Photography Tip #3 - Stop it down to sharpen it up

Sorry I've been a way for so long.  Combine travel, illness and fortunate photography assignments, you can bet it has kept me away from updating the blog. Thanks for your patience.

Do you remember those science experiments conducted in elementary school where you wave a light source in front of your eye in a dark room?  I distinctly recall my amazement seeing my classmate's pupils expand in the absence of the light and contract as soon I wave the light closer to my eyes. Amazing, right?  It wasn't until I started to do photography did I understand my eyes were just like a lens and my pupil like the aperture blades. I always wondered why I could get away not wearing my glasses during the day and absolutely needed them at night. Due to the abundance of light found during the day, our pupils would contract significantly allowing for light to be easily focused into the back of our eye. At night our pupils are wide open and in my case adversely affects my vision because light is less focused as it travels through the eye (Please excuse the extremely oversimplification of how the eye works, I promise it will lead to a photography tip) Think of your eyes when you want to you obtain the sharpest photograph possible. 

It's all in the eyes.  You don't have a true portrait unless you have nailed
critical focus on the eyes.  

Concert Photography Tip #2 - F is for Bokehlicious

The word Bokeh (pronounced bōˈkā or sometimes boh-kə) is often times misused to mean the background blur in an image, when in fact it is a Japanese term that describes the quality of the out-of-focus areas in an image. Many times you will hear photographers say that good bokeh is “creamy” and “circular”, whereas bad bokeh is known to be distracting or jittery.  At the end of the day it doesn’t matter since the quality of background blur (for the sake of this post, I will just use bokeh) is purely subjective and its relative beauty fall on the eye of the beholder. But I digress. My photography tip for the day is about getting to know your lens' aperture/F-stop, focal length how it affects background blur/depth of field.  If you want to have that amazing bokehlicious look, here are some things to consider to help you get it:

Godox DE300 / Neewer DS300 Monolight Review

I would say 2013 and 2014 is the year of the light.  If you have been following my blog, you will notice that I have been very fond of the Godox/Cheetah speedlight and barebulb flash units.  Not only are they extremely portable, they are powerful units that can essentially replace my need for monolights while out on the field. However, in studio, rather in my condominium, I have found it rather difficult to compose my models and friends through the Electronic View Finder because of my preferred exposure settings. I have been extremely fond of the high key look and it requires the use of 3 to 4 lights to expose both my background and my subject.   In order to achieve this desired look, I have to choose an ISO, Aperture and Shutterspeed that will give me a completely black frame without the lights (only my external light source will be exposing the image and not the ambient light). Because the EVF gives you a preview of what the image will look like prior to pressing the shutter release, you get a nearly dark view. Thus framing and posing your model as you look through the view finder becomes somewhat challenging. 

My Experience with Four Thirds Glass: 40-150mm f/3.5-4.5 Zuiko EZ Zoom and the 50-200mm f/2.8-3.5 ED Zuiko Zoom

Blowing a kiss to my brand new lens

When I purchased the Olympus OMD E-M1, I was given the option to purchase the Olympus MMF-3 weather sealed adapter and receive a mail in rebate for the full cost of the adapter.  If I didn't already have the FL-600r, I would have taken advantage of the free with rebate FL-300 flash. I originally neglected the adapter thinking I would never use this thing, let alone an "old" Olympus four thirds lens, until I found myself a very inexpensive one on ebay.  I made an offer of $40 thinking it would be rejected, but to my surprise it was accepted with free shipping. The 40-150mm f/3.5-4.5 Zuiko EZ zoom came right in time for a special event at my buddy's Crossfit gym so I decided to give this lens a whirl.

Some of Crossfit Nerd's super friends

I usually shoot in manual, single auto focus mode, but I didn't want to worry about too many factors given I was working with a new-to-me lens.  I locked the camera in Aperture Priority mode and stopped the lens down to around f5.6 (I wanted to really test the sharpness of the lens, so I stopped it down a bit).  An important thing to note about these four thirds glass is that they are optimized to work on phase detect auto focus system cameras unlike my original OMD E-M5, which has contrast detect. The OMD E-M1 has a hybrid sensor that has both phase detect and contrast detect (native to the Micro Four Thirds) pixels. Unlike what I am used to, most of the phase detect pixels reside within the center of the sensor, so all the focus points are within the middle of the frame.  I found a brief description on dpreview regarding the differences between the two and it's summarized below:

"Contrast-detect autofocus uses the image sensor and tells the camera to keep changing focus until the contrast from one pixel to the next is the highest possible"

"Phase-detect autofocus uses a completely different sensor that splits the light into two images and focuses until the two images come together on the focus sensor ... it can measure how far apart the 2 images are and knows which direction to focus."

Why you may be using your kit lens incorrectly.

I have been preaching about this from the very beginning, using primes lenses is the best way to learn about composition and the nuances of different focal lengths.  It boggles my mind when I see salesmen push cameras without a prime lens. Canon and Nikon have one of the best and affordable 50mm primes on the market. These plastic fantastics can be purchased for as little as $100 and in my opinion is one of the best investments a photographer can make besides purchasing a flash.  

The first lens I would recommend for the Sony Alpha line - the 50mm f1.8.
It's cheap, it's plastic and it resolves well. 

So you now own a kit lens with your beautiful new camera. A typical kit lens covers focal lengths anywhere from 12mm to 55mm and unfortunately has a variable aperture.  A kit lens at the wide end will always have a wider aperture than at the long end. This essentially means you will have less light gathering capabilities as you zoom the lens in.  I can't explain why this happens (from a lens construction standpoint), but all I can recommend is to be mindful of this as you shoot in low-light situations.  The kit lens that came with my OMD E-M5 was a 12-50mm with an aperture range of f3.5/6.3.  So the widest aperture at 12mm is f3.5 and the aperture starts to close down as you zoom in to 50mm (at 50mm the widest aperture is f6.3).

Sam Fu demonstrating a perfectly executed sumo deadlift - shot with my
12-40mm @ 17mm (35mm full frame equivalent)

Which is which? Full Frame versus Micro Four Thirds

I've been spending quite a bit of time doing more studio style photography and have been learning different techniques from amazing photographers. Just recently, I met up with a buddy who also loves the Cheetah/Godox line of barebulb flashes to do an impromptu portrait session. Like him, I have become a huge fan of the Phottix line of light modifiers and accessories, another China-based company hitting a homerun in the strobist department.  In the image below, you will see the 43 inch Phottix Luna Octobank. What I love about this modifier is that it is a fold-able, light weight, highly portable octobox that produces pleasing light and is a perfect fit with my Cheetah Speed Pro Bracket MarkII. I haven't spent enough time with the Luna to make a definitive claim about it's quality, durability and utility, but you can bet I will be posting a review in the near future.   

Photo Cred to Efong Chiu

During my time working in the studio, I noticed one thing - Good lighting will always beat gear. The following two shots were taken with different cameras one being the famous Canon 5D MarkII and the other with an Olympus E-P5.  After reviewing both files, I honestly couldn't tell the difference as far as image quality goes. Can you?

A great professor in light - Efong Chiu of EmaginePixel

I understand outside of the studio the differences between depth of field and low-light performance is more noticeable, but for these applications I would argue they are neck and neck.   Feel free to leave your comments and thoughts below. Thanks for stopping by.

So say we all,

Dino

For more information about the lighting equipment used, check out my blog posts HERE.  This links to both my initial impressions and subsequent uses.  

Friday Night Lights at Paradiso Crossfit - Something a Little Different

Sometimes you just want an excuse to go out and shoot and I used our local gym's competition as a means to do something different. I typically go out to Paradiso Crossfit with intentions of shooting the athletes in motion.  This time around, I wanted to just take portraits of the amazing people that make up the gym. I thought it would be neat capturing people post workout, but decided to integrate an idea of giving people a voice.  Not only did I have a great time doing it, it was well received by the Paradiso community. Below are some of my favorite shots of the night.    

Welcoming a New Member to Our Family...the Olympus Pen E-P5

Introducing the Olympus Pen E-P5

When I sold my OMD E-M5 to my brother to purchase the E-M1, I told myself that if the E-M5 ever went on sale for under $600, I would jump at the opportunity to get it back.  During the last Presidents' Day holiday weekend, Olympus offered a 20% discount on all of their reconditioned gear.  Well, the better featured (well, in my opinion that is) Pen E-P5 fell way under that price and I jumped on it.  Think of the E-P5 as a smaller OMD without the electronic view finder.  

Twin dials 

Some of the major selling points to for me were the following:

• Wifi connection to my phone/tablet for pulling files on the go and wireless control
• Max shutter speed of 1/8000th of a second
• Flash sync speed of 1/320th of a second (similar to the OMD)
• Twin Dials
• Sexy retro look

This camera is gorgeous with the Voigtlander 40mm f1.4 prime lens

When I first opened the package, I was surprised to see the camera look pristine and brand new, as if it never left the factory.  The main difference I saw was the packaging, which had "Reconditioned" stamped all over the box.  I was also shocked to see how much heft there is to this body; definitely feels high quality. I'll be out shooting at a local crossfit gym to document the 2014 Open competition.  Expect a review once I give the Pen some time. Thanks for stopping by.

So say we all,

Dino

A weekend with the Cheetah V850 and the Barebulb CL-360 (and more Importantly Nathan Shrake)

In my last post (see blog entry HERE), I was raving about how amazing the Cheetah/Godox lights are.  In theory, they are everything I could ask for in a portable lighting system:  they are light weight, powerful and user friendly. Last weekend, I had the pleasure of not only trying out these lights, but helping a friend with a photo shoot. This was a perfect opportunity to really see what these lights were capable of doing.  

For this shoot, being nimble was of utmost importance since we had to move from location to location.  Just in case you were curious, here's what I brought for the shoot:

1. 2 FT-16 Triggers/Receivers for myself and Rachel to remotely fire the lights
2. Cheetah CL-360 with the PB 960 batter pack
3. 2 Cheetah V850s
4. 2 lights stands 
5. 2 umbrella style soft boxes
6. OMD E-M1 shooting primarily with the Olympus 75mm f1.8

Our first location was at the Getty Museum, down here in Southern California.  It was an overcast day and the available light was flat and unflattering; a perfect opportunity for these lights to give us a bit of drama and dimension. I originally set up the CL-360 on a light stand and soft box, but was quickly asked to break it down as it was considered professional equipment and they had zero tolerance for tripods (clearly they don't know what a tripod is and were fine with us hand holding the flash).  I didn't know light modifiers were so threatening and professional.  Mind you, we were outdoors and not shooting anywhere near any paintings or sculptures (needless to say, it was a rule that had a number of holes in it). I decided to switch to the V850s as it was easier for our photo assistants to hold up and I had more options as far as zooming the flash in and out.  

Testing out the OMD E-M1 with Four Thirds Glass

Olympus OMD E-M1 with some legacy goodness - the Olympus 50-200mm 

I spent the past weekend testing out the new Olympus OMD E-M1 and it was a blast.  I posted my initial impression on the camera here and nothing has really changed since.  When I pre-ordered the camera, I made sure to take advantage of the free-with-purchase (after mail in rebate) offer they had going with the four thirds to micro four thirds adapter.  A fellow friend and talented photographer who, to this day, uses Four Thirds gear with great success inspired me to make the purchase.  Last Sunday, she graciously handed over her Olympus 50-200mm f2.8-3.5 to try out during one of the Mad T Party sets and I was blown away at how well it performed adapted on my OMD.  Here are some of my favorite shots from the night

Team favorite - Nathan Shrake as the Mad Hatter

Another favorite - Sheena Loza as Alice

 

All the shots were taken at ISO 1000 at or close to wide open throughout the zoom range (I was shooting between 60-150mm).  I kept the shutter speed around 160th - 200th of a second and adjusted the aperture for exposure.    I was particularly impressed at how quickly I was able to lock on to my subjects.  I was expecting a huge delay or lag, but under adequate light it was almost an instant lock. I would go as far to say that its AF speed was comparable to my Sony a58 and that's no slouch.  I haven't had much of a chance to try it out under low-light conditions, but I suspect it would hunt in a similar fashion to the a58. You might notice slight hints of magenta in their faces and this is not the fault of the lens.  The stage lighting favored this particular color and I was able to restore most of these shots since I shot in RAW.  

This lens is SHARP.  One of the sharpest zooms I have ever used, but boy was it heavy.  I was just happy this camera has in-body image stabilization because it definitely took some muscle to keep it from shaking (I am almost certain the 5-axis system did most of the heavy lifting for me).  Mounted on my friend's E-3, the camera-lens combination made for a balanced set up, granted it is a more robust system.  Regardless of how heavy it was, I had a blast shooting with it.  I am extremely happy I have access to the four thirds line of lenses and I wouldn't hesitate investing in legacy gear.  I applaud Olympus for not fully abandoning their DSLR line and it is safe to say that the E-M1 truly is the successor to the E-5.  Stay tuned for more sample photos from the weekend and another special thank you to Rachel Brogan for allowing me to use her awesome lens. Thanks for stopping by.

So say we all,

Dino

 

 

Olympus OMD E-M1 - First Impressions

Goodbye ol' friend

It's finally here.  After feverishly checking the status on my pre-order, I am happy to say the OMD E-M1 has shipped to my office and is ready for the weekend.   I have been OMD-less for the last 2 weeks, as I had sold the camera to my brother (wanted to keep it in the family and he was bugging me to finally deliver).  Letting go of the OMD was tough, but I knew that I wouldn't be disappointed with the E-M1.  Although I can't say much about the image quality, since I've only had it for 6 hours, here are some of the things I really like about the camera:

1. Good heft and fantastic grip.  I may be in the minority here, but I love the heavier feel to the camera.  I had the horizontal grip permanently attached to the E-M5, so having an integrated grip with easy access to the battery is a huge plus.

2. The EVF is fantastic.  It is noticeably larger and crisp.  It will definitely make manually focusing easier even without the magnify feature.

3. Focus peaking, oh how I love the focus peaking.  I am a man who loves to shoot with legacy glass, so this is a welcomed addition to the camera.  Can't wait to try out my voightlander 40mm f1.4 on the E-M1.

4.  Buttons have a more tactile feel and are nicely laid out across the body.  The directional pad and center button are no longer mushy/gummy and feel more responsive.

5. Shutter sound is a little louder...I like that.  

6.  The wi-fi and Olympus Share app work seamlessly together.  Installing the app and getting the phone to control the camera took less than a minute to do.  I already shared a couple of photos with my co-workers.  The photo below came straight out of the camera. Pretty cool, right?

Bottom right - worst angry face ever

These are just some of my initial thoughts on the camera.  I plan on doing a more thorough review with a list of pros and cons once I get a bit more mileage with the camera.  You can bet I will be posting a ton of sample pics in the coming weeks, so stay tuned.  Thanks for stopping by.

So say we all,
Dino

Halloween Mad T Party Edition

I think it's no surprise to most of you that I enjoy going to California Adventure to watch some Mad T Party.  You might ask, don't you get tired of going to these shows over and over again, hearing the same song weekend after weekend?  The beauty about the show is that the sets change quite frequently and so do the performers. Hearing the great Nathan Shrake's rendition of the song, Sweet Child O' Mine, is completely different from John Flanagan's.  Each performer gives their own touch, thus creating a different feel and show.  

The great Nathan Shrake as the Mad Hatter

Brazilian Beauty Pageant - Photo Essay

I recently had the distinct honor of photographing a charity event, Brazil Without Barriers.  The foundation's goal is the improve the literacy and overall quality of education provided to children in Brazil.  In their successful attempt to raise funds, the founders decided to throw a dinner/beauty pageant, catered by the talented, Darrell Gilcreses of Mestico Afro-Latin Cuisine.  I will be the first to admit that I knew very little about the Brazilian culture, but I quickly realized the community in Los Angeles is probably one of the friendliest group of people I've ever met.  Not only was I met with smiles, I found it extremely easy to photograph both the attendees and contestants.  Below are some of my favorite shots of the night

I personally loved the intricate head ware 

The Contestants

Ballin' on a budget - Olympus 12-50mm kit lens review

The Olympus OMD with the 12-50mm kit lens

I don't know about you, but I am super excited about Olympus' announcement of the OMD em-1 and their future zoom line up.  If their new zoom is anything like the 75mm, then Olympus has a real winner (I know I sound like a fanboy and I am totally unapologetic about it).  However, the biggest problem they may encounter is their price.  Many could argue that their lens/body pricing scheme matches that of other high-end cropped-sensor DSLR cameras. Most do not understand that bigger is not necessarily better, especially when it comes to sensor size (more on this in another post).  The beauty with the m43 system is that one can produce fantastic quality images from models other than their flagship cameras.  The Olympus epl-5 is a fantastic alternative to the OMD, as it has the same sensor with a fewer bells & whistles and a less sophisticated in-body image stabilization system (currently listed at $549 on amazon).  Although I have never used the camera, many have reported getting OMD level photographs.  The same can be said about glass.  When I purchased the OMD, it came with a kit lens that I quickly dismissed and stored away as a loaner.  I quickly realized how amazing this lens could be when I started doing product photography.

We're Alive Season 4

The creator himself, Kc Wayland, as a Zombie

It's not everyday I get excited about something, but when it comes to my favorite podcast of all time, I simply NERD OUT.  For almost 2 years, I've been following this serialized drama podcast called We're Alive - A Zombie Story of Survival.  This podcast speaks to me on so many levels.  A) It's a story about Zombies (who doesn't like zombies) B) It's a well written story that harkens back to the days of Orson Wells, where the theater is in the mind C) The podcast is filled with down-to-earth, talented voice-actors, who deeply appreciate their fans.

Supplementing my Micro Four-Thirds with a Sony Alpha System

I think it would be an understatement to say that I am in love with the micro four-thirds system.  My Olympus OMD is perfect for everything I've done thus far, whether it's sports photography or portraiture work.  For every occasion, I have used a native prime lens and I continue to be amazed by the image quality (IQ).  Just recently, I went to comic con bringing only  the Panasonic 20mm f1.7, the Olympus 45mm f1.8 and a fish eye lens knowing that I would be able to produce quality work for Killer Pumpkins (I was fortunately hired to help them with media and documenting the weekend).  Walking around the convention hall, I noticed the 20mm pancake was my best friend, which in full-frame speak is equivalent to a 40mm lens.  It was wide enough to get full body shots of cosplayers and the minimum focusing distance allowed me to get in nice and tight to get my beloved subject-isolation shots.  

Ever since, I started shooting with my Panasonic GF-1, I had a prime lens slapped on front because I was taught to compose my shots using my feet.  Prime of fixed focal length lenses were/are the "primary" choice some photographers because they typically produced sharper images and are significantly faster (had larger apertures).  However, now that I am expanding my services to product and event photography, I find myself not always having the luxury to move around freely to get that right angle.  In fact, my last job with Salesforce (at the Bruhaus restaurant) I was limited to small pathways between tables and even then they were not always free due to moving guests/servers.  I got the job done, but I definitely had to be very creative.  This is when I started thinking about getting zooms for my system and the only ones worth getting in my opinion are the following:

Panasonic 12-35mm constant f2.8 - $1,139 ($1,241.51 out the door with CA Sales tax of 9%)

Panasonic 35-100mm constant f2.8 - $1,399 ($1,524.91 out the door with CA sales tax of 9%)

*Retail prices as of 8/2/2013.  Please note I've seen these go for cheaper brand new on ebay, but it comes from Japan and I'm not risking warranty or shipping issues.  

I had a hard time swallowing these prices and justifying spending that amount for one singular lens.  Like many other photographers, I have GAS or Gear Acquisition Syndrome, but I know when things are out of my reach.  Ideally, I would have one of these lenses (preferably the 12-35mm) on a separate body and the 75mm (effectively a 150mm lens) on my OMD.  The last thing I want to do is miss a shot because I'm fiddling with my camera switching out my glass. To add another body to my kit would set me back anywhere from $2,300 to $2,500 - something my better half would probably not agree with.  

The aforementioned factors made me think about investing in a completely different system with a more mature line of zoom products.  However, I wanted to find a system that resembled the m43 line.  It would need the following:

- Live view: to help with metering and exposure

- EVF - Electronic View Finder

- In body image stabilization for my adapted vintage glass

- 16MP Sensor or greater (to match the OMD)

- Wide array of zoom lens - both proprietary and third party

- Most importantly well below $1,000

The Sony Alpha line seemed to be the only system that matched this Criteria and luckily for me there were some pretty amazing discounts available.  With the help of Kirk Tuck, I was able to narrow my choice down to the Sony Alpha a58, a 20 megapixel camera with a newer generation sensor.  My local Sony store was selling this model with the 18-55mm kit lens, 75-300mm zoom (later traded for the 50mm f1.8 prime), camera bag and a class 10, 32 gig memory card for $599.  Needless to say, I jumped on the deal.  This camera and the newly released Sigma 18-35 f1.8 (pre-ordered for $799) will ONLY set me back $1,450, which is a couple hundred dollars more than the 12-35mm.  This is how I am justifying my purchase and rationalizing my investment in a new system =).

Camera Pron - Sony Alpha a58 with the Sony 50mm f1.8 lens

Taken with the Olympus OMD and 45mm f1.8 - Off camera flash fired 

I will discuss my impressions in another post, but in short I am very happy with the purchase.  It's no OMD, but boy does it deliver for the price I paid.  I will post a gallery of sample photos soon and provide an initial review in a couple of weeks.  

So say we all,

Dino

PS - I may have briefly mentioned pre-ordering the Sigma 18-35mm constant f1.8, but trust me I am extremely excited about this lens.  It's like having 17 different prime lenses in one zoom.  THIS IS REVOLUTIONARY. I will definitely talk about this once I receive the lens.

Photo Essay - Mad T Party - A Retro Perspective

With all the madness of Comic Con and other interesting assignments, I haven't had much time for some shutter therapy at my favorite place.  I figure I would just do a little photo essay with a retro feel.  More Cosplay goodness to follow.

Dani Kerry - One of my favorite Alices

March Hare variant.  Really talented bass player

The Great Nathan Shrake as Mad Hatter

Dormouse - Todd McCool

March Hare - Really digging the background

Dani Kerry - Alice

 

Happy Monday

San Diego Comic Con with the Olympus OMD - Another User Experience with the Panasonic 20mm

Important Notes:

1. This is a user based review with no lab or scientific testing

2. All images are post processed in lightroom 4 according to personal taste/preference

3. Images were taken in Raw and converted to JPEG

4. Feel free to ask questions in comments

Comic Con, in short, was simply awesome.  Although I am extremely tired from the pop culture event of the year, I do miss the people and being surrounded by all things nerdy.  

Tuesday Night - The Calm Before the Storm - 45mm @ f1.8

I may have mentioned in a previous post that I wanted to keep my system rather small and compact.  First of all, I knew I would be on my feet all day long and the last thing I need is a heavy system to weigh me down.  I opted to bring just three lenses with me: the Panasonic 20mm f1.7, the Olympus 45mm f1.8 and the Rokinon fish eye lens.  The fish eye had limited use save for panoramic shots of the marina. I still haven't mastered the ultra wide angle, but more on that another day. Because the 45mm performed like a champion, I want to focus on the Panny 20mm as a follow up to my initial user review.  

Walking Dead booth - Panny 20mm @ f2.0

Walking Dead Booth - Panny 20mm @ f2.0

In my previous user review, I had mentioned that the 20mm worked pretty well in bright conditions (specifically during an outdoor hike).  Not to say that the convention hall had terrible lighting, it was not always ideal for the 20mm.  In fact, I noticed on several occasions the glass hunting to lock on to the subject even when shooting wide open at f1.7.  At times I opted to manual focus when my subjects were patient and/or did not seem in hurry.  Luckily, most cosplayers were super cool.  They never complained (outwardly that is) when I took more than one photograph.  

Black Sails booth - Panny 20mm @ f1.7

For the most part, I was shooting at aperture priority mode and limiting my ISO range from 200 to 2000.  I could have gotten away with a lower ISO max, but I purposely wanted to test the alleged banding issues reported by some OMD users when shooting above 1600.  Most of my indoor photographs were taken at the max ISO range and I can fortunately report that not a single shot suffered from any banding. I would like to note that all the shots were taken in RAW and later converted to JPEG.  

Black Widow cosplayer - Panny 20mm @f1.7

 

I refuse to disclose what this is =) - Panny 20mm @ f1.7

There is nothing much to report on image quality even at ISO 2000.  In short, the lens produced sharp images with a little bit of noise at the high ISO range (easily fixable in post). In fact, I would say this lens was ideal for my daily walk-around-the-con lens, though a fast wide angle zoom would have made life a bit easier for composition. Despite my complaints in the beginning, the 20mm ended up working pretty well.  I am, however, excited to see how the second version of this lens stacks up.  Will they improve autofocus speed? Mitigate banding issues when using Olympus bodies? I certainly hope all the answers are YES.  

More Zombies in the Gaslamp Distrct - Panny 20mm @ f1.7

Is it obvious I like zombies - high ISO example @1.7

Below are a few more sample shots taken at the Con.  Thanks for stopping by and for all of those who went to San Diego, I hope you had a fun/safe time.  Hope to run into more micro four-third users at the next con.

So say we all,

Dino  

Sifting through comics - Panny 20mm @ f1.7

Lord of the Rings Nazgul - Panny 20mm @ f1.8

More Walking Dead - Panny 20mm @f2.2

Venom - Panny 20mm @ f2.2

Gaslamp rails - Olympus 45mm @ f1.8

Padres Zombie - Olympus 45mm @ f5.0