Film diaries: revisiting slide film

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On the light table. Iphone grab.

It’s been a long, long time since I last shot slide film. 2006, to be exact; I stopped for two reasons: one, I was shooting (and developing) through about a third of my pay every month in film; secondly, scanning was beginning to take up all of my spare waking hours. And even then, I was never that happy with the results. But then, every so often – and I was a much, much worse photographer back then (not that I’m that good now, mind you) – you’d get one slide back that was so immersive, so detailed, so crisp that it was like peering into a little world of its own. And then you’d feel the itch to do it all over again. Sometimes this would happen a few times per roll, and then you were well and truly done for.

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Street photography, soul and ethics, revisited – a personal view

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Man, or the idea of man?

Not to flog a dead horse, but I want to pick up from where the one of the earlier articles hinted and left off: the topic of ‘soul’ in street photography, and what that means in terms the increasingly grey ethical area for photographers. There are also legal implications involved, and we’ll discuss those in passing – individual territories have different regulations, so it’s really in your best interests to check before shooting.

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Revisiting the past: the 2003 Olympus E-1

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Old flagship, meet new flagship. The E-M1 – and E-M5 – finally deliver on what the E-1 should have been.

2003 was an exciting year for digital cameras. I remember it as being the turning point just before the DSLR became accessible to the masses; professional image quality was now theoretically within reach of everybody – well, assuming you had the knowledge to use it. If not, you could theoretically keep shooting until you did; and that’s just what I did. It’s also where my personal photographic journey began in earnest. APS-C dominated as the best compromise of sensor size and cost; the D1X and 1DS were king. On the high-speed, responsive, general purpose front were the Nikon D2H, Canon 1D and Olympus E-1 – though the latter raised a lot of eyebrows with its smaller sensor. In mid 2004, I remember putting heavy consideration into both the E-1 and D2H as a replacement for my broken D70; I remember liking the way the E-1 felt and shot, and especially the smoothness of the mirror, but I didn’t like the limited variety and cost of lenses, not to mention the relatively slow 3fps and limited AF system compared to the blazing-fast 8fps D2H and CAM2000 – on top of which, you had a huge variety of lenses – a lot of which were cheap and excellent. I went Nikon again, but have always had a seed of curiosity towards the E-1. It’s been ten years now. Olympus Malaysia managed to find one in a cupboard somewhere, and kindly lent it to me…

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Does the audience matter?

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Work like this, I produce for myself and myself only: I don’t care if anybody else likes it; frankly, I wasn’t even going to upload or share it, but it got accidentally included in a batch. I know it certainly has zero commercial potential. Perhaps that makes it amongst the purest images I create?

Here’s a sticky question I’ve been battling with for a few months: does it matter what other people think of my images? Although it may sound rather egotistical, I think it’s actually a very valid consideration from several standpoints: that of the hobbyist/ amateur; that of the commercial/ professional, and that of the artist. And I’m pretty sure the answer is different for each one. I’m not even going to try and answer the question of what one should do if you fall into all three categories…I suppose it requires a healthy dose of schizophrenia.

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To specialise or generalise?

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The work of a generalist, or a specialist in seeking abstraction?

There’s always been a slightly inaccurate preconception in any field that a specialist must be better than a generalist – surely, if you’ve done something a thousand times, you’d be better at it than somebody who’s done it ten times? Today, from a photographic standpoint, I’m actually going to argue against this – albeit with a very specific set of caveats.

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The importance of shot discipline


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Miss it, and the moment is gone. Procession, Nepal. Nikon D700, 24/1.4

Repost: I’ve been referencing this particular early article so often in posts and emails that I think it’s high time we had a reminder. I’ve dusted it off, refreshed it a little. We’ll start by defining shot discipline. There are two main aspects: timing and technique.

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Film diaries: choosing film or digital, and a little rationale

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Amsterdam Arch, color – Ricoh GR

For serious photographers – the kind that buy cameras to take pictures with, not for bragging rights or spec sheet counts – creative choice is good. And perhaps the largest and most divisionary of all of the creative choices available to a photographer has been whether to go film, digital, or a combination of both. Don’t expect to get a concrete answer one way or the other after this article; rather, I’m going to explore the less obvious rationale and strengths for both options.

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Film Diaries: Examining the costs of shooting film vs digital

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Looking for an answer? I can’t give you a clear cut one, but this article might certainly help to clarify your thoughts.

There are many reasons to shoot digital. There are many reasons to shoot film, too – beyond the simple ‘I want to’. Though I find that for color work, digital is significantly better than film due to the level of control and accuracy it produces, film remains my medium of choice for monochrome work. The reason has to do with nonlinearity of tonal response, especially in the highlights – film never quite seems to clip under almost all circumstances, and this jives with the way our eyes see the world very nicely indeed. But there are typically two things that stop people from trying film: workflow, and perceived cost.

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Repost: Points of sufficiency: do you really know how much is enough?

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39-MP medium format overkill? For most things, most definitely. But if you’re making 40×50″ fine art prints for close range viewing, no.

I’m reposting this article from 2012 for the simple reason that I’m still getting far too many emails from people obsessing over equipment with bigger numbers or higher specs solving compositional and creative deficiencies. I think I’ll continue to do this on a regular basis so long as those communiques keep coming in…

The never-ending photographic arms race got me thinking recently about sufficiency: how many pixels, fps, AF points, ISO settings, etc. are enough? The troubling thing is that I thought I used to know the answer: I’m no longer sure it’s quite as clear cut. See, the thing is that if you’re viewing images online, in theory, anything close to your screen resolution (leaving space for UI elements, text, menus etc.) should be sufficient – 1000px wide is more than enough for most purposes. The images on this site are mostly 800px wide, for reference. In theory, that should mean an iPhone is overkill. Yes and no; just because resolution sufficient, it doesn’t mean that we’re going to have enough dynamic range, or color depth (or accuracy).

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Travelling as a photographer

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There’s a big difference between travelling for photography, and taking photographs while travelling. I think it all boils down to priorities: is your priority photography, or travel? Or are you like me: photographing gives you a reason to travel, and forces you to observe and thus enrich your experience?

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