Photoessay: Cinematic vignettes from Japan, part II

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Continued from part I. Think of this as Act II…MT

This series was shot with a Nikon D850, 24-120/4 VR and post processed with the Cinematic Workflow in Making Outstanding Images Ep. 5. Visit Japan vicariously with How To See Ep. 2: Tokyo.

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Create or document?

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From the series ‘Gravitation is relative’

I’ve come to believe that all photography falls into one of two categories: created, or documented. It’s also rather difficult to switch between the two, and people tend to find either one or the other more intuitive. I suspect this may well have something to do with left brain-right brain dominance, too. This underlying split is important because it dictates the kind of photographer you are, and the kind of work that best suits one’s intuitive vision. It isn’t a continuum, because the one thing that splits the two sides of the divide is binary: was something in the scene added or removed at the control of the photographer, presumably for the express intent of translating and communicating the vision of the photographer to the audience?

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Photoessay: Cinematic vignettes from Japan, part I

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The first part of this series is a sort of composited rush from one city (Tokyo) to the next (Kyoto) – it’s admittedly a bit discontinuous since the curation was made of a set of discontinuous 2.4:1 widescreen frames grabbed without the premeditated intention of being put together into a story; that said, I think they flow together quite well. If there’s one thing missing it’s a critical objective or action or something of that nature – but perhaps also quite indicative of what happens when one passes through a city with non-photographic objectives in mind. Shooting 2.4:1 is quite challenging without any guidelines – there is no mask or crop mode in the D850 for this, and one simply has to guess (it’s roughly half the frame height, plus a bit; I use the limits of the AF area’s outer box as a guide). 2.4:1 compositions really only work in two instances: when you’ve got a very full (‘wimmelbilt’) frame that spreads out horizontally, or a very empty one. The latter tends to be good for tighter human images, which this set is deliberately lacking – it’s about the place, not so much the people. MT

This series was shot with a Nikon D850, 24-120/4 VR and post processed with the Cinematic Workflow in Making Outstanding Images Ep. 5. Visit Japan vicariously with How To See Ep. 2: Tokyo.

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Review: The Canon G1X Mark III, an impulse buy

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I picked one of these up on a recent trip to Japan (for some reason, none were available locally). Though Japan is one of the few places where the larger stores have virtually all models of camera on demo/display, with batteries and storage and lenses and in essence ready to play with to your heart’s content – that tells you very little about how something will perform in the field, in practice. Motivations? I was seduced on impulse by the spec sheet.

Disclosure note: I currently work for Hasselblad as Chief of Strategy, which means I cannot objectively comment on or review anything that might be competition. But since we don’t make a consumer level APS-C compact, there’s little conflict of interest here: I too am simply looking for the perfect pocket tool as much as the next photographer. As small as the X1D is – for medium format – it’s not exactly pocketable.

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Off topic: Presenting the MING 17.03

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I’m pleased to report that my horological venture has very much taken on a life of its own, and though it lives on its own site, I’m also aware that there’s quite a bit of crossover between photographers and watch enthusiasts. I also owe a big thanks to those of you who’ve supported this venture in its first and second iterations. Our latest piece is a sportier everyday wearer, with automatic winding convenience and a second timezone for travel. It’s also highly luminous in the dark.

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Review: The 2018 Olympus E-PL9

Olympus has just launched a new addition to their PEN line-up, the E-PL9. I had the opportunity to shoot a review unit for about a week before the launch. Looking at the compact form factor, stylish design and inclusion of a selfie screen, the E-PL9 is clearly targeted towards the entry level market – particularly smartphone users who need better image output and performance but are not keen on carrying larger and heavier DSLR cameras. However, there is no shortage of entry level system cameras now, both from the mirrorless and DSLR camps. In this E-PL9 review, I explore the capabilities of the small PEN camera that allows it to stand out from the crowd, as well as the compromises that were made to keep the compact form factor. [Read more…]

Quick Review: the Panasonic LX10

While returning the Lumix G9 to Panasonic Malaysia, I caught, out of the corner of my eye, the LX10 lying on a table. I picked it up and immediately felt the urge to borrow it. Minutes later, having done just that I was out shooting whatever I found interesting for the rest of the day. Considering the LX10 has been around since late-2016, I wasn’t focused on reviewing it. However, it’s left enough of an impression on me that I thought I would share my thoughts and some images here.

I have always been fascinated by advanced compact cameras, with their small but feature-rich form factor. However, interchangeable lens cameras, especially Micro Four Thirds, have become smaller and smaller over time and narrowed the size advantage that compact cameras traditionally held. We have the truly compact Panasonic GM1 and GM5, coupled with the slim 12-32mm pancake lens, that provides a very compact solution. Other alternatives such as Fuji X-E3, Olympus PEN-Lite series and Canon M-series are not that much larger. Yet the Panasonic LX10 and Sony RX100 range of cameras sit very comfortably in their own category despite these threats. I had to satisfy my own curiosity and explore the benefits of a premium compact camera for myself.

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Photoessay: The beginning of the end

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I suppose it depends much on your own personal perspective: it could also be the beginning of your new life, should you be one of those people who bought into the starter (or not so starter) home. But I find something rather sad in this series – which is ironic as we were staying at a neighbouring high-rise that undoubtedly was cleared out of the very same jungle not so many years before. I accept of course that change, progress is necessary, and there’s an ever-increasing number of people for a finite amount of land: yet there’s also a rather strong melancholic feeling that sometimes we are chasing our own tails in the pursuit of an ever-receding and increasingly nebulous goal of happiness, but only in the form that social media deems is correct. That said: exactly then same thing could be said about the very first people to carve a space out of the jungle for themselves, and the same thing again about the wildlife and jungle that came from the ooze: who’s right? The one thing I take away from this, and especially again in a photographic sense: change is constant, and relativity is subjective. MT

This series was shot with a Hasselblad 501CM, CFV-50c, 80 and 150mm lenses and post processed with Photoshop Workflow III.

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Long term review: the Hasselblad X1D

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It’s been a long time coming – over a year since I first used the camera – and I will apologize for two things in advance: both the length of time it’s taken to complete, and the absence of any kind of objectivity since somebody will point out I work for Hasselblad. But I’ll remain a photographer first and foremost, and I have the luxury of a little distance as the X1D as a product predates my tenure, but the harder task to assess what the real impact of the X1D as a new product category has been some time after release. The two main reasons for the delay are because I also have a H6D-100c in the stable, which serves as my primary camera (and whose files are understandably seductive to both photographers and clients – and yes, I probably need to do a mid term on that one, too) – and, at the risk of getting fired – until recently, I haven’t felt like the X1D is fully complete. Let me explain…

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Photoessay: Tokyographic

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In a city with a very high visual density – any sort of design has to shout quite loudly in order do differentiate itself and stand out. There are two ways of doing this: be more retina-searing than the next object, or be so plain as to create a sort of hole in space. I’ve always been fascinated with the dichotomy of Japanese design in general, and the translation to life and various classes of objects; there are examples where a design stands out but ages poorly (cars), it doesn’t stand out but is functional and occasionally clearly designed by an engineer, not a user (consumer electronics), and other times where design is so minimalist but elevated to the level of art (any traditional objects such as lacquerware, fabrics, etc.). In the case of this photoessay – we see it in the detailing and the block forms and colors used to accentuate what might otherwise be quite plain. I suppose these examples actually tend more towards the minimalist than the ornate, simply because they can all be reduced to fairly simple elements cleverly interlinked – given the large number of these kinds of photos in the archive, it would  probably be safe to say this is what resonates with me as a designer and photographer…

This series was shot with a mix of equipment including a GX85, X1D and D850 and post processed with Photoshop Workflow III. Travel vicariously to Tokyo in How To See Ep.2: Tokyo.

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