Years ago when I was just starting to shoot professionally, I was trying to build up the "biggest" and "baddest" kit I could.  It was one of those "size matters" situations and I wouldn't go anywhere without sticking a winder or motordrive on the cameras.  I even bought one particular lens because it looked the biz.

I was part-timing in a camera store at the time and would chat with all the pros that came in. This one old grizzled pro (probably only in his forties) tried to mentor me on the finer points of equipment selection, but it fell on deaf ears. Image (mine, not the photographic one) was important and only big, black and budget-busting equipment would do. I don't recall exactly what he shot--it was probably just a pair of Nikon FEs, but the guy said that eventually you'll get to the point where mobility and freedom were more important than gear.

Through the years I have always approached camera bag packing from the perspective of "how much can I carry?"  These days I've been reversing that into "how little can I carry?" Maybe it's because I'm now an old grizzled pro (only in my forties) with back and neck trouble, carpel-tunnel and getting tired of running around with 20 pounds of equipment hanging from bags, packs and straps on my body.

In a recent thread on the myolympus forum there is the discussion of wide-angle lenses. My "normal" lens on FF 35mm is the Zuiko 35mm F2.8. This lens is nearly perfect for event/people photography as it forces me to get closer to the subject. I'm no longer a sniper shooting across the room with some massive F2.8 zoom or telephoto the size of a magnum of champagne. Other than the occasional special-effect shot where an ultra-wide comes in handy, the money lens is in this focal length. Portraits may use telephotos, but again, these are the exception, not the rule.

As I look towards my next digital camera I look at what I'm carrying now, which is the E-1 with battery grip and 14-54 zoom. My film beast is an OM-4T with motordrive and 35-80 F2.8.  Combined with a stroboframe and flash or the T45 it gets pretty weighty and big. This doesn't include the second camera hanging from a shoulder holding the 100-300 F4 zoom lens. However, there are times when you need all that mass to make it obvious in a crowded room who the official photographer is. But when doing all the PJ style photography, I very much prefer a camera that is small, light and disarming--not the type of camera that makes your subjects duck for cover.  I love the palmability of the E-P1/P2. It is a very comfortable camera to hold and use, but just as I've outlined in my review of it, the camera is just a hint short on a couple critical things. Things which would drive me to immediately replace the cameras the moment the better ones came out.

Just like that grizzled pro told me in 1989, I'm starting to value mobility and freedom more than options. Sure, I can and should use the biggest/baddest camera around, but I'd rather just shoot with a roll of Portra 400NC in an "old" OM camera with the 35mm F2.8 lens and the end results are remarkable in that my pictures are almost always better in ways the customers notice. Give me a digital equivalent to that type of kit and I'm in heaven.

The Leica M9 plays on this exact need. The camera is compact (although heavy for its size) and the jewel-like lenses are tiny. The camera is highly palmable and every control is operated by feel. With the tabbed lenses, you can prefocus to the common one-body length distance and just nudge focus with the rangefinder for critical focusing. It is so small, quiet and non-threatening and the shutter-response is instant. You can raise the camera to the eye for framing, point and click before the subject has a chance to respond. You blend in instead of becoming the point of attention. Best of all, your back, neck, hands and arms don't wear out during a long day of shooting.

All of the primary camera manufactuers have lightweight and compact DSLRs, but without exception these are not intended for professional use. They CAN be used for professional use, but with the hassles of poor control layouts, knobs that turn accidently, horrible viewfinders and clacky shutters not to mention shutter lag that rivals the average television commercial break.

We may be starting to see the start of the trend towards high-end small cameras with the Leica M9 leading the way and Panasonic following closely. The Panasonic GH1 and forthcoming GH2 are actually very close to being viable professional cameras but with the mistaken focus on general consumerism. The Micro Four-Thirds camera predicted here on these very pages from Olympus is still expected to arrive shortly and will be similar to the E-330 in shape and design. I am highly pleased with the E-P1/P2, but Olympus has failed to include basics for professional photographers like locking mode dials and of all things--the ability to fire a flash of any form while using the viewfinder. Talk about a Cheech and Chong moment--this is like removing the steering wheel from an automobile!  An oversight which is, to be frank, unforgivable.

As a professional photographer I want a professional camera, but I don't want to buy a monstrocity to get the basic features. A small yet professional package would be exactly what I'm wanting and I have a hard time believing that I'm the only grizzled old goat looking for it.

Ken