Attempting the blood moon

The above image of the Blood Moon was shot at the start of a total lunar eclipse phase at 3.45am on 28 July 2018 as seen in Kuala Lumpur. The red moon was not perfectly clear due to slight overcast condition hindering visibility. I only had about 15 minutes of shooting time before heavy clouds completely covered the moon during the eclipse. I have not encountered a lunar eclipse before and this was my first time witnessing an actual “blood moon” phenomena, hence I thought it would be interesting to share my thoughts and shooting process to acquire that one shot, which I have come to love despite its apparent imperfections.

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Seeing the shot – Robin’s view

In the spirit of sharing more of what I normally do during my shutter therapy sessions, I came up with this idea of showing what happens immediately before and after I shoot an image*. Utilizing the Olympus specific feature “movie + photo” mode, I was able to capture video footage and a full RAW image file simultaneously. I thought it would be fun to see the moments leading up to the press of the shutter button. After all, timing is crucial in street photography and in this video compilation you will see a lot of blink and miss it moments.

*Note: this is somewhat similar to MT’s How To See video series.

I had to work with an older Olympus PEN E-PL7 camera because the movie + photo mode was unfortunately not available in the E-M1 Mark II. I am inviting you to come along with me to my hunting grounds and see what my camera sees. In the video you will also see how I frame my subjects, interact with random street portrait subjects and anticipate moments before they happen. As a bonus, there is also evidence of how cats on the streets love me.

I hope that you will see that street shooting can be super fun, exciting and totally unpredictable.  If we show respect and are courteous to people around us, they will respond in kind. A genuine and warm smile can go a long way, and keeping a positive attitude can help make you more approachable and look less like a threat to your street subjects. Things happen so fast and you have to be quick enough to react and execute your shot reflexively. It is perfectly okay to miss some shots but keep that optimism going and soldier on to the next opportunity.

Let me know if you find this video helpful and would like to see similar content in the future. I had a lot of fun doing this and am excited to hear your thoughts.

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Le flaneur

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From Wikipedia: “Flâneur (pronounced [flɑnœʁ]), from the French noun flâneur, means “stroller”, “lounger”, “saunterer”, or “loafer”. Flânerie is the act of strolling, with all of its accompanying associations. A near-synonym is boulevardier.” A holdover from the class divides of 19th and early 20th century in Europe when the gentry could spend their time engaged in leisurely walking, observing and enjoying the cities, the concept might sound a bit indolent today but is actually still quite apt: these were the original street photographers, most of whom went without cameras. Fast forward half a century and we had the tourists; who perhaps could be thought of as serial visitors herded in predefined courses from important sight to sight. In parallel, photography went from an academic and scientific curiosity to being a mass-medium for personal recording, and then public exhibition. And then a means to show off: this brings us to the present day.

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Thoughts on portraiture

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I have never been a portrait shooter – and as much as I find satisfaction (the reasons why we will discuss in due course) in a well-executed portrait, I don’t think it will ever be the mainstay of my photographic repertoire. The reason is both simple and complex: a portrait is not a photograph of the physical person – it’s a visual representation of your relationship with that person. A sort of mirror, if you will; even though all subjects reflect light and thus the environment to some degree, there are more and less reflective ones. Highly polished objects can land up being entirely representations of their surroundings only, with the merest interference of interpretation; one of the tenets I live by in watch/jewellery photography has always been ‘light for the reflection’. That’s not really relevant to portraiture, or is it?

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Repost: Achieving visual consistency

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Cue one from the archives, with updated images: tomorrow’s post will make more sense when viewed in context after this…

One of the questions I’m asked also (unsurprisingly) happens to be one of the biggest challenges for a lot of people: how to achieve visual consistency across multiple systems/ cameras/ media, and across multiple subjects. Though the latter is really getting into the question of what constitutes style and how can one consistently apply it, there are still things you can do to ensure that you are in control of the final presentation: not your camera. I certainly cannot tell a client ‘sorry, it looks different because I used two different cameras.’

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The continued adventures of the traveling audiophile: going wireless

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As with everything, it’s very easy to go off the deep end with audio – even personal, in-ear audio – and land up in a position where you have an extremely expensive piece of hardware that has zero secondary value (anything custom, for instance) and feel compelled that you have to make that decision before trying all options. And even if you’re lucky enough to be able to try all feasible options, 10-15 minutes of listening and A-B comparisons in an often less that representative (let alone ideal) location simply aren’t enough to make an informed decision. It also doesn’t help that you (I, at least) hit fatigue after perhaps half a dozen samples and can’t really hear the difference anymore – even if I might have fairly acute hearing on a normal day. But, I digress before I’ve even started. Last year’s move to the iPhone 7 and its forced choices of a) no charging with music if you use the Lighting to 3.5 adaptor, b) charging if you use the bulky as hell USB multiport thing and a small amp such as an AudioQuest Dragonfly Red, or c) wireless – has left me with a messy solution when travelling, which with involvement in three businesses in four countries and international clients, I seem to be doing even more of these days.

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Crystal ball gazing – have we reached a plateau?

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The split, redux: all will be explained in the article…

In the late 90s/early 2000s, film photography arguably reached its zenith in many ways: you could get all sorts of hardware in all sorts of form factors; emulsion technology peaked in both proliferation and quality, and it was easy to get anything developed and printed, and developed well. There were high end pro compacts, super fast DSLRs, consumer megazooms, large format folders, sub-frame cameras…films varying in speed, look, positive/negative, and even crossover-types like C41 process black and white. I’d even argue that since then, film emulsions have not really improved (undoubtedly due to the vanishingly poor business proposition created by the emergence of digital) – and we’ve lost most of the major manufacturers and choices. (To say nothing of the labs.) The core technology reached a balanced plateau: lenses were matching emulsions in resolving power; AF systems were matching the rest of the system in precision required to consistently deliver the aforementioned resolution. On film, there’s not much difference between one of the better 50mms of the time (say a C/Y 1.7/50 MM, A Leica 50/2 Summicron, or a ZF.2 2/50 Makro-Planar) and arguably the best of today – the Zeiss 1.4/55 Otus APO-Distagon. I tried this experiment on an F6 some time back, with Fuji Acros: I couldn’t really see much of a difference in resolving power. Drawing style, yes, but not resolving power. Your ability to focus made far more of a difference. And running the same film through my 1979 F2 Titan or the 2005 F6 made no difference at all, of course. Ultimately, during the film era: image quality was proportional to format size. How is this relevant to now?

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Heresy and sacrilege: MT and SOOC experiments

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Due to an idle browser, more idle hands and pre-Raya* specials, the un-camera is no more. I traded in the GX85 for an Olympus PEN-F (previously reviewed here), available now at just half of its original launch price (at least in Malaysia) and with bonus goodies of grip with built in Arca rail and extra battery. For a modest supplement, it seemed like a good deal. I’m getting a bit ahead of myself: firstly, why? Well, a couple of things: if I’m going to shoot something serious, then I’ll break out one of the ‘Blads. If I’m not, then managing a three year old and the associated peripherals means that you don’t really have a lot of payload left over for hardware, let alone time to use it. But there are still opportunities to be had, and often single interesting grabs that require something quick**. On top of that, I admit the un-camera had a couple of serious deficiencies: firstly, the body was plastic and felt like it – grip it with moderate force and you’d be rewarded with a squeak or three. The back control dial was a bit recessed to access easily, and turned stiffly. Default color needed serious help (more on this later) – and lastly, I just didn’t like the fact that despite having a very comprehensive feature set (4K, dual IS etc) it felt like an appliance and had nigh on zero emotional value to shoot.

*end of Ramadan
**I’ll be the first to admit this does not describe the current generation of Hasselblads; but we
are working on it.

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Robin’s less obvious street photography tips…

Despite the recent explosion of street photography related content and images, there are very few new and original ideas being explored. Phrases like “the decisive moment”, “if your photograph is not good enough, you are not close enough”, and “F8 and be there” have become clichés in articles on street photography tips and tricks. There is no dearth of self-proclaimed gurus or street photography masters, all offering wise advice, suggestions and must-do checklists to magically guarantee you an upgrade to the next level of artistic progression. I, on the other hand, take a more practical and no nonsense approach to street shooting. In this article, I share my thoughts on street photography – thoughts which may not be considered mainstream.

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Repost: Avoidable photographic errors

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Rule number one: there are no rules. A ‘mistake’ may not necessarily be a mistake if it helps convey the message or story or feeling intended by the photographer. I can easily think of multiple examples that go against every scenario described below. That said, for the most part, I’ve found these ‘mistakes’ to hold true. And if you want to achieve something very specific, then you either won’t be reading this article in the first place, or you’ll know when to bend the rules. The general viewing public probably has some preformed opinions of what is right/good, but these are born out of as much ignorance as conditioning by companies trying to sell more software or lenses or something else. There are rational reasons why these opinions may not necessarily be right in the context of fulfilling creative intention.

The previous article covered the differences between eye and camera, and what this means in practical photographic implementation.

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