But there are those days, especially after I've had a hard and introspective look at old work resting patiently in the form of flat, black and white prints, I feel compelled to strip the little bugger down to its very minimal essentials and take it out for a regular guy shoot.
My first foray with "naked fp" was on Sunday evening when I dropped by Zach Theatre to see how the outside concert series was coming along. The cast of five, on a very narrow stage (front to back = 10 feet), was doing a dress rehearsal and I wanted to see how they would handle the new stage, holiday program and new space. I also thought it would a good, low stress, low expectation moment in which to try out the Sigma fp on a newly acquired, Zhiyun Weebill S gimbal. Maybe it would give me a chance to check out a little moving video footage.
The Sigma fp with the 45mm f2.8 lens is the lightest combination I've tried on a full sized gimbal yet. It's far smaller and lighter than the GH5 or G9 which are my "go to" cameras for gimbal work. And the fp has a secret weapon for night time gimbal work; it's outrageously noise free at most ISOs. Certainly noiseless when shooting video at 3200 or even 6400 ISO.
While it was obvious from my experiences that evening that I need more practice with the new gimbal it was also obvious that the Sigma, by dint of its compact form and lower weight, gave the gimbal (and my left arm) a running start. All imperfections of production were on me. The lighter weight of the camera package made that gimbal sing. I was just a less perfect accomplice.
When I filmed that evening I worked in a different way than I had with video in the past. I set the camera to ISO 4000, used the 180° shutter angle (1/60 @ 30 fps), set the camera to the All-I, 4K mode and then resisted the usual compulsion to shoot with the lens near wide open and instead tried shooting at f11. WTF?
Why? Well, the Sigma fp might as well not have included C-AF on its menu because in low light, on a moving gimbal, with moving subjects, the C-AF is worse than worthless. It's counterproductive. I figured my best shot at video greatness, in the moment, was to work with the idea of hyperfocal lengths. With the focus set around 15 feet and the aperture at f11 I calculated that I probably had enough depth of field to render subjects between 10 and 25 felt with acceptable-to-great sharpness. And, damned if it didn't work perfectly. The combination of hyperfocal distance focusing and Promethean ISO performance was awesome. All I needed to worry about from that point on was piloting the still alien in my hands gimbal.
When I looked at the footage the next morning I was amused to see that it was at least as good (and maybe better) at 8 bit, 4:2:0 than some footage I've recently shot in other cameras at 10 bit, 4:2:2. Which, considering its competitors, speaks highly about the sensor and color science in the fp.
And all that pre-loaded thinking pushed me to want to further explore this camera again as a photography tool.
I took the little brick beast out for a walk yesterday, all through the city. The only accessory being a neck strap. No rear loupe, no cage, no stuff. Rather than my usual f2.8-f4.0 fixation I played around with f8 and f11 as my preferred apertures and felt freed from the constraints of having to produce images with limited depth of field. And in the process discovered that the lens, at f8 and f11 was magnificent; though probably no better than many, many other lenses when stopped down so far.
The sun was bright so the rear panel was difficult to see in certain situations. In any use where the screen was not in direct sun it was fine but it did remind me how habituated I have become to eye level finders. Maybe the phones will somewhat cure me of that over time.
One control on the camera that I played with a lot was "fill light." It's got five steps up and five steps down of adjustment rationed in thirds of a step. When you set it the camera takes two exposures and processes them together to give you a fixed amount of increased or decreased "fill" light. Since there is processing involved it's a feature only available in single frame shooting; no bursts. And it takes a few seconds to finish processing before you can see the result. But it really does work. This tames wildly dynamic scenes as surely as the shadow slider in Lightroom.
I included the scooter shots above so you could see the results of a 1.66 x increase in fill light when shooting against the sun. It almost looks as though I shot with fill flash but it is just the "fill light" control. I'll be experimenting with that a lot.
An interesting point, at least about my reaction to shooting with the camera, is that I don't feel compelled to shoot multiple frames of the same subject with it. I seem to take a bit more time in composing but once I really look at my proposed composition and exposure on the finder I feel comfortable taking one frame and moving on.