A few weeks ago, I made my little directorial debut in the form of a TV commercial for Nissan. Unusually for this industry, there was no agency involved; I developed the board with the client and we dealt directly. I suppose that’s also how I landed up being director. The dust has settled, the post-shoot euphoric rush has somewhat calmed down, and I’m now able to put some coherent thoughts together on the whole experience and what it means for my career in the long term.
I’ve unquestionably been heavily influenced by Saul Leiter of late, and more specifically his treatment of color and use of foregrounds/ reflections to create abstraction. Combine that with my normal cinematic approach to color and the somewhat more ‘controlled’ shooting mindset that working with the Otus forces results in a rather interesting set of images. Even if not all of them were shot with the Otus – I used the GR for the balance – the way I’m shooting remains the same. My ongoing studies of the abstraction of man take a step back: here, I think I needed stronger human subjects to make the compositions work. Enjoy! MT
In many ways, the two industries are frighteningly similar: technologically complex, requiring huge capital investment for relatively small margins, enormous marketing machines, some semblance of ‘celebrity’ endorsement, and ever shrinking improvements just waiting for whatever technology is just over the bend (hybrids, Foveon sensors, etc.). Perception over substance rules, too. And there’s a lot of crossover between the enthusiasts of both – I have a huge number of students who are also petrolheads. But there are enough differences that one could learn from the other, I think…
We continue with the tunnel borers – this time reverting to monochrome for the aboveground portion of the monochrome documentary (underground was here here, focusing on the workers). A sense of scale is needed to appreciate the extent of the project, and this was the purpose of these images. I shot this with a mix of equipment over an extended period of time – mostly Nikon D800Es, however. Enjoy! MT
Today’s post is about a job I did at the start of January – the world’s premier maker of tunnel-boring machines, Herrenknecht (there are actually quite a surprising number) hired me to document the operation and breakthrough of their first variable-density boring machine*, which happened to be at work underneath Kuala Lumpur as part of the greater Klang Valley subway/ mass transit project. Up til this point, we have a pretty pathetic train system and monorail that doesn’t cover more than 3-4km; we don’t have a unified public transport system which combine with poor traffic management creates legendary jams**.
*Kuala Lumpur has a mix of rock and clay underneath it; you need a special machine to bore through both simultaneously – the machines for rock are too slow with clay and it also clogs the outlet ducting, and the machines for clay simply won’t cut rock.
**In the past, it has taken me up to 2 hours to travel the 1.5km from home to office at the wrong time. If you’re wondering why I didn’t just walk, try doing that in 35 C heat, 80+% humidity and the business suits that you’re expected to wear – not that clothes mean you’re any more or less competent at doing an office job…
Four cameras, 166 megapixels, no sensor smaller than 36MP and 36x24mm. It’d have been nice to get the Phase One IQ250 and Leica S along for the ride too – sadly there’s no Phase distributor in Malaysia and nobody from P1 has ever replied any email I’ve sent though. So we’ll make do with four: two from the old CCD guard and two from the new CMOS challengers. Lining up on the right are the Pentax 645D (33x44mm, 40MP) and Hasselblad CFV-39 on a 501CM body (49x37mm, 39MP) against the Pentax 645Z (33x44mm, 51MP) and Nikon D800E (24x36mm, 36MP). Perhaps we should have gotten one of the 41MP Nokia PureView phones along for kicks, too. That said, the rationale behind these choices is as follows a) I had access to them; b) to build a more or less complete system would be roughly the same price; Nikon and Pentax new lenses are more expensive than the used screwdriver Pentax FA or Hasselblad V glass; by the time you add everything in, the 645Z is obviously the most expensive option – but also arguably has the highest IQ potential. Welcome to part two of the Pentax 645Z review – the first part can be found here.
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After a bit of – drought, it’s review bonanza week: at the opposite ends of the spectrum. First we had the Sony RX100 Mark III, and today will be the first part of the Pentax 645Z review; to be split into an assessment of the camera itself and a relative comparison to its predecessor, a previous generation CCD-equipped Hasselblad CFV-39 digital back, and the Nikon D800E. As far as I can tell, this is the first review of a production 645Z, anywhere. This part alone is going to be a 4500+ word monster, so grab a large coffee and settle in for a bit. Unfortunately the weather at the moment in Kuala Lumpur is extremely hazy – 120+ APIs thanks to various burning vegetation – which is not ideal for camera reviewing. However, as the 645Z is part of my personal equipment, bought at retail from Malaysia, it will be with me for some time and be subject to mid and long term updates – much like the Nikon D800E.
Two of the most interesting cameras in recent memory – the 645Z and RX100III, at completely opposite ends of the imaging spectrum but both pushing image quality – are arriving this week and I have a fundamental problem: a lack of light. Kuala Lumpur is blanketed in a horrible 100+API haze again that’s eating light and turning the sky into a giant drybox; right after two weeks of fantastic crystal-clear weather during which we had stars every night. I’ve made the most of the windows of opportunity, but in an ideal world I’d have liked to push the dynamic range of the thing a bit more.