I’ve been receiving a lot of email lately. This in itself is not unusual, but it appears that something I quietly bought has stirred the pot somewhat. You see, I’m now a Fuji user (again; I owned the first original X100 in Malaysia, and an X20 and XF1 and XQ1 since). The Fuji fanboys have always said I was biased and paid by the other companies not to use Fuji; the other fanboys have now started emailing me saying I sold out. Sorry guys, the simple truth is nothing so exciting. I bought an X-T1 at retail from my usual dealer in KL with my own money. Two things changed: firstly, ACR in its very latest iteration appears to have changed something in the soup to make X-trans file workflow at least acceptable, if not perfect; secondly, the fast compact normal conundrum demanded a solution.
Setting personal photographic and creative goals for the forthcoming year has become a bit of a tradition for this site – so far, I think I’ve done reasonably well in hitting my targets. Perhaps it’s a holdover from my corporate days when you had to set targets for the projects or divisions under your purview for planning, or worse, so you could later be judged against them. When it comes to running your own business and that overlaps with where you personally want to go with your own creative development, a little more careful thought is required.
I admit to being very late to the game in landscape photography – it’s something I’ve not really done seriously until pretty much this year; I suppose the main reason was a solid lack of opportunity. When you live in the tropics, then your shooting hours are limited: light is great in the morning and evening, but weather usually conspires against you with pollution, convection rain, or just general haze. Travel opportunities have changed that somewhat, however I think my quest to create images that are the kind of art you’d want to hang has lead me to look at new subject matter. This of course in conjunction with the ongoing quest to find subject matter that makes the most of the immersive experience of the Ultraprints and vice versa.
The current state of the art world – at least what passes as fine art by conventional measures* is almost always determined by a select few – the select few, I should say. There seem to follow two types of people: those who ‘get it’, or at least are willing to submit to the opinions of the few; then there are the other type, who tend to be more open to the artist and creator putting forward their views on what should be art. I’ve always made it very clear which camp I fall in; it can’t be art to you if you don’t ‘get it’ without having to be told.
*At this point I always ask whether anybody claims to have seen or create ‘coarse art'; the answer is inevitably in the negative.
Buying into any camera system is a big deal – not just because of the financial investment involved, but because you’re probably going to have to make a decision on what to buy based on conjecture rather than any actual first hand experience. Whilst some of the luckier people may be able to test drive a system, sadly most camera companies don’t really offer this. It doesn’t help either if the camera you want to try isn’t something particularly easy to get hold of our mainstream. There’s only so much you can determine from a quick fiddle at a camera store, assuming a physical one even exists near you anymore. And that brings us to the purpose of this report – there was a lot of interest in the 645Z at launch, but I’ve been made to understand that locally at least, sales haven’t quite been the runaway success one would expect for a camera that’s a quarter to a third the price of the competition. Think of this as a continuation of my initial three part review, here, here and here.
Having shot extensively with oue 645Z over the last few months, I’ve developed a new hypothesis: the format – i.e. the physical size of the recording medium – matters to the output, but not in the way that we’d expect. Naturally, we assume that the larger the sensor or film, the higher the image quality. Since so much of that is both subjective and perceptual and thus affects the final impact of the image, perhaps it’s important to understand exactly what’s going on.
I’ve chosen this image to illustrate the article because although it may have commercial value to say, an old folks’ home, I cannot even let them use it for free because I do not have a consent release from the subjects. Yet it’s fine to use it for editorial – e.g. this article – because there is no commercial value derived, and I’m not promoting, selling or associating with any product. By showing it in more places, I’m also ensuring that more people will automatically be able to attribute the work to me.
“Can I use your image for X? You’ll get credit as the photographer,” is probably something you’ve been asked more than once. How do you respond? How should you respond, from the point of view of something that works for both yourself and preservation of the industry as a whole? How do you ensure that your images are used in a way that you agree with, and with appropriate compensation? Read on. This article will be written mainly for the professional photographer trying to do two things: figure out the value of their images, and then protect it.
I believe it’s very important to have a sense of purpose as a photographer. If it’s not clear exactly why you’re photographing, or what the aim of your output is, you run the risk of not only making weak images, but not knowing they’re weak, or even worse, not being able to step up and move on. However, only you can decide exactly what that purpose or aim is; and in the past couple of years since starting this site, I’ve realized two things: firstly, you’re going to evolve, so don’t be afraid to say ‘my objective has changed'; secondly, you’re not going to satisfy everybody (and some of those people are bound to be extremely rude and vocal about it, but really have nothing more than hot air). The latter is easy to rationalise but difficult to accept if you care about your work.
I was discussing printmaking with one of the regulars readers of this site recently when a thought struck me: one of the biggest turning points for me personally was when I started shooting with an eventual printability objective for all of my images. This happened around early 2012, before which I’d felt I was stagnating creatively somewhat – perhaps partially due to day job commitments (this was before I turned to photography full time) and partially because well, I didn’t have an output objective.
Some months ago, I wrote about the idea of clarity in an image: the experience of being able to see through the picture and beyond the facsimile representation to the scene or subject in itself; it’s akin to breaking the fourth wall in cinema, but In the opposite direction. Ironically, the ability for a still photograph to do this is very much related to technology: we need the hardware and technical chops to be able to make it look as though the hardware is unimportant.