You are not: you're an image Maker.
Fred's 100% right. In commerce, our job description has changed.
Until the gh3, I've never used an evf except on the RED's and video cameras.
Never really like them, though find looking at a viewfinder more natural than a screen, unless your shooting motion and moving, then a way to get the lens off the face is usually smoother.
The gh3, I love the viewfinder, same with the Olympus. In fact most of the time I never think about it being electronic, unless the white balance is way off, or the scene is very, very dark, then it's noticeable, but usable.
I've compared a lot of cameras recently, as our production model has changed. We have to shoot motion, stills, of the same session, the best way to approach what we do is to think of it more as multimedia rather than just a still or cinema shoot.
To do this takes time and a different mindset of working. Early on when everyone started to do video with their still sessions, everyone said you can't do both, but now, whether you like to or not , you must do both, (and do it pretty damn well) or at least with my clients and it's not uncommon to add still photography to a motion piece.
We just finished a 3 minute video that has over 106 separate pieces of media so on the average the scene changes about every 1.5 seconds, so still or digital it's all quick.
Personally, though I favor still imagery as that is my training, I'm agnostic whether it's still or motion, both have their place.
The only issue with motion is the post work monster as doing 10 elaborate still images in post can be done in a few days, doing 10 setups of motion imagery in post for a unique look can take many weeks.
There just really isn't an easy way to effect motion imagery, but with these smaller cameras getting better and better, there is an efficient way to shoot it.
I personally like evfs to some extend, but whether I like them or not, I know they are what all cameras will be. Mirrorless is here and effective.
Not to go off track, but I've tested aps-c cameras, 4/3's, full frame and honestly once you get below 20 mpx, they all are about the same in final output.
Each scene per camera can produce a different look, but each camera, has different processing, lenses, etc. but pretty much put them all dead even, under 20 mpx.
What I love about the 4/3's system is I've virtually begged for a camera that would shoot a 4:3 crop native, 2:3 and 16x9 without lines but just black around the finder, so what I see is what I get.
The 4:3's cameras shoot more than acceptable video, with stabilization, more than acceptable stills.
They look small compared to modern dslrs, but modern dslrs have grown way big compared to what used to be film cameras, so I don't find the size that big of a deal.
I really wanted a camera like the Epic or Scarlet to shoot autofocus video, tight stills all from one system and the scarlet/epics are good, but really are motion picture style cameras, not run and gun video, not really tight stills.
Or a medium format style camera that would shoot exceptional video, but until you go to the gh3, nothing is close.
The GH3 does that well and for the purists that think you can't creatively autofocus a motion image they need to try the GH3 because overall it's as or more reliable than a manual focus puller, which is pretty amazing for a $1,200 camera.
Anyway, EVF's are with us and I like them or at least learn to work with and around them, the same way we did with optical finders.
This isn't a commercial for panasonic, but I honestly find the gh3 to be what modern cameras really can be. Stabilized, electronically useful and productive as well as cost effective.
I own three RED's, two digital backed cameras, 4- 35mm ff dslrs and I can take a 4:3 gh3 and go do virtually the same work with one system that weighs 15 lbs, I've done with multiple cameras that total out hundreds of lbs.
In costs, one GH3 system with 4 lenses is about $6,000 or so, one Olympus system with 4 primes about $5,300. That's less than a set of PL lenses.
Now I'm sorry this response is so long, but we have to realize it's a different world.
All clients care about image quality, regardless of what anyone says, but more than the image quality, they care about telling the story and if anything has changed in the last few years it's all imagery, still and motion must tell some kind of story.
I think the days of single purpose cameras will be with us for a long time, but I also think our roles have change from dp, director, camera operator, photographer to a mix mash of image maker.
I would love to turn back the clock 10 years and be "just" a photographer, that shoots stills as I love the still image, but I also like working.
The one thing missing in the chain, of motion/stills is a way to quickly get the same exact high end look from the still and motion frame.
I am at a loss as to why lightroom is so different than speedgrade, photoshop's interface 180 from After Effects, DiVinci, Baselight so different than anything.
If I was Phase One, I'd beg and borrow 200 clips from all cameras and work day and night to make one suite that did the same look for stills and motion imagery. I'd look for a hardware solution like Matrox that sped up the process and I'd bundle my Phase One cameras with a panasonic gh3.
If I was a camera maker, I'd tear a gh3 apart, find out exactly what it's missing (pro rezz 4:4:4: in 12 to 14 bit, and dual channel xlr inputs), and I'd set up training and sell the hell out of them.
Bottom line is the GH3 and some of the Sony's prove what a camera could be . . . but aren't.
This is an electronics game of upgrade every 18 months to get another 20% of what we need.
Search around for cameras. You either get great dedicated still cameras that require a lot of light and shoot crappy video, great motion picture cameras that require dedicated focus pullers, way expensive lenses and tons of wattage and shoot great digital video and usually not a lot in between.
That little GH3 proves what can be done, and better yet what really could be done. It still takes creativity, certain amount of crew, dedicated light, a good story, etc. etc., but cameras shouldn't hold us back, waiting for the next 18 month upgrade.
Once again, sorry for the rambling response.