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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Photoessay: mono transport in Amsterdam

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The one thing that stuck with me was the very small number of cars – and of the cars you did see, most were quite ancient…I guess it must have something to do with the Dutch taxes. At any rate, there was certainly enough variety to keep things photographically interesting, even if the weather wasn’t that fantastic. It’s certainly hard not to feel that it’s both a very eco-friendly and healthy city… MT

Shot with a mixture of cameras – Hasselblad 501C with 80/2.8 on Fuji Acros; OM-D E-M5 and 14-42 X pancake; Ricoh GR.

These images were made during the October 2013 Making Outstanding Images Workshop in Amsterdam; I will be holding three more of these in Melbourne, Sydney and London later this year. Click here for more info, and to sign up.

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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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Photoessay: Amsterdam street colour

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Street photography is something I’ve always done solely for myself – there is no direct commercial application (though arguably some of the techniques probably apply to reportage). For me, it didn’t come about from following a popular trend or other external influence: I just wanted to capture the essence and feel of daily life in a place when I travelled; nothing more, nothing less. Sometimes we find a unique and fun moment or two; sometimes it’s a case of the locally familiar being unfamiliar to us – and therefore interesting. But above all, aesthetics and timing still matter. Enjoy! MT

These images were made during the October 2013 Making Outstanding Images Workshop in Amsterdam; I will be holding three more of these in Melbourne, Sydney and London later this year. Click here for more info, and to sign up.

This set was shot with a Ricoh GR, Olympus OM-D E-M5, the Panasonic 14-42/3.5-5.6 X pancake, and the Leica 50/1.4 Summilux-M ASPH.

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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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Photoessay: The architectural details of Amsterdam

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Following one from part one – part two focuses on the little touches that add character to a building, and if done well, reflect a little of the society that created them. I like to think of them as stamps or quirks of individuality, and something which I consciously look for when I travel to places with a strong design culture.

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FD: From the opening party of “Engineering Art in Metal”

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It’s been a busy January. I finally found some time to develop the film from the opening night party of my current exhibition, ‘Engineering Art in Metal’ – it’s at the Center for Asian Photographers and has been extended until mid-February, so if you’re in town, please go have a look. (More details are here.)

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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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Photoessay: The magic forest

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Following on from yesterday’s article on travelling as a photographer – specifically the portion on serendipity – I thought it might be nice to show an example of that in today’s photoessay.

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