Fenland photography workshop with Andrew Bartram

One of my photographic resolutions for 2022 was to spend less money on gear, focusing my attentions instead on education to better my skills. During the various Covid lockdowns in 2020 and 2021 I’d already begun to look beyond digital photography, using a selection of pinhole cameras to explore this simplest of photographic genres. While I love the process of taking pinhole photos, and the end results too, it’s proved to be a very solitary experience pursuing such a niche genre. To rectify this I’ve sought out other pinhole photographers who offer workshops and this led me to Andrew Bartram.

Andrew is a film photographer based in the Cambridgeshire Fens who has recently started offering very reasonably priced (at the time of writing £65 for one day and £100 for two) workshops on photography and darkroom developing/printing. I also knew of him as 50% of the presenting team on the Lensless Podcast so this seemed like a excellent way to continue my pinhole education.  Doing one of Andrew’s two day workshops would bring me the chance to go out and shoot with someone who shared my interest in lensless photography, as an opportunity to dip my toes into the realm of home developing and printing. I chose to focus on black and white film but for a small supplement (to cover the additional costs) Andrew also offers colour development and printing.

In early April I headed over to Andrew’s home in Cambridgeshire for the first of two days. We began with a chat, discussing our plans for the workshop. Our conversation also covered photographers whose work Andrew particularly admires, the intricacies of exposure metering, particularly in high contrast settings, and some of the places we’d visit shoot.

I found the remains of a windowsill on which to balance my Ondu pinhole camera to photograph the interior of this decaying room

When we were ready we headed out into the Fens to take some photos. I’d brought my Ondu 6x6 pinhole camera along, but also threw in a Holga with a plastic lens I’d recently bought on eBay for good measure. Andrew went lens free too, with his Harman Titan 4x5 pinhole camera. We visited some of his favourite Fenland locations, looking for simple compositions among the flat lands and poker straight waterways. You’re never going to find dramatic mountainous vistas in Cambridgeshire, but this otherworldly landscape has a uniquely minimalist charm. One particular highlight for me was a decaying wooden cottage which sits alongside Forty Foot Drain. The textures of decay are irresistible to most photographers and I was so taken with the possibilities of this dilapidated old building I logged the location on Google Maps to return again at a later date!

The Holga image I chose to print

With two rolls of film exposed we headed back to Andrew’s house for lunch and a crash course on how to load film onto a spiral, ready to go in the developing tank. I’d tried my hand at developing 4x5 film a few times before, but this was mainly in order to avoid bankrupting myself. Unlike roll film, sending sheet film away to be commercially developed is eye wateringly expensive (around £3 per sheet last time I checked) so this was the only way to go when I got my large format pinhole camera. I’d never tried developing 120 film though - largely because I was too scared too scared of messing up the business of getting the film into the spiral reel.

Andrew started me off practising with a roll of sacrificed film and a Paterson spiral - the type most commonly used for home developing. I didn’t find it particularly natural but had an ‘aha’ moment when instead I tried a Hewes stainless steel spiral. This seemed much more intuitive for me. After a few more practice runs with my eyes closed it was time to load up my own film in the darkroom, ready to be developed. Andrew told me that most of his students chicken out of doing this themselves during the workshop but I decided to go for it, figuring that if I made a complete hash of things Andrew would at least be able to leap in and untangle things for me! Miraculously, I loaded both rolls in double quick time - that meant I was either a natural or it was beginner’s luck - my money was firmly on the latter….

Preparing to develop…

With both rolls of film loaded up it was time to develop them. We used Ilford ID11 developer - a chemical I’d tried previously on my 4x5 negatives. On those occasions I’d successfully revealed some photos, but was disappointed to find my negatives covered in lots (and I mean lots!) of tiny dots. I hadn’t been able to figure out why this was (even when using deionised water instead of the hard water from our taps) so until this point I’d more of less given up trying. Andrew’s suggestion was to ditch my stop bath and use water instead because he thought perhaps the stop bath might be shocking the film. This seemed an elegantly simple solution, not to mention cheaper too! To my relief the developed rolls revealed 24 photos, all pretty well exposed so I finished the day a happy bunny. Even my Holga pics looked great, proving the £21 I’d spent buying the camera on eBay hadn’t been a waste. The only fly in the ointment was a mark on the first negative on each roll where I’d clipped that end of the roll to the spiral. This was a useful learning experience though, and easily rectified by loading the film from the other end next time.

My negatives contained pictures!

All in all, day 1 of the workshop had been a big success. It was great to go out pinholing with a fellow enthusiast and I’d overcome my fear of home developing. Next step printing, but first my negatives needed to dry and I needed a good night’s sleep!

By the time I reached Andrew’s house on day 2 I’d already taken the plunge and ordered a Hewes spiral and a stainless steel developing tank online - so convinced was I that home developing was something I wished to pursue. So much for not spending money on gear in 2022!

~ ~ ~

The following morning…

Day 2 began with a tour of Andrew’s darkroom and he carefully explained about the equipment within and how it worked. I’m pretty certain I exhibited a glazed look at times, especially once we got onto the mathematics relating to using the enlarger and how long the photographic paper would need to be exposed to the light. Fortunately there was no end of course exam to worry about - just as well as I’m pretty sure I would have failed spectacularly! If you’ve never printed from negatives before, or even considered how it’s done, there’s a lot of information to take in. Andrew was incredibly patient though, explaining the principles clearly, so if I ever have the chance to do this at home I’m pretty sure I could figure it out with the help of a quick refresher.

Our task before lunch was to make contact sheets of my negatives, so I could choose which photos to print later. Two of them jumped out at me immediately - one from the Holga and a second from the Ondu. Starting with the Holga image we made some test strips to figure out exposure times and decide on choice of coloured contrast filters. Here I relied heavily on Andrew’s huge experience. He instinctively had a good idea what would work, which made the process much quicker than if I’d had to take the lead.

My contact sheets

After lunch we set about making prints of my two photos. We made three or four copies of each one until we had a pleasing result. Making tweaks to the contrast filters and exposure times resulted in a basic print that looked good and then we began on the principles of dodging and burning. This is the process of selectively exposing the photographic paper to more light to brighten them, or depriving areas of light to darken chosen areas.

At times this seemed a little counterintuitive to me. I’m a person who likes simple rules to remember things by - for instance, when I began getting into photography my way of remembering the effect of different apertures on depth of field related to their f numbers. An aperture with a large f number (f16 for instance) equalled lots of my photo in focus, while a small f number resulted in very little in focus. I didn’t need to understand the complexities of the maths if the rule worked!

I’m this situation I remembered what to do by knowing that adding shadow for the surface of the paper below my hands made the end result lighter and vice versa. Andrew seemed perplexed by my logic, but it made sense to me!

The final version of my two prints

Actually applying the dodging and burning to the right areas of the image was another unexpected challenge. I like to think I’m good with my hands. As a professional musician I’ve developed my fine motor control from decades of practising, but here I failed spectacularly! I spent many of my early years playing with Lego and later doing hours and hours of recorder practice, but sadly this didn’t help me coordinate my movements precisely enough for dodging and burning. Evidently I should have spent more of my childhood practising making puppet shadows to prepare - if only I’d known I was going to be doing lots of film photography later in life!

My pinhole image from the decaying cottage, scanned into digital form

Despite the challenges of dodging and burning I ultimately ended the day with a pair of prints which make me smile. Yes, I had lots of help from Andrew in making them, but as a complete darkroom novice they gave me a great sense of achievement.

So will I continue my adventures in the darkroom? Yes, and no. Darkroom printing isn’t yet destined to be part of my plans. I love the idea of printing at home, but the truth is my working life just doesn’t allow enough time to make that possible. My current hybrid process of developing, scanning, post processing in Lightroom (dodging and burning) before printing with an inkjet printer is something that can be done around my work in short bursts. Never say never though - who knows what may be possible come retirement!

Home developing is a different matter though… Having realised how straightforward a process it can be I’ll definitely continue practising the skills I’ve learnt from Andrew.  There’s a definite appeal to being able to turn things around more swiftly and I can see being able to take control of the development process to get the best out of my negatives will be a real plus. Add in the frisson of excitement when you first pull the  negatives from the developing tank and see they contain real photos and I’m hooked! For now I’ll continue sending my colour films out for development, but who knows, I may yet book another day with Andrew to try my hand at colour processing too!

My complete set of contact sheets and prints from the two day workshop

Two months later….

A couple of months on from my workshop with Andrew I’m pleased to say home film developing has become a regular occurrence. My first attempt had mixed reviews, largely because I made a mess of loading up my spiral. A couple of loops of film stuck together so I lost a handful of frames. Fortunately I’d been out and shot some photos for the occasion which were easily replicated if it all went horribly wrong so I wasn’t devastated by the loss. Aside from this, the surviving photos were fine and I made sure to practise loading with a sacrificial roll of Fomapan film before I tried again.

Aside from a metal spiral and tank I made one other purchase - a length of blackout material. Our downstairs toilet is windowless so this is all I need to seal the light leaks around the door frame and make the space completely dark - a much easier environment in which to load up film than in a dark bag. I’ve also followed Andrew’s advice and done away with my stop bath, using water instead. Even with our hard tap water that has stopped the problems I had previously with white dots on my negatives, and I simply use deionised water for my final rinse to avoid watermarks.

I’m quickly coming to love the methodical process of develop, stop and fix at the kitchen sink (usually to an accompaniment of music - anything from Brahms Symphonies to Robbie Williams!) and I get the satisfaction of knowing each roll of film now costs me no more than about £1.50 to develop, compared to the £7 I paid previously. That’s a very handy saving with my prolific film habit! I will of course  continue to send occasional rolls of colour film away for developing but in every other respect I’m a convert!

If you’re thinking about taking your first steps into developing and printing I can’t recommend Andrew’s workshops enough. It was wonderful to have one to one tuition at a pace that suited me and it didn’t break the bank either. Even better, I gained a new found appreciation for the Fens and I’ll be back soon to explore further.

Ondu 6x6 Mark III Pinhole Camera review

Camera technology is so sophisticated these days that it’s easy to forget about the possibility of taking photos without even so much as a lens. The phenomenon of the camera obscura, where rays of light are focused by a small aperture to create an image on a surface, was recognised at least two millennia ago and was later harnessed in the form of a pinhole camera.

You’d think in these days of super-sharp lenses there would be little point in using a pinhole camera – after all, how could such a basic concept produce images of any worth? Such technology has an appeal for many photographers though. There’s something enticing about the simplicity and the infinite depth of field these cameras produce -  a look no lens can yet replicate.

Ondo 6x6 III Pocket Camera in ash

Build your own or buying off the peg

Many people build their own pinhole camera, from a box or tin and photosensitive paper. My introduction though came with an Ondu 135 Pocket camera last year. Created by Elvis Halilović and his team in their Slovenian workshop, I was enchanted by the craftsmanship of these delightful wooden cameras. When mine arrived I could see the potential from the first roll of film, but my photos never had quite the sharpness I was after. Research soon showed me that the size of the negative is crucial in pinhole photography and I realised I should perhaps have chosen a larger model. In October 2018 Elvis and his team launched the Mark III version of the Ondu on Kickstarter so I took the plunge and backed the campaign, selecting a 6x6 Pocket camera to shoot medium format film.

The simple film winding knobs, with engraved arrows to show the direction to wind

What’s changed in the Mark III camera?

The newest Ondu cameras have the same beautiful craftsmanship as their predecessors, but this time with a sharper silhouette. The corners are a little crisper and each camera is made from a single type of wood, rather than a combination of two. I went for ash, in contrast with the walnut of my original Ondu, with silver film winding knobs. The biggest change though is the shutter mechanism.

Previous generations of Ondus had a wooden shutter which you flipped upwards to reveal the pinhole beneath. This time it’s triggered with a metal shutter, which pops up and down with the flick of a finger, and a satisfyingly definite click. This is a big improvement. With an aperture of f125, exposure times are always going to be lengthy, so keeping everything still is crucial. The new shutter action makes for less camera shake and I’ve found it much easier to achieve still shots.

The mark III’s new shutter mechanism

How does the Ondu work?

Put simply, it’s a wooden box, with a very fine pinhole to focus the rays of light. No need for focusing – with a pinhole camera everything is in focus, whether you like it or not!

Achieving the perfect exposure

Of course, modern cameras have in-built light meters, so exposing photos perfectly is easy. The Ondu take this back to basics, with just a simple wooden exposure chart. To use this all you need is a digital camera or a smartphone metering app set to f22. Once you’ve got your f22 meter reading, the chart converts this into something suitable for the Ondu’s f125 aperture and you’re good to go.

Even the exposure chart is beautifully made from wood

As a relative newcomer to pinhole photography, I didn’t take reciprocity failure into account with my first film. This is a quirk of shooting on film, where long exposures must sometimes be considerably longer than expected to achieve a good exposure. Some films suffer from this more than others, but my solution is to use the fantastic Pinhole Assist app on my iPhone. In the app’s settings I select the model of my pinhole camera plus the film I’m shooting with. I then aim my phone’s camera at my subject and it tells me exactly how long I need to keep the shutter open, taking reciprocity failure for that particular film into account. It makes exposures an absolute breeze and I can’t recommend it enough.

Bonus features

Not content with just updating their original design with a new look, the Ondu team took the Mark III as an opportunity to add some entirely new features. One of these was the creation of the ‘Rise’ models. These have no fewer than three pinholes at different heights, allowing photographers to capture subjects such as architecture without converging vertical lines. Much as I love architectural photography, I wanted to stick with a simpler formula so I didn’t select this option.

The other handy addition is the ability to use filters. Film photographers often use coloured filters to control the way certain tones appear in their pictures – for instance using an orange filter to enhance a blue sky in monochrome images.  The Mark III Ondu makes filter use possible with the addition of a bracket containing a 58mm filter ring. This is attached magnetically, so if you don’t need filters it can stay in your camera bag. I haven’t tried using this yet, but it’s on my to-do list once I’ve bought some coloured filters.

A magnetic bracket to attach 58mm filters

Another small but handy tweak is the addition of two lugs and the inclusion of a shoulder strap with the Mark III. Like the filter mount, I haven’t felt the need to attach mine as it’s almost always mounted to a tripod, but for some people this will be really useful.

The final option I did plump for was a set of 3D printed adapters to enable me to shoot 35mm film in my new camera. While the smaller negatives will probably reduce the overall sharpness, shooting this film in a larger format camera will allow me to include the sprocket holes in my compositions. A small thing, but I will certainly give it a try sometime. The adapters added very little to cost and it seemed silly not to order them, just for the flexibility of format they offer me.

3D printed adapters to use 35mm film

Photography as a tactile experience

Modern cameras are fairly soulless creations, if I’m completely honest – boxes of plastic, metal and electronics. They function perfectly well but are hardly designed to move the emotions. In contrast, the Ondu is an absolute pleasure to handle. There’s something so tactile about wood that I find myself caressing my Ondu just to enjoy the grain of the ash and its beautifully crafted lines. Whenever I’ve been out shooting with either of my Ondu cameras they’ve received admiring looks and people will often come over to ask about them. That’s certainly not something you’d expect to experience with a digital camera!

A peak inside the camera, including a spool to which takes up the 120 fllm as you shoot. The camera back is attached with tiny but very strong magnets

Does the Ondu Mk III live up to expectations?

Absolutely! I’m still learning to get the best from pinhole photography, but even from the first roll of film I could see the benefits of shooting a larger format. Pinhole photos will never have the same degree of crispness as an image from a camera with a lens. But when viewed at a moderate distance the 120 negatives offer a very satisfying sharpness. I’ve shared some of my photos on social media recently, and on more than one occasion viewers haven’t even realised they were taken on a pinhole camera. That’s quite an achievement!

The complete Ondu Mark III kit - including a shoulder strap, fabric bag and a handy elasticated band to keep your shutter closed when not shooting.

Are they any negatives?

Please excuse the pun, but no negatives that the folks at Ondu are responsible for! The 6x6 camera has a ruby window in its back to help you track how many shots you have left when winding the film on. As a newbie to 120 film I had no idea how variable these frame numbers can be. Some (Fomapan for instance) are super clear and easy to see through the window when you open it. Others (Kodak film seems a particular offender) have numbers which are faint and small – almost invisible when looking through the ruby window in overcast light. My solution is to carry a small torch to illuminate things and help me wind on accurately. I wasn’t sure if this would affect my pictures, but four rolls in I’ve noticed no adverse effects and it makes life immensely easier!

The rear panel removed, showing the ruby window to keep track of frame numbers

The other challenge is how to frame pictures accurately. A pinhole camera has no viewfinder – just a built-in bubble level and some framing lines engraved on the camera to show roughly where the extremities of the image will be. With a focal length of around 25mm, I’m quickly learning that one has to get really close to a subject to make a photo with impact. If you step back, everything just looks very small! That’s just a matter of time and experience though, so I’m looking forward to seeing my latest negatives when they come back from being developed.

Who should try pinhole photography?

Everyone! Once you accept that you’re not going to achieve absolute critical sharpness in your pictures, there’s a lot to learn from pinhole photography. Not being able to see the composition either before shooting or immediately afterwards really makes you consider the important elements in your pictures. Before opening the shutter I carefully use the framing lines to work out my composition. With infinite depth of field, it’s also important to exclude unwanted elements from the frame – after all you can’t use a large aperture to blur the background! This can only help my compositional skills when I return to my digital camera.

The final verdict…

I’ve been delighted with my Ondu 6x6 Pocket Mk III. Not only is it a thing of beauty and a pleasure to handle, I love the photos it makes. They have an unmistakable pinhole look – total sharpness through the frame, while being slightly soft at the same time. In a review of a traditional camera that would be a big no-no, but here it’s a welcome feature!

The Ondu Kickstarter campaign may have long since finished, but you can still order cameras, from 35mm all the way up to 4x5 format from their website. As I mentioned earlier, they offer simple cameras like mine, as well as the more sophisticated Rise model. There are also panoramic models available for those who like to take a wider view of the world!

A selection of my photos from the camera so far - shot on a mix of Fomapan 100 and Kodak Portra 160 film. Click on any of the pictures to see them larger and scroll through the gallery.

If you fancy trying your hand at pinhole photography I can’t recommend Ondu cameras highly enough. If you don’t have the skills to build your own pinhole camera or, like me, just love the concept of a design beautifully crafted from wood, do consider an Ondu. Don’t hang around though – several models have already sold out and I’m sure the remaining ones will sell quickly!

Panasonic LUMIX G9 Review

It’s not often I’m moved to review new equipment but, being an early adopter of the Panasonic G9 it seemed an interesting exercise and may be helpful to those now trying to decide whether to take the plunge and order one.

This won’t be a technical review, with charts and statistics but, instead, comments on my real world experiences of this camera. I’m very much a stills photographer so if you’re looking for comments on the video capabilities of the G9 please do look elsewhere. I may well try the video functions in time but for now I’ve focused entirely on its ability as a stills camera.

All the images are ones I've taken with the G9 over the last six weeks - please click on them to view them larger.

Before I start though, let me tell you a little of my background and my journey with mirrorless cameras...

Three years ago, I made my first foray into the world of mirrorless cameras. I loved my DSLR, a Canon 5DIII, but there were times when I wanted to travel lighter without compromising on quality. After shopping around, I plumped for the Panasonic GX7 with a 20mm prime lens. I gradually built up a small collection of prime lenses and loved the freedom the smaller form factor gave me. I subsequently upgraded to the GX8 and was grateful for the substantial improvements it brought.

Over time I found I used my mirrorless camera more and more, while my two Canon bodies sat unloved at home. Finally, I ditched the full frame camera in March 2017 but kept a Canon 7DII and a few long lenses for wildlife and action shooting. However, I could already see a moment coming when I would ditch DSLRs altogether and switch to an entirely mirrorless system - I just needed the autofocus and tracking abilities to catch up.

The new kid on the block

Fast forward to the 9th November 2017 when the G9 was announced and my hopes were raised.

I’d been hoping for an update to the GX8 which would fulfil my requirements as I love its rangefinder styling. But here was a DSLR shaped camera which apparently contained all the power I required. Some hard thinking was needed!

A chance to handle the G9 came later that month and Carol Hartfree, from Panasonic UK, did a great sales pitch, but not one I succumbed to at the time. I cogitated on the pluses and minuses for another month, all the time keeping an eye on photos being released by the Lumix Ambassadors. Ian Cook’s impressive sports photos were very persuasive, showing that if the camera could track a rugby player against a distracting background it would probably fare ok with my motorsport, aviation and wildlife shooting.

Finally, on Christmas Day, instead of watching the Queen’s speech, I went online and pre-ordered my G9!

Fast forward to early January and my new camera arrived from WEX - an exciting moment. I bought just the body as buying yet another lens seemed just too much of an extravagance.

First impressions and handling

My first impression was just how DSLR-like the G9 felt in my hands. Of course, it’s considerably lighter and less bulky than either of the Canons I owned. I think it strikes a really good balance between being compact, yet large enough for the spacing of the controls to work ergonomically. In terms of build quality, it’s sturdy and weather sealed. That said, I’ve used my GX8 in some pretty heavy downpours and it’s never missed a beat. I’m no fair-weather photographer so knowing I can continue to shoot in harsh weather without worry is great.

 

One feature of the G9 which has drawn a lot of publicity is its small LCD control panel on top of the camera. This feature is entirely normal on all but the most basic DSLRs but, so far, has been missing from mirrorless cameras. I know some people have raved about its addition, but I don’t have strong feelings either way. It’s handy to be able to check your current settings but I could cope quite easily if it weren’t there.

 

Another new feature on the G9 is its double decker mode dial. The top half is a normal mode dial, where you choose whether to shoot in aperture, shutter or manual mode. Beneath that is a smart red ring to show the camera’s flagship status – nothing practical about this but it does looks pretty! The lower deck features another dial, giving quick access to various settings which, on previous models, have been accessed via a menu. This gives me the ability to instantly pick continuous shooting mode, 6K mode, bracketing, timelapse or delayed shutter release. I love this feature, which means I can respond to changing conditions almost instantly. Each of these options can be personalised to suit the photographer.

Getting to grips with the G9

The new scroll wheel (bottom right) and joystick (top left)

The newly designed grip is excellent and it’s comfortable, even on long days spent shooting with a big telephoto lens. All my fingers fit onto the grip and the shutter button is nicely placed. The other buttons seem sensibly positioned, although I’ve had to rewire my muscle memory with some of them. The playback button, in particular, has taken a bit of getting used to. The inclusion of a scroll wheel is really handy for speedy adjustment of the focus point size. I generally move the focus point around with my right thumb on the touchscreen, but the newly added joystick gives a useful alternative means of doing this.

 

Custom function buttons

The G9 has almost endless ways to customise the buttons and dials, along with some ‘soft’ function buttons which are accessed via the LCD screen. The front of the camera (just beneath the lens release) is home to a lever which can be customised to quickly swap between two contrasting settings. I’ve left mine set, as it was from the factory, to alternate between mechanical and electronic shutter.

One of the first things I did was to reassign exposure compensation to my G9’s rear dial. Coming from a camera with a bespoke compensation dial I certainly didn’t want to have to use two controls to change the exposure of my images. The only slight niggle is the fact the original exposure compensation button can’t then be reassigned to something else. I guess the function of the three buttons on the top of the camera must just be hard wired in.

Touchscreen tribulations

For my hands the stretch to the G9’s screen is greater than on the GX8 but I’ve quickly learned to extend my hand to reach the nether regions of the screen. Having touchscreen focus set to Offset rather than Exact is helpful here, as it removes the need to reach the far left hand edge of the screen. Another frustration (albeit a first world one!) was the discovery that the cashmere flip-top gloves I normally use in winter don’t work with the G9’s touchscreen. On the GX8 there’s enough skin contact through the fabric to select my focus point but on the G9 they simply don’t work at all. I guess Panasonic must have used a different type of screen on the newer camera.

Luckily, I’ve found some alternative gloves which work a treat. They’re thin enough to be able to feel all the buttons, the touchscreen responds perfectly, and I can even wear fingerless gloves over the top if I need to. If only I had better circulation it wouldn’t have been such an issue!

A viewfinder to die for

When I first handled the G9 one of the wow factors was the enormous viewfinder. 

I know many DSLR purists are sniffy about electronic viewfinders, but I think this is generally because they’ve never tried one. The G9’s viewfinder is truly awesome. First impressions give you the sense you’ve almost climbed inside the camera, into an alternate reality - it really does feel immersive. There is a slight pincushion effect around the edge of the viewfinder image but not enough to cause concern and it certainly doesn’t translate into the images the camera produces.

The electronic viewfinder image is bright and I get no sense that I’m not seeing a true to life scene. The viewfinder’s refresh rate is very fast and I’ve noticed no lag. The other big advantage of using an EVF is its ability to show the picture as it will be captured. In an optical viewfinder you don’t see the real-time effect of any exposure compensation, making things more challenging when shooting very dark or light scenes. With an EVF you see the effect of any exposure compensation adjustments immediately, making it easier to achieve the right result without experimentation.

The G9 has so many thoughtful touches but there is one which will be particularly useful for those who regularly shoot in the dark. Panasonic have added a Night Mode, where the LCD screen and EVF can be set to only show red tones. While this can make colour photography a challenge, it does mean that your night vision won’t get ruined every time you check the viewfinder or screen.

Panasonic giveth and Panasonic taketh away....

One feature I do miss from my GX8 is its tilting viewfinder, but I guess one can’t expect to have everything! The G9 EVF does have a rather clever trick up its sleeve though. Because it’s so large Panasonic have added a button to the side which reduces the size of the image inside the viewfinder. This may seem odd, but for those who wear glasses it can be really helpful. Glasses move your eyes away from the viewfinder cup, making it harder to see the whole frame in one sweep. Reducing the size slightly makes this easier and, as a part time glasses wearer, this will be useful.

A shot like this would have been easier with a tilting viewfinder but the articulated LCD screen proved a worthy alternative!

As a final comment on the viewfinder, I have noticed that its placement on the camera is really helpful. The GX8 EVF is positioned on the left-hand side of the camera. For street photography this is useful as you can shoot with both eyes open, allowing you to scan the street for action that’s about to enter your frame. However, when shooting with an extreme telephoto lens, the fact that the viewfinder isn’t aligned with the lens makes it harder to locate distant subjects quickly. I’d never really thought about this until I used the G9, where viewfinder and lens are aligned.

A stealthy camera

Mirrorless cameras have one function which just isn’t possible on a DSLR - silent mode. The ability to switch to an electronic shutter is a huge bonus in situations where the click of a mechanical one would be intrusive - when photographing a concert, for instance. It’s not without its disadvantages though. Because the electronic shutter doesn’t capture the whole scene instantly, banding can occur under fluorescent light, which flickers at a regular speed. I’m wise to this now and if I think the lighting will cause problems I’ll take a couple of test shots before I shoot anything critical.

Fortunately, the G9 has another ace up its sleeve - an exceptionally quiet mechanical shutter. I didn’t really consider this until I took some photos in the peace of a church and it struck me how subtle the noise is. No, it’s not silent but it’s certainly quiet enough to be unobtrusive in all but the quietest of places.

Photographing in Thaxted Church made me realise just how quiet the G9's shutter button is

Speaking of the shutter, I don’t think I can recall ever encountering one as sensitive as that in the G9. Initially I found myself taking inadvertent photos of all sort of rubbish - mostly my feet - as I caught it by accident. Over time though I’m doing this less and the super-soft touch is a bonus at slow shutter speeds as the gentler shutter press movement is much less likely to cause camera shake.

Image quality

Having covered the practical matters of handling and usage, it’s time to assess the G9’s image quality.

In recent years micro four thirds cameras have improved enormously and now rival many DSLRs for image quality. The G9 doesn’t have an anti-aliasing filter, allowing for more detail and clarity than images from the GX8. The colours are beautiful and the clarity of images from the camera is astonishing.

I know many DSLR users will boast that their cameras have better dynamic range than those with smaller sensors. In my experience though I haven’t found this to always be the case.

In the days when I was shooting with the GX8 and a full frame DSLR I often found I could achieve a wider range of tones on the smaller camera. Frequently I’d be able to pull detail from highlight areas in GX8 RAW files where I’d have to shoot several different exposures and combine them to achieve the same result with my Canon 5DIII. This is certainly also the case with the G9 and I remain content with my choice to downsize.

I was able to pull plenty of detail out of an apparently bland grey sky here, thanks to the G9's dynamic range

Yes, there is a higher level of noise at extreme ISO settings on the G9, but I have yet to find this presents me with an insurmountable problem. My fast prime lenses allow me to keep the ISO settings lower much of the time, and when this isn’t possible, I’ll happily shoot up to ISO6400 - a full stop faster than on the GX8. The resulting images tend to be grainy in the shadow areas (which can be remedied in post processing) but detail is retained where it’s needed. I believe this is one area where Panasonic worked hard to retain more detail at high ISO settings on the G9, particularly in comparison to the videocentric GH5.

This was shot at ISO6400 but there's still plenty of fine detail in the bluetit's feathers

Stabilisation

Since switching to a mirrorless system I’ve really noticed how much easier it is to shoot at slower shutter speeds. A large part of this is the smaller, lighter form factor but in-body stabilisation (IBIS) helps too. The IBIS on the G9 is, frankly, phenomenal! I haven’t fully tested its limits yet but I’m aware of other photographers who are able to shoot exposures of more than a second and achieve sharp results. I really noticed the benefits when I was photographing the chapel at Gonville and Caius College in Cambridge soon after I took delivery of my G9.

The light levels were low and there were some shots which just weren’t possible with a tripod through lack of space. Shooting with a small (unstabilised) prime lens I was able to take crisp pictures at 1/5 of a second, allowing me to set a lower ISO and reduce the risk of noisy images. I’ve never been able to do this on any other camera.

Being able to hand hold the G9 at a stupidly slow shutter speed allowed me to shoot this at f8 and achieve a good depth of field, rather than having to shoot wide open.

When shooting with Panasonic lenses which are compatible with the manufacturer’s Dual IS 2 technology (such as the latest versions of the 12-35mm and 35-100mm f2.8 lenses) I have no doubt much slower exposures are possible too. When paired with such lenses the dual IS is reckoned to give no less than 6.5 stops of stabilisation. I understand this is as far as stabilisation can currently be stretched, as beyond that the rotation of the earth begins to counteract it!

The moment when Dual IS 2 really comes into its own is with super telephoto lenses, such as the Leica 100-400mm and the new 200mm f2.8 prime. I’m not lucky (or rich) enough to own the prime lens but the 100-400 pairs beautifully with the G9. For most images I shoot with this lens a high shutter speed it necessary because the subject is moving fast – for instance wildlife or motorsport. However, I was able to use a slower shutter speed than normal when photographing a Spitfire revving up its engine on the tarmac at Duxford recently. This blurred the propellers nicely but the aircraft (which was stationary) remained sharp.

Autofocus tracking

One of my reasons for buying a G9 was to consolidate my kit into one photographic system. I wasn’t prepared to do that until I was convinced a tool existed that could at least match my Canon 7DII for focus tracking and speed of shooting. I’d seen plenty of sample images online but there’s nothing quite like trying a camera for yourself so I took the plunge. I’m happy to say I haven’t been disappointed. I’ve now used the G9 to shoot wildlife, aviation and motorsport and in all three genres it behaves impeccably.

In common with any high-end camera designed for action shooting, the learning curve has been pretty steep. A chat with sports photographer Ian Cook gave me some useful pointers and I’ve comprehensively experimented with the myriad of focus settings. I’m now beginning to find out which modes work best for which genres of photography, although my methods will no doubt evolve further over time.

Settings for static subjects

For static subjects I invariably use a small single focus point and this works perfectly, as you would expect. In dark conditions, where I’m shooting handheld I will also engage AFC mode. This is a trick I learned in my Canon days from wildlife photographer Andy Rouse. The reason for this is that, while my subject (a statue in a dark corner of a church for instance) won’t move, I might do as I breathe. Using AFC allows the camera to adjust to any micro-movements and gives me a better chance of a sharp image. Obviously, if the camera is on a tripod and my subject is static this is not necessary. I’ll also use AFC when photographing a subject that’s a static distance from me, but which may move a little – for instance a bird sitting on a branch.

Shooting a black cat in a dark room is about as hard as it gets for autofocus but the G9 didn't miss a beat

Moving subjects

When it comes to action I’m still learning but I’ve established that the G9’s tracking mode just isn’t very good! For a single moving subject against an uncluttered background it can cope, but how often do we get that combination? Instead I generally choose between a single focus point or use a combination of multiple focus points, both in combination with AFC mode. A single focus point can be made any size you like so I’ll often set a pretty large one at the position where I want my subject to be in the frame. I then simply ensure I keep the subject beneath it and pan with the movement. This works really well for aircraft in flight and was a technique I used successfully on the GX8.

Another option I’ve tried is to select a group of focus points, deciding for myself how big a spread they cover. This works well, but gives a little less control over which points activate as I pan with the action. The final option is to use all 225 focus points and let the camera follow my subject across the viewfinder. This works really well for action where the background isn’t cluttered. I suspect it might struggle when faced with a busy background though. I can see I’m going to have to experiment further with this when I shoot motor racing at Goodwood next month.

The light has been uniformly awful since I bought my camera but, even so, I was able to track this Canada Goose taking flight. Roll on springtime....

The other parameter I’ve experimented with is using back button focus. I’d never used it before but Ian Cook strongly recommended it as the way forward. There have been times when I forgot my altered settings, leaving me wondering why the autofocus isn’t responding to my ever more frantic presses of the shutter button! Of course, that’s simply my inexperience of back button focus showing, and it doesn’t take me long to realise my mistake. Of course, the moral of that story is never to change your settings so radically for a critical shoot!

I’ve been impressed with the results of back button focus, but have found one flaw. I habitually use my right thumb to select my focus point on the touchscreen. Of course, this doesn’t work if my right thumb is also supposed to be on the AF/AE lock button to activate autofocus. That said, on occasions when I’m using a monopod it won’t be a problem as I can use my left thumb to set the focus point instead. I will continue to try both focusing methods and no doubt will come to a conclusion with more time and experience.

An extra setting I’ve modified for AFC mode is the focus/release priority, setting it to release. When shooting fast action there are always going to be moments when the camera simply can’t acquire focus quickly enough. With AFC set to focus the camera simply refuses to shoot until it can find focus, resulting in missed shots. Selecting release instead means you may get the occasional unfocused image but the camera quickly reacquires focus and invariably I’ll only lose one or two shots in a series of multiple frames.

This spinning car at Snetterton was one of a string of 28 frames I shot when things began to go wrong. Of the 28 shots there were only three which missed sharp focus.

The need for speed

With the G9 being marketed as a camera for wildlife and sports shooters, the subject of speed was always going to be crucial.

In terms of autofocus I can’t fault it. The focusing is quick and accurate, locking on pretty much instantaneously. The autofocus time is supposed to be 0.04 of a second but I have no way of checking that. All I know is it does everything I ask of it, incredibly quickly!

This robin, hiding from me in a beech hedge, should have challenged the G9's focusing abilities, with distractions all around, but it locked on swiftly and accurately.

As for continuous shooting speed, the possibilities are almost endless….

With the mechanical shutter in action and continuous autofocus engaged I can shoot up to nine frames a second, or twelve with single AF. The buffer can accommodate sixty RAW pictures before filling up so you’d have to be a pretty ardent ‘spray and pray’ merchant for that to be insufficient! Nine frames a second is plenty fast enough for most subjects I shoot but that’s not all this speed machine can do.

The mechanical shutter was more than fast enough to keep up with the cars on track at Snetterton

Engaging the electronic shutter opens up yet more possibilities. Once you’ve done this you can shoot no less than twenty frames a second with continuous autofocus and a mind boggling sixty with single AF. I’ve tried the slower of these two on a couple of occasions, but it was so hard to control how many shots I took that I ended up filling the buffer before I could say Jumping Jack Flash!

One situation where I may persevere with this is using an additional option called Pre-Shutter mode. Here the camera saves the eight frames before you fully depressed the shutter button as soon as you start shooting properly. It may seem a rather niche feature but when photographing birds it can be a helpful tool for catching the moment of take-off. Normally, by the time you realise a bird is taking flight and press the shutter button the moment has gone. This way you can respond as speedily as you are able, safe in the knowledge that the camera will also record eight frames before you react. It’s a slightly mind-bending concept but one that I will probably use occasionally.

A moment of avian bickering caught using the Pre-Shutter mode

Touch Shutter

One of my other favourite genres is street photography. With the G9 I’ve simply continued to use the same shooting habits I have with the GX8. On the street I select a largish single focus point, a fast enough shutter speed to freeze any movement, electronic shutter for stealth and the Touch Shutter setting. This way I can frame up my scene and wait for the right person to walk onto the stage I’ve set. When this happens I simply touch the LCD screen at the point where their face is and the camera focuses and activates the shutter in one seamless action. It works a treat and, because the camera isn’t up to my eye, my unsuspecting subject is usually oblivious to the fact that I’ve even taken their photo!

A candid moment caught on the streets of Cambridge

Looking at the larger picture

Panasonic made much of the G9’s high resolution mode in their marketing material at launch. This option uses the sensor’s ability to move (part of the IBIS functionality) to create larger files containing more detail. During the exposure the camera shoots eight separate frames, moving the sensor slightly between each one, and then stitches them together in camera to create either a 40 or 80-megabyte file. I’ve been impressed with the results, but it does have its limitations. All high res photos must be shot from a tripod as the camera has to be completely still. In addition, the camera automatically employs the electronic shutter (once again, to avoid any mechanical movement) so the longest exposure possible is one second. This limits the subjects you can shoot but for anyone who needs the ultimate resolution in something like still life or architecture it could be a real boon.

My first experiment with High Resolution mode - Gonville and Caius College Chapel, Cambridge

Conclusions

So, am I pleased with my purchasing choice? Absolutely! Given the specification of the newly announced GX9 I’m really pleased I didn’t wait the extra three months for that in the hope it would be everything I wanted.

The G9 has proved to be perfect for the enormous range of subjects I shoot. For architecture its image quality and increased ability in low light is wonderful. For action it has proved to be more than up to the task of tracking fast moving subjects and achieving an impressive hit rate.

There is one area where I will definitely continue to use my GX8 and that’s for street photography. The size and bulk of the G9 makes it more conspicuous on the street. I suspect for many people its form factor will lead to the assumption that the user is a professional and, therefore, someone to be suspicious of. By contrast, shooting with the GX8 makes me look more like a tourist so I can get away with more candid shots. Of course, people in the know understand it’s the photographer not the gear that counts but they’re generally not the people I’m aiming at!

I hope my journey with the G9 will be a long and fruitful one. I’m certainly enjoying using it and feel sure I will continue to find extra abilities hidden away in its menus for a long time to come.