I knew nothing about Tasmania before setting off; not even that it’s a whole separate island from mainland Australia. My schedule leading up to the trip was too busy for me to even think about it, let alone look it up on a map. Because everything had been planned by my in-laws, I just had to show up. All I knew was that I’d probably get a few good landscape photos out of it, and be horrified by the lack of fast internet access.
On the first point, it turned out to be quite a beautiful place indeed, if not very convenient to get around. You’re in for hours of driving between small towns if you want to visit the main attractions, and some of the windy roads literally border on death traps—you can slip down the side of a mountain with a swerve.
You never use the cameras you have as much as you do when there’s a new one ordered and on the way. I’ve just bought a Panasonic LX10 online to take the place of my 6(!) year old Sony RX100mk1—a compact travel camera with a big-enough 1″ sensor and useful 3x-ish zoom range.
Below: a recent shot from my RX100.
That the LX10 has been on the market for 2 years says something about my changing habits. Buying last year’s model used to be unthinkable, and I’d pay a premium for buying that way. But the industry has changed and now hardware updates come every few years instead of annually, and the average price has gone over the $1000 mark to compensate for the drop in sales. Buying late nets you a nice discount back to pre-smartphone prices.
Anyway, while waiting for that camera to come and prove wrong my fears that I’ve given my money to a scammy HK website, I’ve been using my iPhone X and RX100 a bit around the neighborhood and workplace.
I can’t stress enough how much the Halide camera app + Adobe’s new and improved Lightroom Mobile have changed the way I shoot and edit RAW images on iPhone. (I still love and use Darkroom too, it just doesn’t do RAW as well as Lightroom anymore.)
Shooting koi in a rippling pool with an iPhone requires you to go full manual, and while the thought of fiddling with shutter speeds and ISO and manual focus on a touchscreen used to make me shudder, it’s actually doable with Halide’s well-considered control layout and gestures. I just wish you could lock focus peaking to always-on.
Honestly, I had no idea you could get this kind of sharpness and microcontrast out of an iPhone. I’ll be saving JPEGs and Live Photos for quick grab shots and moving scenes from now on. Given that I’ve taken a few holidays with just my iPhone, this is all making me wonder if I should have bought a new dedicated camera at all.
Okay okay, while shooting in RAW preserves highlights and deals with tricky lighting such as the above shot in the late afternoon, I’ll admit to enhancing that flare with Lens Distortions. It’s all about creating the scene you saw with your eyes, right??
Assuming the camera comes on time, I’ll probably bring it with me to Tasmania when I go in a few weeks. Seems like a landscape kinda place, so I have doubts about bringing my other cameras: a Ricoh GR (28mm) and Fujifilm X100T (35mm). 🤔
I spent the month of January shooting photos only in black and white. Not just the ones I posted on Instagram, but everything in my camera roll got converted and saved in black and white. When I scroll through my timeline in the future, this block of 60 or so shots is going to stand out.
I got the idea from @espresso on Twitter who shot monochrome photos for the entire year of 2015. That’s dedication. It only came to my attention in December when he started mentioning how much he looked forward to color again in the new year. You can see his Storehouse collection of photos here.
It was absolutely worth it. You can always learn a lot in any creative endeavor by putting restrictions in place; I think because it’s too easy to try to grow in many ways at once, especially when taking photos, you can go from landscapes to close ups to street scenes in a single day, and play with a dozen photo processes and apps at a time. Taking away some options can make you focus long enough in one direction to notice something new. Taking color away immediately makes you think about lines and composition and texture. All the habits you’ve formed around what looks interesting and when to raise your camera are rendered unreliable, and you’re made to look at everything through new criteria that you’re forming through practice.
It reminds you that the absence of color is actually a powerful tool that has gotten too closely associated with making statements or establishing mood. It’s a legitimate way of directing attention, and a different set of skills when doing post-processing. And it frees you up from taking photos of every meal, because it’s quickly apparent that most won’t turn out very appetizing.
If anything, a month might be too little time, especially with the demands of work and other hobbies. Now that it’s over, I intend to keep doing it, maybe at a 1:3 ratio with color photos.
Everyone should try it out some time (with the #bwchallenge hashtag). I highly recommend the Darkroom app, as always, because it gives you a ton of control over how tones are converted and shifted, going beyond the emulation of simple color lens filters.
Also check out my friend Cong’s feed, who did the challenge with me and stuck with it even through a trip to Osaka, which took some guts.
Edit: Forgot to add an observation. A lot of these photos were taken with my iPhone, and I found that turning a photo black and white negates the weaknesses of small smartphone sensors. Noise and muddy colors in dark scenes are no big deal, and the quality of available light (in gradations) seems to increase when you combine the color channels.
I was in the market for a Sony RX1R because I’d heard that the price had come down to as low as $2,400 SGD at third-party retailers, whereas Sony’s own retail stores still sells them for about $3,800. I know that’s a lot of money for a fixed-lens camera, but it was intriguing. I bought a Ricoh GR earlier this year as a birthday present to myself, and have only used it sparingly. The guilt! How could I justify a camera for Christmas too?
This particular fit of consumer madness began when a friend started looking at the new model, confusingly named the Sony RX1RII, or RX1Rm2, and which costs $5,000, for his own needs (isn’t that how it always starts?). He eventually decided to go even further upmarket with a Leica, but that’s a different story.
In the end, I hesitated too long because of the asking price and the unbearable judgment of my already adequate camera shelf, and discovered earlier this week that the older RX1R was no longer available at every third-party camera store I called and visited. My guess is Sony wanted better control of the price, and to remove competition for the new $5,000 model. It’s better, but it’s not $2,600 better.
So after a bit more research and the use of a friend’s Fujifilm X100S for a few days, I got the beautiful X100T you see above. It’s nearly a thousand dollars cheaper than the Sony would have been. It’s not a fair comparison because the sensor is APS-C sized instead of full frame, but its 35mm prime lens barrel is a lot shorter and less conspicuous as a result. Fuji’s color reproduction and JPEG quality is also quite lovely, and I’m happy with the way things look straight out of the camera. I often find the Ricoh GR series’ 28mm field of view too wide for most purposes, and with many other compacts now starting at 24mm (like Sony’s RX100), it feels great to finally shoot with The Standard.
A quick recap of the specs, if you have the time:
Fixed 35mm f2 Fujinon lens
16mp CMOS sensor with phase detection autofocus
An integrated hybrid viewfinder that switches from optical to electronic with the flick of a switch (only the new RX1R has an EVF)
Built-in WiFI for transferring photos to a smartphone via Fuji’s barely functional app
Software emulation of Fujifilm’s classic film stocks (perhaps more in name than reality): Provia, Velvia, and Astia
A little bigger than the RX1R, although more compact on the whole thanks to a smaller lens
An ND filter and electronic shutter mode for really fast captures in bright light
Here are some shots from a photo walk I took yesterday, which happened to coincide with the Hello Kitty Fun Run. I never knew it was such a big deal. Two observations: Having a camera around your neck makes you more liable to be asked to take someone’s photo, and if people notice you pointing one in their direction, they’re more likely to flash you a peace sign.
Today I received my new Moment Case (Dark Walnut Kickstarter edition) for iPhone 6 Plus after a long wait following the Kickstarter campaign. They hit a snag with manufacturing, and the release of the slightly thicker 6S series of phones necessitated holding back to make sure the original designs fit.
It works as advertised and is very easy to hold; slips into my jeans pocket comfortably enough too. Here’s a quick unboxing and look at the startup photo taking workflow. Note that you must use the Moment Camera app if you want to use the shutter button. It does NOT function as a regular Bluetooth remote shutter like the kind you use with a selfie stick.
At a recent office balcony party, I spoke to a colleague who’s also into photography (by which I mean he’s also afflicted by the coin-draining hobby of buying cameras), and realized that maybe I’ve made some progress. My last purchase was the Sony RX-100, which he also bought, and then sold, and then bought a Fuji X20, and then sold, and then bought a used Fuji X100S (pictured). The urge has not visited me lately, unless you count the $200 Q Camera which no amount of money on Earth can buy at the moment because they’ve only made one sold-out and poorly handled batch.
In the latter post, I said of version 1 of VSCOcam:
As flawed as it is capable, this low-priced alternative to the VSCO company’s pricey desktop plugins is pretty good at giving photos a realistic film look; no light leaks and crazy cross-processing here, just subtle color shifts, fade operations, and real grain overlays. Skip the other basic editing tools included; they’re not up to scratch yet, but the package is an easy buy at $0.99.
The good news this week is that version 2 of VSCOcam [iTunes] greatly improves upon those editing tools (specifically by giving operations such as adjusting brightness more precise ‘steps’ of control, and making them non-destructive within the app; new adjustments like rotation have also been added), and takes the original’s 10 built-in film looks to another level.
The new version of VSCOcam (a separate download in the App Store) is a free download, and now contains a store with 16 packs of “presets” for download at 99c each. A pack consists of 3 presets, which are really more like filters since their results cannot be accomplished by tweaking any of the editing parameters. Presets is a strange term to carry over from VSCO’s Lightroom and Aperture products, where they really are Presets.
Owners of the previous paid app can unlock the original 10 legacy filters in the new app, which is a nice touch. And as a launch special, all 16 packs can be bought for the price of 6.
The new app is essentially a ground-up redesign and rebuild. All operations are significantly faster, the built-in lightbox mode is nearly unrecognizable and has some very nice power-user features like flagging and filtering by flagged/edited states. The camera module is now good enough to use as a camera replacement, with separate focus/exposure locking, a “big shutter button” mode, high ISO boost support for iPhone 5, and other improvements. There’s also a proprietary photo publishing platform called VSCO Grid built in that I haven’t had the chance to try because accounts are being rolled out slowly as they test it.
In this week’s issue of The Round Down newsletter (subscribe!), I said:
This is a new high-water mark in mobile photography apps. […] It’s almost too good to be true, and too good to give away for nothing.
And it really is. At one point on the mobile photography timeline, taptaptap’s Camera+ app was king of the hill as an all-in-one solution because few others did as much as it did, as inoffensively as it did. However, its shortcomings in editing and effects processing have never been addressed, and the pace of development seems to have slowed down considerably in the past year. With VSCOcam 2.0, I think its successor has arrived. It has the power to fix shortcomings in photos as well as or better than Camera+ ever did, and the professional desktop editing pedigree of its filters is unmatched by competitors.
A few bugs and metadata issues notwithstanding, if I had to delete every photo app on my iPhone bar one, this would be my choice to keep.
Here are some of my favorite photos from 5 days of eating and sightseeing in Hong Kong; the ones I knew I was lucky to have as soon as I hit the button. As I said a couple of days ago, the Sony RX100 is now my favorite compact camera — just that little bit more versatile than a Ricoh GRD thanks to its 3.8x optical zoom, and, while bigger, still small enough to carry in a pocket. In terms of pure image quality, it takes better photos than any of the small-sensored compacts I’ve fooled around with.
Still, while going through the entire set on Flickr, I was surprised by how many came from the iPhone 5. At this size, can you tell which of the ones below came from an iPhone? Click through to find out.
There are a couple of photos from Art|Basel 2013, which was running at the HK Convention and Exhibition Center (HKCEC) from Thursday to the weekend. One of the low points was sitting at the cafe area and listening to a bunch of very rich people complaining about how their cameras and iPads and iPhone 5s batteries weren’t enough to last through a busy day of buying art (and taking photos of art with the flash on) even after shutting down all the apps by double-clicking the home button (=_=). They also complained that there wasn’t enough art amazing enough to buy on the spot. I wanted to tell them to spend some money on a battery pack over at Wan Chai.
A quick word about the Sony RX100 I bought on vacation: best camera I’ve ever owned. Small enough to put in a jeans pocket, amazing quality output, and fast enough to grab shots like this one — I saw it across the street just as Kim managed to hail a taxi; had literally two seconds to shoot blindly while getting in; pleased beyond words that it turned out sharp and captured the look of the lady in the shop. I don’t think you can buy a better compact right now except maybe the larger RX1 which costs five times more.
Occipital’s ClearCam (usually $1.99) was one of my favorite camera apps; it exemplified the kind of surprising software experience that made the iPhone special; an inexpensive downloadable bundle that seemed to change what the hardware in your hands could do: it took photos at a higher quality and resolution than the sensor in the phone allowed.
How? By capturing a burst of photos (5-6) and combining them to average out noise, sharpen edges, and boost light sensitivity with a proven technique called Super Resolution. It was the only app of its kind on the store, and Occipital seemed to know their imaging stuff, having also made the outstanding 360 Panorama (featured in my list of essential camera and photo apps).
It allowed the 5mp iPhone 4 to capture crisp 11mp images, but upon the release of the 8mp iPhone 4S, the app simply stopped working. I never found a replacement, and didn’t believe it would be coming back, thinking the processing requirements of working on an 8mp image were perhaps too much for a phone to handle.
Now, more than a year on, the app has finally received an update. If you have an iPhone 5, you can now shoot at an astounding maximum size of 18mp. The results are far better than if you took an 8mp photo and resampled it in Photoshop. This isn’t a simple resize; even when brought down to the same resolution as a standard shot, it’s a cleaner image being assembled — the fact that it’s also twice the resolution is just the kicker.
The advantage is especially apparent in noisy low-light shots, shown in the 100% detail shots below. Notice how the lines in the larger ClearCam capture manage to be cleaner, and how the smooth surface areas have much less visible noise. The quality of the noise reduction is much higher than you would get from noise reduction post-processing based off a single image. A simple Unsharp Mask operation would improve the ClearCam shot even further.
Over my experience with the app, I’ve found the ClearCam versions are just as usable, if not more so. Outside of photography, it’s extremely handy for whiteboard captures in a work environment.
One of the most exciting advantages of having clean 18mp shots is that it gives you a lot of freedom to crop and still have something the size of a normal shot. It’s almost as good as having a 2x or more optical zoom on your iPhone.
(Above) This was cropped from a wider shot, to frame the stairway (I liked the old-fashioned sign) and old lady leaning on the rails. The final photo is still a generous 11mp!
As long as you don’t have too much movement going on in the shot, ClearCam’s “Enhanced” mode is worth using as your default means of capture. The app also offers a “Quick” mode, which takes 3-4 standard resolution shots in a quick burst, and then analyzes them to save only the clearest, least-blurry photo to your Camera Roll. It’s an alternative to the “Stabilizer Mode” that many other apps offer, where your photo is only taken once your hands are still. Often, when it’s really hard to steady yourself (when it’s freezing, for example), you can be stuck holding your phone for a long time waiting for the shutter to trigger.
Many of us have a soft spot for the look of film photos, whether because of nostalgic associations; or a preference for the grain, faded tones, and color shifts that render the familiar world just a little more interesting. The effort to simulate this in digital photos has lately become conflated with “vintage” effects, where age and strong aberrations are introduced. Those are okay for throwaway shots and fun Instagrammable occasions, but not when a moment deserves quality with a little added character.
As a frequent user of the Visual Supply Co.’s VSCO CAM iPhone app, I knew their VSCO Film preset for professionals using Adobe Lightroom and Apple Aperture were going to be capable of producing subtle film-like looks, and save a lot of time in post-processing to achieve the kind of results I usually want. But there’s a big difference between a US$0.99 app and buying two sets of presets (a handful of finely-tuned settings and slider positions) costing US$79 each.
It’s a no-brainer for the working photographer who shoots weddings and events; VSCO Film presets are the result of people with more time than you, slaving away to find the perfect combinations of color, lighting, and grain to get the most out of photos. You pay to save yourself that Herculean effort, and make it back almost immediately.
The amateur photographer (me) has less incentive to part with their money, apart from curiosity and desire. I don’t even own a DSLR camera. The VSCO presets are very much designed to be used on well-exposed, high quality RAW photos from a DSLR. On holidays, I mostly shoot with high-end compacts like the Ricoh GR Digital, which are capable of saving RAW files, but I’m just as likely to use Point & Shoots or smartphones with small sensors, depending on the situation. Up to this moment, I’ve always chosen to save JPEGs over RAW for the convenience.
I tried to find articles online about whether or not it was worth buying VSCO Film for use on photos from regular compact cameras, but found little in the way of reassurance. The company’s official line was that they would “work”, but an SLR + RAW files was recommended. Being presets, they could not be expected to perform consistently across sources of widely varying quality.
It doesn’t help that the company has a No Refunds policy, and does not make available any demo files for curious customers to judge the results with. Being that they are geared towards professional users using gear I don’t have, I understand my need to see how the presets work with consumer cameras is a unique and unsupported one.
If you’re a Lightroom 4 or Adobe Camera RAW user, there’s a preset in the including Toolkit called “JPEG Contrast Fixer”, which corrects some of the issues you will encounter when processing a JPEG from a DSLR or camera incapable of saving RAW files. As an Aperture 3 user, that option was not available.
Since there’s a sale now on to celebrate the release of VSCO Film 02 for Aperture, which amounts to savings of 25% if you buy both packs, I decided last night to take the plunge and see what would happen. I’ve only had a couple of hours or so to test it out on some old vacation photos, but the results are encouraging.
The bottom line: If you’re not concerned with absolute emulation of the film stocks the presets are designed around — and online sentiment I’ve come across seems to be that their accuracy is subjective anyway — and you merely want to achieve a look reminiscent of film photography, you’ll be perfectly pleased using VSCO Film with consumer compact digital cameras.
The shots below were taken with a Ricoh CX6 and GRD3, and processed only within Aperture using VSCO Film 01 & 02. The trick is usually to boost exposure between 0.3 to 1.0 whilst recovering highlights, and then apply the presets you want. This approximates the default brightness I see in many DSLR photos, while expanding the dynamic range a little. Most compacts I’ve used tend to underexpose by default, with the exception of many a Sony Cybershot.
Even with the knowledge that these can work well for those with lower-end cameras, the usual per-pack price of US$79 (and US$119 for the Lightroom versions) is still going to be a significant roadblock for the casual photographer. Nevercenter’s Camerabag 2 for the desktop is just US$20 and capable of yielding great results too. I just wanted something that integrated with Aperture (non-destructive editing), wasn’t a plugin or app I had to leave the environment to use, and was more subtle. Camerabag’s baked-in presets are decidedly closer to “vintage”, but you are free to tone them down and save your own favorites.
Very intrigued by Canon’s latest consumer product shown off at CES. It’s an almost-square, mint tin-sized box with an 8x optical zoom lens, 12mp resolution, and wireless-N connectivity designed to work with your smartphone. Anything you shoot with it can be instantly shared in the ways you are already accustomed to, and the camera even applies a bunch of artistic filters automatically.
This is an interesting and astute reaction to recent trends in consumer photography: namely, people shoot and share an imagebucket load of photos with their smartphones; the more advanced of these photographers care about and strive to eke ever more quality and clarity out of their daily shots, you even see some happy to carry DSLRs around to get shots exclusively for low-res online sharing; the emergence of middle-ground devices such as Micro Four-Thirds cameras, ultra-thin laptops, tablets (hell, even phablets); and of course, the rapid demise of consumer compact cameras for everyday use, having been deemed too much bulk and inconvenience for too little versatility and quality.
This new PowerShot N cleverly defines a new middle-ground: a more ergonomically sound and high-quality experience than shooting with a smartphone’s camera, with comparable quality and superior portability versus other compacts, whilst enjoying all the connected features of your phone.