Photoessay: 28mm in Tokyo

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Camouflage (urban jailbreak)

People, an urban centre, 28mm, and monochrome – is there a more ‘classical’ recipe for what might be traditionally classified as street photography? Perhaps, perhaps not. The whole genre is so fluid that I think it is impossible to define anyway; I instead think ‘snippets from the quotidian’ is probably more accurate in this case. They are vignettes and observations of the repeated, the mundane, and the boring. But the pace of the world changes so fast that who knows what the same activities will look like in twenty or fifty years? MT

This series was shot with a Leica Q and post processed with The Monochrome Masterclass. You can also look over my shoulder at the underlying postprocessing in the Weekly Photoshop Workflow series.

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Photoessay: Tokyo cinematics II

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Continued from part one.

I frequently get asked if it is possible to work in the cinematic style with a wide lens; the answer is of course yes. There are a couple more considerations over the more traditional conception of the genre that is heavily dependent on longer focal lengths to split the scene into planes and blur the unimportant portions; it is true that the latter is much easier with a longer focal length due to simple rules of physics. However, use of the wide perspective is also important for several reasons, with the main one being trying to create a feel of involvement and immediacy for the audience. It can also be used in tight quarters and to create the impression of distance between observer and scene/subject. In all situations, the frame has to perceptually appear level – otherwise a very strong (and distracting) tipping sensation is produced. The wider the lens, the more care you need with levelling and keeping subjects away from the edges of the frame to avoid geometric distortion drawing attention to itself. Lens choice is also fairly critical because any out of focus areas are unlikely to be drastically out of focus; there will be a lot of transition zones. I personally prefer a smooth rendering here rather than a crisp one because it’s very difficult to reduce the prominence of background or foreground distractions after capture. Enjoy! MT

This series was shot with a Leica Q 116, and post processed using the Cinematic workflow in Making Outstanding Images Ep.5. You can also look over my shoulder at the underlying postprocessing in the Weekly Photoshop Workflow series.

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Premiere and review: The 2015 Leica Q (Typ 116)

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It is refreshing to be surprised, for a change – and refreshing to have something that comes somewhat unexpectedly but scratches an itch that you didn’t really know existed. I have owned and reviewed many Leicas in the past, from Ms, to the S system, to the T, X/1/2/113/Vario, to various ahem…rebodies. All have excited me in some way or other, but also left me with the feeling ‘if only’. If only the M had a built in EVF…if only the S had more pixels…if only the T was a bit smoother operationally…if only the Xs had viewfinders (and were 28mm). I was disappointed I couldn’t get a M246 Monochrom to test, especially against the D810. Instead, I was offered the Q.

Images in this review were all shot with a final production Q Typ 116 running firmware 1.0. I wil be uploading additional images as time goes along with to this set on Flickr. As you can probably tell from the sample images, during the limited time I’ve had to shot with the camera, the weather/light quality has best been described as ‘hmmm, painterly’. And a big thank you must be given to the folks at Leica Malaysia for the loan camera. Images in this review were processed with Photoshop Workflow II.

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Decision time

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A flash of inspiration; also, ninja timing matters in both photography and online shopping. Ricoh GR

Many of you will recall the 28mm shootout between the Ricoh GR and Nikon Coolpix A, and the not-so-simple decision process that ensued. What’s happened in the last two weeks is that both cameras have gone home, and I’ve had time to think a bit more about which camera would work best for me. I’m making my decision based on which is the best creative fit for me, rather than which is the best camera: take a moment to think about that, because it’s not quite as simple as it seems.

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Battle of the 28mm compacts: Ricoh GR vs Nikon Coolpix A

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Following on from yesterday’s review of the Ricoh GR (Digital V) can only be one thing: the comparison shootout between the GR and its natural rival, the Nikon Coolpix A (full review here). Or is it the other way around, since the A came first? Doesn’t matter a single bit, it’s all about the images. Fight!

I’ll continuously upload images from both cameras to respective sets on my Flickr stream – the Coolpix A is here, and the Ricoh GR is here.

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Review: The 2013 Ricoh GR (digital V)

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Not long after Nikon announced their 28/2.8, 16MP APS-C super-compact, Ricoh also decided it’d be a good time to launch an update to their cult GR Digital line. Version V has done a Leica and dropped the model number to confuse us (and Google searches for the new model), but gained a near-identical spec to the Nikon – also 28/2.8 equivalent, 16MP APS-C sensor without AA filter (it does have square and 35mm crop options, but you can always easily apply those in post). Neither one has IS. I covered most of the spec sheet in the preview, here. Now I’ve had some (albeit very brief) time with a final production prototype*, it’s time to report back here on how it actually fares in the metal.

*Meaning some things like image quality and focusing behaviour may undergo final tweaks before production versions ship, but apparently they’re pretty close to it. My camera is running firmware 1.11.

4 October update: Ricoh has released FW 2.03 which fixes a lot of issues I had with the initial camera such as program mode stopping at f4 – the update is downloadable here.

A continuously updated set of sample images on my Flickr is here.

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Announcing the Ricoh GR (Digital V)

It seems that 28mm large sensor compacts are like buses. You wait ages and ages and ages…and suddenly we now have no less than three APS-C options: The Nikon Coolpix A, The Fuji X100s with wide converter, and (drumroll please): the brand-spanking-new Ricoh GR.

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