Today’s photoessay continues the series over Australia – specifically, the westernmost patch of the vast continent about halfway north. Most of these images were shot over the bit of water between Francois Peron National Park and Dirk Hartog Island; they weren’t the primary objective of the shoot, but still – when you’ve got this kind of variation in the water, there’s just no way you can not shoot. I’ve always been amazed by just how much the texture and feel of water changes with light direction and incremental amounts of breeze; what’s under the surface is hidden or revealed, almost regardless of depth. (The black patches are seaweed and seagrass.) I suppose it’s one of those fractal subjects that once again has the power to hold your attention for a significant amount of time because there are never two identical instants. I’ve printed several of these at 24″, and I feel that’s just the beginning of the ‘right size’ to allow the images to breathe – of course, being shot on the Hasselblad there’s plenty of scope for enlargement…enjoy! MT
One of the most unique things about the Australian landscape has always been the color of the soil – a rich orange-red that I’ve not seen anywhere else on earth – I guess it must have something to do with the rich mineral deposits. It ranges anywhere from a dull brown pre-dawn or post-dusk, or a really electric orange if the light hits things right – surface features stand out in stark relief and if three wasn’t anything recognisable as a plant, we might well think we were on the surface of Mars. It’s even more surreal from the sky, because the features hint at nothing so much as a landscape of history: suggestions of water dried and geology shifted; there’s definitely a sense of agelessness here. What came before? What comes next? We can only wonder. Perhaps there is something in the Aboriginal dreamtime mythology that might provide some guidance here – it’s easy to see where it came from. MT
This series was shot over Francois Peron National Park in Western Australia, from anywhere between 500 and 1500 feet.
I found myself back in the tunnels under Hong Kong again a couple of months ago. I’d previously visited both locations in a much less complete state – the Central Wanchai Bypass was a trench with a lot of bracing holding the seawall at bay, and Whampoa MTR station was a bare tunnel with no platform and no liners – just a large cavern. The former is now a neatly lined tunnel and roadway awaiting the final finishing touches for ventilation, M&E ducting and lighting; most of this portion of the contract has been or is about to be handed over to the next contract to be finished. The station is now in pretty much recognisable form – even the information counters and ticket kiosks are in, though without their final cladding and not fully cleaned up. At this point you could certainly imagine rush hour passing through, though – even if the work dust everywhere gives things a slightly post-apocalyptic feel. From an execution/ equipment standpoint, I think this assignment was tougher than my first documentary assignment with the H system – Thaipusam 2016 – mainly because the brief was tighter, light levels much lower in some places, and frequently the subjects more conscious of being photographed. For some odd reason, it was much easier to photograph religious festival participants…
Firstly, Selamat Hari Raya to my local readers! Secondly, and perhaps of more importance to the global audience, about 36 hours ago, the X1D arrived – plus both lenses and the system bag. I’m currently in the middle of a masterclass in Singapore and have had about four hours in total to shoot with it. Regular readers will know that normally, I wouldn’t post anything this early on in my usage of the camera for several reasons – firstly, firmware is not final, so not all functionality has been implemented and there are a lot of thing which will be improved before retail release. A large part of my responsibilities also include debugging and finding as many of those glitches as possible. Secondly, you really need to use it under a wide range of conditions to make a useful and comprehensive assessment of its capabilities. However, my inbox has been overflowing from the number of questions and requests for information, plus there’s been so much speculation over image quality, it’s more efficient for me to address this here. I also have clearance from Hasselblad to post full size images, linked in the article – I think they are also the first full size samples available anywhere. They are of sufficient technical standard but I’ll be the first to admit, it’s early days and I’ve not had as much time to shoot with it as usual – so the subject matter is somewhat limited. I have attempted to assess several things with these tests, though – quality of bokeh, edge sharpness, flare resistance, dynamic range, lateral CA etc. You may print or download them for your own use, but not commercial redistribution. For early impressions, read on. For full size files, click the images. I will attempt to answer questions left in comments HOWEVER please note that I am on the road for the next couple of days, so internet access will be limited. (Update: links to full size fixed; please let me know if they still don’t work.)
Important note: this is NOT final hardware, and subject to significant changes: and these changes will be only be improvements.
The teaser said game changer; those fighting words have been used before and left something wanting. I think now that the dust has somewhat settled after the X1D announcement, clearer heads may prevail in the analysis. For those who missed it: Hasselblad have just announced a 50MP medium format (44x33mm) mirrorless camera with a 2.36MP EVF, new lenses and full back compatibility with existing H system lenses, at a price point that’s bringing the fight to Pentax and making 35mm DSLRs look physically bloated.
It’s now time for a little of my customary analysis, and in a few weeks, an extended shooting report.
I was having a discussion about the presentation of landscape and color use the other day with one of my students – which in turn got me thinking about why we see so few modern landscapes that work in monochrome, typically unless the shooter is trying to imitate Ansel. My theory is that it’s much, much harder to make a compelling image of nature without color – there is the tendency for the scene to look dead, rather than vibrant and alive. You also lose all of the delicate color gradients in skies and the like – which further deadens the scene. But as with all monochrome, surely we could also use these properties to imply a sense of timelessness, surreality or detachment?
I have this habit of shooting against the sun at dawn and dusk – I think it must be a natural aversion to having the light source directly behind me, which it otherwise would have been had I been facing the other way. I didn’t consciously curate the images this way, but it turns out pretty much everything from the early morning and late night sessions in Ooty were shot contra-jour; there’s something about the light hitting the mist or dust or other particulates trapped between hills and creating nicely recursive (and slowly vanishing) layers into the distance. I could probably have used an EVF in some of these situations to avoid going temporarily blind… Enjoy! MT
H5D-50c with HC 3.5/50 II; 501CM with 4/50 CF T* FLE, HC1 prism and custom grip. The design lineage between the V and H cameras is very clear in this configuration…
Today’s report is a twofer, for the simple reason that both cameras share the same electronics and imaging pipeline: the backs are effectively the same apart from a power button and battery holder, plus some communication points with the camera body in the case of the H mount version. For all intents and purposes, image quality and performance are identical. I’ve owned the CFV-50c since early December 2015, and have had a H5D-50c firstly as a loaner in January and then from February onwards as part of the Hasselblad Ambassador program. I’m going on six months and norhtof 12,000 frames with Hasselblad medium format as my primary system, which makes now a good time to pause and see if I made the right choice. This will be a calmer analysis in the same vein as my long term reports on the D700, D800E, D810, 645Z and 5DSR. Since switching, I can count the number of occasions I shot with my other cameras on the fingers of one hand; I have to make sure my batteries are still charged before taking them out – which is something that has never previously happened. I suppose this is a good sign…read on if you wish to put your wallet at risk.
In the interests of full disclosure, I am a Hasselblad Ambassador, so my objectivity may be in question. But I do have a significant amount of skin in the game, too – all of the V system (including CFV) was acquired prior to my appointment, and good chunk of the H system was purchased by me at retail.
As a follow on to the article a few days ago about my experiences shooting medium format for low light reportage work, I’m presenting the promised cinematic set from Thaipusam 2016. I deliberately left a few articles’ gap between them rather than presenting them back to back; this allows a bit of settling time and objectivity between the two sets of images. It also brings up the question of stylistic choices: how do you decide?
Thaipusam is a Big Deal for those involved religiously* – but also quite an amazing experience as an observer. One of, if not the largest of these festivals takes place in a cave temple about 15km outside of Kuala Lumpur every year at the Batu Caves. I’ve photographed the event previously in 2008, 2011 and 2012. This year’s festival happened just a couple of days ago on the 23rd-24th of January, and I went back for the fourth time. I’ll be the first to admit that it’s a very special experience even as a non-participant and not really understanding the significance of the ceremony to the believers. There really is some energy there from the sheer number of participants and general positive and hopeful thoughts that are going around at the time.
*Wikipedia does a much better job of explaining it than I can.