Why GAS might actually turn out to be good for you

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One is bad enough. Two is…well, probably a signal that some form of clinical treatment is required. Full disclosure: the second one was supplied as a spare for the Thaipusam video; we didn’t use it.

At the risk of severely contradicting myself, I’m going to offer an alternative point of view to several of my posts from earlier this year (namely, this one on diminishing returns; this one on finding the right camera and moving on; this one on ideal formats for a given creative output). Many of you have pointed out in the comments and subsequent emails etc. that things are not really quite so clear cut; I’ve given this some thought and spent some time rationalising my own equipment journey – especially since from an external standpoint, it might appear that I’m probably the worst offender of all. The conclusion, is of course one of very fine balance – like most things in photography; and like most things creative, a little tension is required to produce not-safe and not-boring results. Here are my thoughts on why…

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Diminishing returns and cutoff points

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The look of money evaporating in frustration

Written as a counterpoint to the earlier justification for being a lens hoarder, I have a feeling this is going to be one of my most unpopular posts ever. It will be widely circulated by I will be metaphorically burned at the stake for it, because it will not make me popular with camera companies, fanboys, enthusiasts or anybody who has a single bone in their body that appreciates a good piece of hardware – I know I do, and it pains even me to write it. But the common sense logician in me demands a stage, so here we go.

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Available to order: The ultimate photographers’ daybag, a collaboration with Frankie Falcon

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I think we all have this problem: there is no such thing as the perfect bag. Unless, of course, you design it yourself. After receiving a lot of positive feedback (and desire) from people who’ve seen it, I’ve also decided it will be made in a limited run. In collaboration with bespoke UK bag maker Frankie Falcon, I’m pleased to offer my first hardware collaboration: The MT x FF Ultimate Photographers’ Daybag. Orders for the first (and limited) batch will run until 31 October 2016. Final orders will ship 1st week December 2016.

The order book is now closed. I will likely be offering a new (smaller) version by popular demand in early 2017. Thank you for your support!

Click on after the jump to order and for the rest of the details…

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Sep 2016 Garage sale: all gone, thanks!

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Despite how this may appear, no, I have not lost my mind. I’m simply (rationally) moving along the things I haven’t used in six months or more; photography for me must run as a business, too. Which is why it’s best for me to allow other people the opportunity to enjoy the stuff I’m not using – plus I’m feeling the slight guilt of underutilisation, and the Alpa FPS is really, really expensive…

In summary, here’s what’s available:

  1. Nikon AI-S 58/1.2 Noct-Nikkor, with original hood Sold pending payment
  2. Leica Q Typ 116 (review), with extras Sold
  3. Nikon F2 Titan Sold
  4. Carl Zeiss Contax/Yashica 2.8/35 PC Distagon AEG Sold
  5. Novoflex C/Y to Sony E adaptor Sold

Full details after the jump, and first come first served. I don’t expect these items to stick around very long. Prices are in USD.

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A question of value, accessibility and medium format…

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Let’s say you’re in the market for a new camera – which face it, most of us find ourselves in frequently, often for reasons of our own doing. It has to be something reasonably exciting, and having played this game and gone through this cycle many times, for argument’s sake, it’s probably going to be at the higher end of the spectrum. We have a lot of choices. What I’ve shown above represents the full spectrum of choices, from the best of conventional high performance DSLR, to the top end of mirrorless, to entry level medium format, to something a bit more unconventional. Figure on spending say ~$12k by the time you’re done – body, a lens or two, and the usual plethora of system-specific accessories.

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Time for a bit of a rethink

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This year has felt like a year of big changes for me – aside from the arrival of a new family member, my photographic focus has also changed. This is true of both professional and personal work; the former has become increasingly freestyle and less considered, and the latter has done the opposite and become more deliberate and structured. I’ll frequently go out with a tripod on a walk but haven’t used it on my last two assignments. I’ve set up flash still lifes at home, but opted for natural light during my last portrait (!) shoot. I’ve made three system changes (so far) and it’s only August. The problem is, none of them quite sit right. And I think this means it’s time to go back to the beginning. [Read more…]

Process, equipment, creativity, photography and a confession

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Aargh!

It is an indisputable fact that photographers are all obsessed with equipment to some degree. Though online forums are perhaps a poor barometer of public opinion because one only visits if you are looking for equipment reviews or spoiling for a fight with a troll, I’ve noticed the same thing here – after running this site for more than three years, the most popular posts are consistently the ones that are equipment reviews, to do with system choices, or hardware. Philosophy comes a very distant second – by a factor of three or more – and then only images, which are dead last. Surely I can’t be the only one thinking this ratio is a little odd, given that the whole purpose of the exercise is to produce images?

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System thinking

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Choices, choices, choices. From the ultimate image quality shootout.

We have a rather strange hardware problem: on casual observation, simultaneously too much choice, but at the same time, when all things are taken into account, a lack of it. It isn’t the problem of the perfect camera not existing, but rather that we have to jump through a lot of hoops for a complete solution. There are digital systems with sensor sizes ranging from 2/3” (Pentax Q) to 645 (Phase One, Hasselblad) – and to make things more confusing, surprising amounts of interchangeability*. So what is a serious photographer to do?

*Practically, this is nothing more than an illusion and a bunch of empty promises: even if you can do it, it doesn’t necessarily mean it’s a good idea.

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My love-hate relationship with gear

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The guilt (and equipment) stacks up like tetris: this is only one of my equipment cabinets; if I don’t put everything in just so, then it won’t fit. And lighting gear, accessories, tripods, bags etc. are stored elsewhere.

Any photographer who tells you that they are a hundred percent, completely indifferent to equipment is lying. It is almost (I say almost to cover myself in the unlikely event there really is somebody out there) impossible to be immune to the lull of new cameras, lenses or accessories; we’ve all felt the pull at one time or another, no matter how weak or irrational. Actually, it’s the irrational that I’m going to talk about today – purchases that are necessary from a professional standpoint (e.g. you have to buy lights if you’re going to be a studio product photographer) don’t really require justification; at least insofar as there are degrees.

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A quick post-USA trip gear evaluation

It’s not often that I’m forced to shoot with just one set of equipment for an extended period of time with no real recourse to my other gear. This trip – three weeks – has provided me with an opportunity to focus on the evaluation of what I did bring. I packed light this time – I knew I would be walking a lot, so I wanted to avoid a whole-day bag. What follows are some quick thoughts on how I thought things stacked up. MT

18/4/13 at 4.30pm – Corrected for autocorrect-induced typos; I was trying writing on my iPad on the plane home.

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