far more than that, even for raw shooters.

The GR has three configurable function buttons, all of which can have different values in any of the GR's three programmable shooting modes, and five easy-access 'quick menu' style items. No, the camera can't be set up for birding, but there's very little about it that can't be dialled in to work exactly the way each individual owner desires.

I use the programmable MY-modes extensively, including one to register my normal shooting parameters, so I always know exactly how the camera will work each time I turn it on. It doesn't matter if I was last using the macro mode, or some wacky exposure combination in manual: I know that the camera will boot up in Av mode at f/2.8, no macro, with auto-high iso allowed to range as high as 3200 to maintain a generous 1/125 shutter speed.

Another MY- position is set for street photography. In this case the camera keeps its LCD off, is set for shutter-priority at 1/500s, wide AF with continuous shooting, and its iso sensitivity is allowed to go as high as 6400. I also have the picture style set to black and white, even though the raw image is always recorded in colour, to let me review the images in monochrome.

The GR has rekindled my love of long exposures. My third programmable mode dial position turns the ND filter on, sets iso to 100, and the shutter speed to eight seconds, the GR's longest. The camera will then choose whichever aperture setting works, and I let it automatically shorten the shutter speed when f/16 is still too bright. Perfect exposures, every time. And because I mostly use it at night, the camera also uses centre-weighted metering, -1EV exposure compensation, and dark-frame subtraction noise reduction is turned on. Naturally, the GR is also told to use the two-second self-timer. The two-second timer rocks.

Many compact cameras try to be clever, but Ricoh makes ones that are genuinely smart. They know that a two-second timer is only used to avoid camera shake, so the AF-assist light doesn't flash during the countdown. With a longer duration, the kind of time that someone will use to include themselves in the frame, the countdown light flashes. Ricoh took the time to actually understand how the cameras they make will be used. The Nikon D800 and Canon 5Dmk3, $3K baby-flagships that they are, light their AF illuminators when the two-second timer is running.

Now, the GR does have its operational quirks and frustrations. There doesn't seem to be any way to magnify the screen for manual focus assistance, and magnifying the active AF point doesn't give any escape to view the entire composition before taking the photo. On the other hand, the Snap and Manual focus modes can bring up a distance scale that displays the depth of field for the current aperture. Excellent for street photography, not so helpful for studio portraiture. Life's a barter.

The GR's magnification in macro mode is rather modest. I've certainly seen worse from large-sensored compacts LINK TO G1X, but it's nowhere near as effective as the GRD4 or other small-sensored compacts. Photography, as always, involves compromises, and this is the one that I'm most likely to run into when I'm using the camera. It could possibly be overcome by adding the GH3 filter adapter and using magnifying diopters, but I'm not sure the shortcoming warrants the severity of that solution. Instead I just carry my GRD4 as well.

It's also worth noting that having the macro mode enabled does slow down the rack-to-infinity focusing speed, so the GR isn't one of those cameras that can always be left with the little flower icon on.

Focusing speed in general is quite good. Not SLR-fast, but fast enough when the light is adequate, and less so when it isn't. Its continuous shooting speed, on the other hand, is ample – raw-only is better than 6fps for a brief burst. Once again the GR turns out to be a disappointment for birders, but it's enough to catch fleeting gestures or expressions.

The v2.03 firmware update has improved the focusing system. Pressing the AFL/AEL button to lock focus now enables Spot mode even when the camera would normally use multi-area AF, which is much faster than changing the AF area mode through a custom button or the ADJ menu. I now have my GR set to "lock focus only" with the AFL/AEL button – and it shows its handy distance-and-dof scale to confirm my target – as half-pressing the shutter button will lock the exposure. Brilliant: exactly how I want the camera to work.

Flipping the switch that surrounds this button enables continuous auto focus, turning it into the sports-shooter's back AF-ON button, while the shutter button retains its wide-area single-AF activation for the times when continuous focus isn't activated. I adore how one button combines with a toggle switch to have two functions that are logically connected but have opposite effects. I know exactly how the camera will work, and can change from one specialized setting to the other, simply by feel and without moving my hold from the shooting position.

The GR doesn't offer any sort of image stabilization, and the combination of its high resolution, light weight, and LCD framing does make it susceptible to camera shake. Don't expect to reliably hand-hold a 1/30 shutter speed. I set mine for 1/125, and have been quite happy with that, although 1/60 would probably be okay.

The trick here is to use the auto-high iso mode, which lets you set a minimum shutter speed and maximum sensitivity, not the "auto" mode that is enabled straight out of the box. This one tripped me up on my first outing with the new camera because of another personality quirk that the GR has.

The GR is honest, even if it's not helpful sometimes. The DNG files only embed a small jpeg image with their raw data, so shooting raw-only means that magnifying the images on the cameras' LCD isn't very satisfying. Checking for sharpness is pretty much hopeless. Jpeg images can be enlarged without any difficulty, including those shot in raw+jpeg; in a pinch a raw image can be converted to a jpeg in-camera, but that's just a little bit clunky.

One other quirk to keep in mind with the physical operation of the GR: it has a fixed 28mm-equivalent prime lens. That might bother some people.

Owning a GR and a GRD4 has changed my standards. I've been using the GR every day for over a month now, taking over 3000 photos in the process, and the camera just keeps getting better. Moments of frustration with its design and operation are almost completely absent, while with other cameras they range between occasional and endemic. There are cameras – popular, mainstream cameras – that I simply would not buy because their usability is so incredibly poor. The GR proves that bad design isn't mandatory.

The GR is the best digital camera that I've ever used – others may take better photos, but none do a better job of being a camera. Its design and operational elegance rivals my ZM Zeiss Icon, a camera that was made to improve on the lessons from a half-century of Leica engineering, and possibly exceeds it. I never thought that a digital camera could accomplish that task.

The fact that the GR's image quality is excellent is a nice bonus, as well. More on that in a bit.

Quick links to the other chapters in the GR saga:

Ricoh GR: Travel

Ricoh GR: Preface

Ricoh GR: Buttons

Ricoh GR: Experience

Ricoh GR: Quality

Ricoh GV1 Viewfinder

Ricoh GR Brief Impressions

Ricoh GRD4 Review

last updated 8 oct 2013

HALO Portable Smartphone Charger

Concept: 4 out of 5
Execution: 4 out of 5
Yeah, but: Not Just For Boy Scouts

The Long Version: This device is a rechargeable battery that will charge your phone when you're in a situation where AC outlets aren't available, with a fairly comprehensive connection system.
Back in November or December 2012 we became aware of this product when it sold the most units in QVC's "Today's Special Value" history. Sold-out within hours and then kept on selling to a computer glitch causing a scramble to obtain more from the manufacturer ASAP. A huge success and fiasco at the same time. (Don't ask how I know any of this).

Once the situation stabilized we ordered three, in silver, blue, and black. Pink and cheetah print didn't really appeal to us. As shown, there is a USB "Y" cable that has another USB on the other end as well as a proprietary connector for the included adapters. Now that the Android smartphone market has settled on micro-usb life is much simpler since we can all share and stockpile chargers, and an adapter for iPhone 4 and earlier is also included along with that dinosaur mini-USB as used on compact cameras and other devices from the last decade. (Remember when every time you upgraded your cellphone the charging connector was completely new and you had to buy a spare for the office and yet another car charger? No wonder everyone got so angry when the iPhone 5 came out).
The "Y" cord is handy because when connected to your Samsung or Apple USB 5-volt AC adapter you can charge your phone AND the HALO at the same time, provided the adapter delivers sufficient amperage. The short cable length is actually a good thing, because when used to deliver power from the HALO to your device it's easy to drop it into your camera bag, purse, or hold in your hand while continuing business without a big tangle of cable.

This version from HALO will charge most current smartphones just as fast an OEM wall unit, and holds enough juice to bring a Galaxy S3 or S4 and most others from death's door to a full charge with enough left over to get another 50%, more or less. After using ours for all of 2013 thus far, there has been no degradation of results, so I feel like the electronics are solid. There's a multi-colored LED display on one end that works when charging OR discharging the battery. Build quality is rock solid, with very durable finishes and excellent materials and design.

What's funny is that it took months for us to get other people to understand this product in the first place. In March, Sylvia and I went on vacation with three friends to Lake Tahoe. Since we're both informed smartphone users and know that turning off WIFI is important when travelling so your phone isn't burning battery searching for non-existent networks at 35,000 feet, our HALO's didn't come into play until our friends couldn't find an AC outlet at Las Vegas's airport terminals that wasn't being hogged by a college student.
When we fly and/or wait pretty much all day on the way to the Dominican Republic in January, our HALO's are going to be worth every penny.

Sylvia's nephew graduated from US Air Force basic training in July, so I gave him our spare black HALO after finding out that he wouldn't get his cellphone back until the bus ride to the airport on the way to tech school. (He's going to be an air traffic controller).
Not only would his battery be flat after sitting in lockup for 6 weeks, but there wouldn't be an opportunity to get a good charge any other way. He's a young guy who was away from his phone for way too long, so I figured the HALO would save his ass. At first he was: "Oh...uhh...thanks..." but from the intel I got after leaving the party, he figured out what it really meant and started carrying it around and showing it off as the coolest thing ever. Just like I predicted, he was the only one of his buds who was able to charge his phone on the bus and the plane, and connect with the outside world after a long time away.

There are other brands, and HALO has other form factors of portable chargers that are bigger and deliver more juice at a higher price. We like ours for the small size and convenience, but your needs may require something different.
While this particular model is featured in the review, I'm more concerned with advocating the concept of ANY portable rechargeable spare universal battery. Speaking from experience, people will remember you favorably as the guy who whipped-out the slick power thingy long after midnight that got them enough juice to return text messages and GPS their way home from a party or club.
When you recall the stories of folks stranded in blizzards or deserts who could've been saved had their batteries lasted longer, I consider owning something like this to be an essential part of smart people's survival gear.
Mine lives in my camera backpack, and Sylvia's is always in her purse. They get used more often than we thought they would, but mainly they are there when we REALLY need them.

Lowepro Photo Hatchback AW 22L

Concept: 4 out of 5
Execution: 4 out of 5
Yeah, but: Yes, it's yet another camera bag review.

The Long Version: I'm going to get this out of the way right up front – the Lowepro Photo Hatchback AW is an exceptional mixed-use camera daypack. I've owned seven different backpacks, with four currently in the rotation, and the 22L Hatchback is easily my favourite.

As a mixed-use bag the Hatchback has a large compartment to hold non-camera items, which is reached through a zippered opening across top of the bag. The secret to the bag, and the feature that gives it its name, is the body-side access panel to the camera compartment that takes up its lower half. This is basically invisible when the bag's being worn, letting the Photo Hatchback be mistaken for a basic daypack or student's book bag.

The Hatchback looks so unremarkable that it's almost remarkable. There's a fabric grab-handle on top, tall elastic water-bottle pockets on each side, and a couple of access zippers across the top and front of the bag. There's no tangle of cinch straps and clips, no lash points for MOLLE gear, no intricate panels of heavy-weight Cordura that can double as a cheese grater. It's an untechnical and unpretentious bag.

The lower compartment of the 22L Hatchback can carry a large SLR with a short lens attached. There's still room alongside for another lens and perhaps another small accessory. The 60/2.8G with its hood attached squeaks in and still leaves room for my entire three-lens Nikon V1 kit alongside it, and I can tuck the battery charger in as well. Even my F5 can fit by lying flat when it's lensless or with a 50/1.4D on it; there's still room for a decent-sized lens beside it, too. This could be an uber-stealth way to carry a full-sized SLR and separate standard zoom.

The top compartment can fit enough stuff to get me through an overnight trip somewhere. It has two internal mesh organizer pockets and a zippered nylon pocket that's big enough to hold tickets, passports, or paperback books separately and securely. There's even a keychain leash inside. The side bottle pockets are tall enough to securely hold an 800ml steel water bottle or 710ml plastic soft drink bottle, and strong enough that I'll never worry about losing what I carry. Considering that Penny's MEC Book Bag will dump her travel mug onto the sidewalk with regularity, this ability isn't something to take for granted.

An iPad-like tablet, or the svelte 11" Macbook Air, will fit in the padded slot in the Hatchback's front organizer panel. I really prefer this to the customary back-panel laptop slot because it stops the weight of the bag's contents from squeezing and damaging the laptop screen. There's also an unpadded front compartment to the organizer panel, and it has a triangular profile that makes it substantially wider at the bottom, making it very useful for longer objects that otherwise wouldn't fit inside the bag.

My day-job load is to have a camera or two, like my GA645zi, V1 system, or Ricoh GRD4 tucked into the camera compartment. My laptop, audio recorder, and its shock-mount go in the front panel, where they can be reached easily. A water bottle fits in one side pocket, and an umbrella or beverage – depending on the weather forecast – rides in the other. The top compartment can hold a light jacket when it's cold or a change of clothes when its hot, and a brown-bag lunch will fit in either the top or bottom of the bag depending on my priorities for the day.

For more serious outings this little bag will hold my D800 with 60/2.8G (or 50/1.4 if I expect it to be dark out) and Nikon V1 system, with its two zooms and fast normal lens, in the camera compartment. There's still room in there for their mutual charger or a compact camera. My audio recorder's shock mount assembly and Joby Gorillapod Focus, with its Manfrotto 484RC2 head, fit side-by-side down the front panel. Then I can either put the audio recorder and headphones into the top compartment loose – which is great for recording when I may need to move along promptly, like under a highway overpass – or use a Crumpler Haven insert to keep them organized, along with another small camera, alternative windscreen, multitool, and other bits and pieces that make up my audio kit.

Like the Flipside Sport bag that I previously reviewed, the padded camera compartment is removable, and has a built-in draw-stringed cover and handles for the occasion. (Protip: this is a great place to stash a few runs of gaffer tape.) The interior panel that divides the bag is held in place with velcro, so it can be tucked out of the way to create a single full-height compartment should the need ever arise.

As one of Lowepro's "AW" bags the Hatchback includes a cover for poor weather. I'm normally not too diligent about deploying these, but because this is a lighter-weight bag I do use it when I'm carrying my laptop. I really like the outward-facing, top-loading tablet-slash-Macbook-Air compartment, but it closes with a standard YKK zipper and has only a modest storm flap to cover it. Life's a barter.

The good news is that the AW cover is well-designed, and has loops that secure it around the shoulder straps at the top of the bag. The cut is roomy enough to fit over water bottles or similarly-sized items in the side pockets, as well. It's also handy for keeping the front of the bag clean when it's set down, as the camera compartment remains accessible. And of course when the cover's not needed it tucks into its spacious compartment at the bottom of the bag, where it provides a little extra cushion to the contents.

The fit on the 22L model is wider than I'm used to, with the straps resting toward the outside of my not-overly-broad shoulders. The sternum strap, which is removable, becomes very useful if I'm carrying a lot of weight. Otherwise I just see it as an opportunity to improve my posture, and it's a fairly easy trait to live with. There is also a removable webbing waist strap, which I immediately removed and haven't missed. While this bag can carry a lot of weight when it needs to, other bags, like as my Flipside Sport 20L, will still be filling the heavy overland hauler role for me.

Even with the large and stylishly-distressed 'LOWEPRO' running up the front of it, this bag looks like nothing. In my neighbourhood, which is on the edge of a large university, wearing this bag is the next best thing to being invisible. It's also worth pointing out that that the Hatchback is the least expensive of all of the camera backpacks I've ever owned, which makes this next bit especially telling: it and my Billingham Hadley Pro are the only camera-centric bags that I'll use even when I'm not carrying a camera.

I don't drive, so having the right bag matters a lot – I walk, at least part of the way, for everything I do. If I'm moving it means that I'm carrying everything that I need. I've spent hours sitting with the Hatchback on my lap during inter-city bus trips, have walked a couple hundred kilometres with it in the city centre, and I may have even taken it around fences and into places that I might need to depart from unexpectedly. After all that I've had no problems and no complaints. It doesn't look like much, but the Hatchback is a pretty awesome little bag.

last updated 21 may 2013

Chris Reeve Small Sebenza 21 Insingo

Concept: 4 out of 5
Execution: 4 out of 5
Yeah, but: It cuts stuff – is anything else about it important?

The Long Version: Sebenza. I first heard its name in reverent tones when I joined the usenet alt.rec.knives eighteen years ago, and I've been seeing it mentioned, even if it's only as an aside, almost every time I've researched a higher-end folding knife. This is the knife: there are a lot of other really good pocket knives out there, a few costing more and most costing less, but sooner or later they're all compared to a Sebenza.

Making the jump up to the Sebenza wasn't something I did easily. I read every review I could find online, watched the beginnings of many YouTube reviews, and spent a few weeks going through my knife box to revisit some of the favourites that I've been neglecting since buying my Spyderco Caly3. I decided that the Small Sebenza would suit me best, and that it would make a great self-present for Christmas.

But echoing through many contemporary Sebenza 21 reviews was another word: Insingo. This is a Sebenza variant with a different blade shape that seems better suited to my typical urban-work tasks than the traditional woodlands-hunting drop point pattern. Apparently it's in low-volume production, despite not being mentioned anywhere on the Chris Reeve Knives site, so when I found a dealer with one in stock I grabbed it. In early September. I have impulse-control issues.

Reviewers invariably call the Insingo's blade shape "a modified wharncliffe", but doesn't come close to describing what it's good for. A wharncliffe – similar to the sheepfoot – has a straight cutting edge and a spine that meets it in a blunt point. The "modification" is that the Insingo inherits a subtle belly and has a narrow but unsharpened swedge. It's extremely strong with excellent penetration ability, and it's very easy to slip between the taped-down flaps of a cardboard box without hurting the contents. That's not as tacticool as the chisel-tipped tanto, I know, but how many of us actually need to stab through car doors?

Translated from Zulu, 'Sebenza Insingo' becomes 'Work Razor'. There's really no better description of the blade. It's not what I would choose for field-dressing a deer, but it excels at field-dressing cardboard boxes, which I'm much more likely to do. It's very hard to think of any warehouse or utility tasks where I would choose another blade pattern over the Insingo, and in the three months that I've owned it, the only other knives I've willingly used have had "Victorinox" stamped on them somewhere.

The Sebenza's handle design is simple, subtle, and effective. Very slightly concave on top and bottom, this slab-sided titanium feels solid without needing any particular grip to work well. It's a small detail, but it makes a huge difference; the Sebenza is easy to hold and I know from feel where it is in my hand. There's a finger choil on the bottom just in front of where the knife naturally balances when open, giving it a secure hold and a lively feel.

I was amazed to find that its handle is the same thickness as my broad and finger-grooved Caly3, because the Sebenza is noticeably more agile and dexterous to use. I actually work my way down a line of cardboard boxes faster and more confidently than I do with my Caly3 or Medium Voyager, which have blades of similar lengths. I hadn't expected that at all, but there's just something about the shape and balance of the Sebenza that works better – for me – than everything else I own.

The Sebenza's clip took a while to get used to. It has a secondary bend in it that seems sized to securely hold the top of a jeans' pocket, which is a sensible thing for an American-made knife to have. This gives it a strong hold, but also needs a little more care when putting it away. And for some reason the Sebenza's clip seems unusually willing to catch on my usual messenger bag or computer chair. But a simple hex wrench, included with purchase, is all that's needed to remove the clip to bend it back into shape. That same wrench can completely disassemble the knife for cleaning or maintenance, as well – there's no reason why this tool shouldn't last for decades.

The Sebenza is expensive, but the Sebenza Insingo – Sebingo – is my perfect knife. The blade is the right size, the handle has the right weight, its construction is flawless, and its pedigree is beyond reproach. The only criticism I can really level at it is how quickly the blue anodizing has worn from the thumb stud, but I was planning on sending it back to Chris Reeve to have it replaced with a silver double stud regardless. The fact that that might even be an option is pretty cool.

One thing I haven't been able to determine is if the Insingo is an attractive knife or not. No, it's not really relevant, but my Benchmade Stryker is almost ridiculously good-looking, and it wouldn't hurt if the Seb could keep up. The slab-sided swedge doesn't really match the aesthetic of the rest of the knife, and the blade profile is certainly unusual, creating a slightly odd combination. But the way it feels and works is very convincing, so that's enough for me.

It's too soon to know if the Insingo has satisfied my desire to own one really good knife, or if it has just set a new high-water mark for my budget and introduced me to a new manufacturer. It certainly isn't the last knife I'm going to buy – I've already picked up a couple of new little ones – but it has changed what I look for.

last updated 20 dec 2012