Obligatory Post on Jan 1st

Puking late this year?

It's the time of the year again, where I feel obliged to update this blog. And it's pretty much the same scene again: Gloomy morning with no colours. There is a twist though.. the Merlion decided to hold it's vomit till much later, allowing me to catch the tranquil MBS reflections otherwise messed up by the fountain.

So.. speaking of reflections.. what are my thoughts on photography in 2015?

Another year has gone by…

Yes. This blog is almost forgotten, with only 6 (now 7) posts this year. But photographically speaking, there were major changes to my gear and vision…

Samsung EX1 – 1 month onwards

It’s been a month since I bought this toy. In light of the launch of new serious compacts, notably the Panasonic LX5 and the Canon S95, how do I feel about the EX1?

A worthy companion

Ideal compact – When one has shot DSLR (and larger) cameras long enough, this term will start appearing in the back of your mind. Nope, I’ve not found THE ideal compact yet, but I’ve got something close enough =) [long post. Beware..]

Warp my world

5 exp handheld HDR

In case you haven't notice... the above image is way wilder than usual. What happened? Make a lucky guess =D

Hmm... isn't that hard to guess eh? I gave in and bought myself yet another lens - the Tokina 10-17 FE. It's a fisheye zoom... first of its kind for DX sized sensors, and can be used on FX from 15mm onwards. (talk about future proofing)

INTRO TO FISHEYE

This lens is a SPECIALITY lens. Which means it is only useful in a few situations. Used too often, viewers will develop vertigo, and it might just turn them off. But when used the right way, it is able to get you ASS-KICKING perspectives no other lenses can.

Fisheyes have geometric instead of volumetric distortions. That is to say, objects retain the same area in the picture no matter where it is placed. Rectilinear lenses, say the 12-24, have volumetric distortions, stretching objects placed at the edges, making faces and bodies look wider than they are supposed to be. However, fisheyes curve any lines that doesn't pass through the center, so there are subjects that you shouldn't shoot with a fisheye under normal circumstances (ie buildings/landscapes).

COMPOSING WITH FISHEYES

What i love about this particular lens is the wide-ness. It's sick. You get the full 180 degrees FOV, meaning that EVERYTHING in front of you will be in the picture. That includes part of your feet or maybe your shoulder, but more commonly, your shadow. The widest rectilinear lens at the moment is the sigma 12-24, but that is only about 120 deg FOV. Imagine how much wider this is! The extreme wideness and unique distortion means I have to learn to compose in a very different way.

To get use to this new persective, I stuck the camera to my eye as i walked around the park. With the distortion, I have the ability to "bend" objects, warping them to aid my composition. This also means that how I frame my picture will be more important than before. You can't simply crop the image in post.

HANDLING & BUILT

The 10-17 is a very compact and light lens. Despite its solid metallic body, it only weighs 350g. (the 12-24 weights 750g). It is only slightly larger than a 50mm prime, making it an ideal walkabout UWA, provided you can accept the loss of corner detail when pictures are de-fished.

PERFORMANCE

Wide open, this lens is not very sharp. Purple fringing is evident, even after the Expeed processing. But stopped down to f8 and sharpness is much more acceptable, although still not as sharp as any other lens I own.

Edit: I made a serious mistake on leaving AF Fine Tune ON. (Apparently D300 doesn't allow fine tuning of different 3rd party lenses) With it off, I get much better results. This lens is surprisingly sharp all the way to the edges from f5.6 and above!

It is surprisingly resilient to flare though, and the 6 aperture blades give me very nice sunbursts. This is important as the lens is so wide you almost always get the sun in your picture.

Matrix metering will go wild outdoors, due to the super high contrast of the scene. Use center weighted, manual, or if possible, HDR like what i've did. (it helps if you can rattle off at 8fps hehe)

IN CONCLUSION this is a very unique yet versatile lens. Lightweight and compact, I believe it will be with me for the non-important social gatherings, or walkabouts more often than the 12-24.

Nikon's latest releases - d700 & sb900

I'm back from my Redang trip, and have quite a lot of NEFs to convert (including those from last week's portrait shoot. But the first post since returning will not have a single picture. Being gear headed as I am, the first thing i did when i returned was to visit dpreview for any latest Nikon releases... and lo and behold, here's the D700 and SB900 - as rumoured. More after the break.

D700 - This is Nikon's cheaper FX camera, with hardly any compromises. For those dreaming of FX on a d80 or lesser body... dream on. You can't meter with legacy lenses with those bodies, and only with legacy lenses will Nikon users have a chance at Canon's wide range of primes.

NO, you won't see a D700 in my hands anytime soon

People debating between D700 and D300 is basically choosing between FX and DX. Both have the same speed, almost same body, sharing same accessories. For me, I have 2 DX lenses at the moment, and if they were to be upgraded to their FX equivalents, I have to fork out another 5k (lens alone) I'm going to be a uni student soon, and that means no income + high expense. Nope, i don't have 5k to burn at the moment. But I will definitely think thrice before anymore DX lens purchases.

FX tempts me for it's much better bokeh and high ISO performance, as well as UWA lenses. My next DSLR might be an FX one, but I'll definitely want to keep a DX body for its reach. I don't see myself owning the 300mm f2.8 anytime soon.

SB900 - This is a tempting product. Very. From specs alone, there isn't any difference compared to SB800. SB800 is as good as a flash can get, specs wise. What really got me is the ergonomics. This is exactly what is wrong with the SB800.

1. I have to hold down the on/off button for a sec before i can turn it off. SLOW. And sometimes it doesn't respond, as the buttons are hard to press with fat fingers, or when u are wearing gloves.
2. I need an average of 4 secs to switch between CLS and normal modes, and that includes mashing the buttons like siao. I will hesitate even when i know a scene will look better with off hand light, because i don't know if i can get it back on fast enough should something else happens.
3. I cannot turn the head right for more than 90 deg. Which means i can't bounce over my shoulder if i hold my cam in the vertical position. This is a severe limitation for indoor shooters.

The SB900 solves all these! It's a major ergonomic improvement. So YES, I will get an SB900, but not so soon. I will get it the moment the price drops to about 600 new. The SB800 will be slaved when that moment arrives.

ThinkTank Change-Up - First Impressions

A new lens changes one's shooting perspectives, but a new bag will change one's shooting experience. Read on to find out about my first impressions of the Change-Up after 2 days of assignments.

On Saturday, I wore the full load (80-200 f2.8, 12-24, 17-50, SB800, D300 + grip, 8 extra AA batteries, umbrella and 1 full water bottle) All the way from 2pm to almost 7pm. I did not bother to take them off, even as I stood through all the MRT trips. At the end of the day, I could hardly feel any strain from the load. Full marks for carrying comfort. Impressive.

Throughout the event, I get to constantly switch lenses as and when I feel like it. It is just so natural. In the past, I have to #1 shrug my shoulder to allow my hand to reach into the bag, and #2 use 1 hand to hold the flap open, #3 keep still so the bag doesn't pendulum around. Doesn't sound difficult, but try it when ur bag weighs about 5 kilos. I usually choose to leave the bag on my seat, and return to it for lens changing. I chose to risk not getting the shot I want, in return for a less shoulder strain. It is also risky as someone might go steal your stuff.

Right now the whole process is just so natural I felt WEIRD to be changing lenses as I walk around. Full marks for accessibility. No doubt about that.

And when I had to suddenly rush in front to grab spontaneous shots from low angles, I just.. do it. In the past, I'll have to crash my whole bag onto the ground doing so. No doubt the bag is thickly padded, but is it really necessary?

But before I give full marks for agility, I do noted 1 problem. With the 2 chimp cages on the sides, it can take a while to get used to the added width of your body. I can barely get through MRT gantries, if I don't rotate the pack. Something I have to get used to, but a possible disadvantage when fighting through crowds. 9/10 for agility.

Finally, I shopped for an hour in Plaza Singapura after the assignment (something i don't think i'll be able to do in the past... too shag at the end of a shoot). Nope, I don't get weird looks. Perhaps people are used to flamboyant outfits on orchard road, but I doubt looks isn't as big a problem as I initially thought. It's worth adding that I wore it "reversed", other than in front as recommended on the site, so now it really looks like an SBO, rather than a fake belly. Heck. I see people carrying large guitar cases, and they seem proud of it. I should be proud of the new look too. It's probably because as photographers, we are naturally more observant than the rest, and in return become more self conscious.

Earlier in the day, as I strolled past a guy stopped in the middle of the path trying hard to stuff a lens back into his crumpler, I can't help but flash a smile at him. I was cleaning my tokina while walking towards the MRT station. Ha!

Agility, Ergonomics, Protection and Image

After close to 3 years of using clones and inferior camera bags, my body is able to tahan no more. Despite being a manpacker, I've spent 100+ on sinsehs just to twist my spine back into position. I'm feeling the effects of poor ergonomics. Today I finally gave in and got myself the ultimate... the PRADA of camera bags. It's a brand I never thought i would buy. It's a thought I'd dismiss as insane a year ago. It's a ThinkTank bag!

Show me any established photographer, and I can show you his dirty closet of bags... tried, tested, and laid aside. Camera bags to photographers are like handbags to ladies... there is NEVER a perfect bag. It is always a balance of agility, capacity, speed, comfort and of course, your image (as in what people view of you)

I knew of this long before I bought myself a proper bag, and hence have always researched and researched before getting any bag. The bag must be useful, and would not go obselete. I'll never buy another shoulder bag after my Safrotto stealth reporter D400 clone, just like i'll never get another backpack after my Tamrac Adventure 7 clone. At least not in the near future. Bags don't hold their value... so you will have to leave them to rot once they lose their purpose.

There are many considerations when choosing a bag. And i've broken it down into 2 different phases, followed by priorities to be considered:

Travelling to location - Be it on the train, bus, bicycle or just plain walking down the street. Comfort being the most important, followed by gear protection. No way you want to feel tired before you get there, and no way you want to damage your gear before the shoot. Image is of great importance too... you dun want to look like a 可疑人物. Accessibility to gear is not really important here. Too accessible, and it could well be stolen.

On location - Accessibility to gear is the most important, followed closely by comfort. You have to be able to run and gun, and swap lenses in seconds. You cannot get tired too easily too... Protection is not so important since your gear is already in your hand. Image... it depends on what you are shooting, but people will first look at your camera then your bags.

See the problem? Despite the plethora of bags available on the market, none have been able to satisfy everyone. You simply can't have everything.

There are those who would go all out for image. They are almost everywhere. The richer ones would go and get brands like Billingham, Domke or Crumpler. These bags either make you look up-market, young and chic, or for Domke users, retro and pro. Problem is, these bags are usually ergonomic failures (at least for total load >4kg). I've seen people lugging Crumpler "sinking barge", an obtrusively enormous shoulder bag... and unless he has it all stuffed with newspaper, I wonder if he would have any shoulder left at the end of the shoot. But hey... the bag matches his flambouyant outfit, so at least he doesn't look nerdy/geeky when he goes out with his girlfriend(s). Maybe his gear is just there to shoot photos of himself.. who noes?

Domkes are canvas bags. They are not cheap too. People using it will probably claim that they've shot/developed film. They speak of "hey, i'm an old bird... dun play play hor..." I've never found any of their bags attractive, at least in terms of usablity. They may be softer and slightly more comfortable, but they don't distribute heavy loads well enough. Beware your spine.

For those who are not so well off (or think that money could be better spent elsewhere) they would either get clones, or lowepro bags. Lowepro offers a huge variety of bags, but they all have a common problem - too stuffed with padding. Even when your gear is out, your bag still occupies the same bulk, and you will tend to bang into people/stuff. I've knocked down glasses at a wedding before, and have also problems going through MRT gantries with their stealth reporter series. They are only great when it comes to backpacks... all the protection you'll ever need, at a reasonable price. For ergonomics... you'll have to look elsewhere.

And then there is this rare minority that are willing to sacrifice image for the ultimate in agility, accessibility and comfort. This is where Newswear, Kinesis and Thinktank bags comes in, the ultimate being Newswear. You know SBO? The tried and tested concept derived from wars, the SBO concept fully distributes loads around your body while providing unparalleled access to equipment. Journalists swear by them. Heck, you could go run SOC with your gear! The biggest drawback - Image. You simply don't belong in the civilian world. But to a real events photographer, that might just be the ONLY way to go.

A week ago, I finally found what I thought would be the best compromise. The ThinkTank Change Up. It is like the transformer of bags. It can be used as a SBO on location, a shoulder/back pack for travelling, or a belt pack for comfort. Offering near SBO accessiblity and agility, it also has adequate padding while being flexible, and when coupled with attachments, is able to contain all my gear. Last but not least, it does all these while maintaining a somewhat civilised appearance. It is the most adaptable bag i've seen so far, and hopefully, after putting it into use, is able to deliver. I don't want to buy anymore bags!

Disclaimer: I'm entitled to my own opinions. If you find that my stereotyping might have offended you, then kindly ignore this post

Picture along the corridor

During the golden hour, take as many pictures as you can.

It's all about being there

清明时节雨纷纷, this is particularly true for me this year. I yearned for a stunning sunrise, with the gleaming sun bursting through the morning mist, amidst the padi fields in a kampung setting. Just the thought of the picture is enough to keep me awake the night before... and the first sounds of rain prevented me from falling asleep thereafter. Althought it was reduced to a drizzle around 6am, I couldn't see any stars in the sky, and this can only mean 1 thing - Heavy cloud cover. Not the best day for a sunrise dude...

But I had only one chance... seeing that my cousins were already awake, we drove into the darkness, heading for any roadside padi-fields available (no chance to recce the day before). Arrived, deployed, and only after 2 exposures, we were hit by yet another wave of showers. Cold and hungry, I felt guilty for bringing my cousins outfield. And then... miracle happened.

A hole opened up in the sky, revealing pink fluffy clouds beyond. Stalks began flying in squadrons before me, intercepting perfectly with the opening. This is no opportunity to miss. If there had to be only one picture from this trip, it had to be made now. Shot as many as possible before my filter gets smeared with raindrops. It is hard to catch the birds in a graceful formation... their wings were hardly in sync. Toyed with the idea of cloning... but heck... this is nature... nothing is perfect.

Lesson learnt: Opportunity is random and hardly predictable. It's all about being ready... it's all about being there.

How long how long?

After about 4000 shots with my new toy, I begin to see subtle improvements to my pictures. They are mainly in event photography, where the speed and ISO performance really makes a difference. But even so, I've come to demand much better pictures than before, so much so that none of the pictures taken so far deserves a place on the blog. (ever since the bird nest pic)

I've decided to rant a little, and add a mediocre pic (trying out the panaromic crop) just to keep this blog alive. Also wanna update on what feature on the new camera has proven its worth.

1. Live view - Surprise surprise =) This is a very useful feature to have. It allows me to get pictures from wilder perspectives, perspectives that others have to rely on experience and trial and errors to get.

2. Auto area AF - This is another sick feature. Not because it isn't seen on other cameras (it has been there since the days of the d70), but because of the awesome coverage of the AF points, together with a dedicated switch to flick it on. Shooting from the hip? No problem. Run and gun? No kick. In a flash you are ready to tackle the situation.

3. Auto ISO - This is one hell of a feature. So powerful i wonder how i managed without it in the past. Together with the "flash off" button, it does wonders especially indoors. Set the base to ISO800 to retain background detail when using flash, and when you cancel the flash with "flash off", the iso automatically ramps up to attain proper exposure. I can take successive with/without flash shots instantaneously. Sick.

That said, I feel that I am still at the tip of the iceberg of features the D300 has to offer. I still make lots of stupid mistakes, like leaving ADlighting on, and switching shooting modes without checking ISO used. The above picture was shot at ISO800. What a waste.

Mom, what's for breakfast today?

1/250th f11 ISO 800
AFD 80-200mm
Vivid

Had the luxury of covering a sunbird family's breakfast, as they conveniently built their nest on my neighbour's plant. Sunbirds always return to where they built their nest previously, and I was told by my neighbour that this is the third time this couple chose this spot. Even if they are forced to abandon a half built nest, they would reuse the materials collected.

I've been keeping an eye on their activity about a month ago, ever since they began construction. Both the male and female contributed to building the nest, and soon after completion the female lays her eggs. Only 2 eggs were laid. I suppose thats the maximum the nest could hold, and perhaps the max the female could produce as well.

12-14 days later, the eggs hatched and out pops the chicks. Both parents took turns feeding them. It is really heartwarming to see their co-operation =)

Sunbirds are curious creatures, and quickly adapt to human environment, as well as human presence. After standing beside the nest for about an hour, they completely ignored my presence (so long as I don't move) I was able to get as close as 1.5m.

With 12mpx, I was able to discern what was fed to the chicks. This mornings menu was full of caterpillars and grasshoppers, different from yesterday's berries. I was also able to tell that little yellow feathers are beginning to grow on the chicks. What's most interesting is the materials used in the construction of the nest - feathers, twigs, tree barks and nylon strings.

Some tips I picked up:

1. Use a tripod. U will have to hold the setup in position before the birds come in, and you will never be able to handhold for hours, even a compact camera is going to render you exhausted.
2. If you had to use flash, always use manual. Small birds have super fast reflexes and will react to your pre-flash. I was told that certain species can even fly away when your mirror flips, and before your shutter opens!
   
3. Lots and lots of patience. And do some homework on the bird's behaviour before approaching the subject.

Oh yah in case you are wondering, I only had photos for today's breakfast.

路遥知马力

F2.8 1/6th ISO3200
Picture control: Vivid
Active d-lighting: Normal

1 month into using the camera, and I'm still at the stage of customizing it. Here are my latest impressions.

Memory Banks

There are 2 kinds of memory banks, namely Shooting menu bank, and Custom menu bank, and it is the most confusing aspect of the camera I've found so far. Each of these banks have 4 slots, and can be renamed. Problem is that ALL the settings can be stored in banks, so I always forget which bank has what settings. It is very frustrating to pick up the camera only to realise that sometimes this button does this, and sometimes not. Sometimes it beeps when in focus, other times it just doesn't shoot. So one fine day I sat down, drew out a large table on an A3 paper with all the available settings, and carefully planned out what I deem should be the most effective way of utilizing them. (And up till now I am still fine-tuning the chart) Here's my plan for reference:

Shooting banks - I tend to think of them as the "film" I load, and name them rightly so.

A - "Standard outdoor" - ISO auto base @ 200/Standard + 5 sharpening/NR low/AD-lighting normal. This is the mode I'll use for walkabouts and casual shots. It delivers pictures ready for print, and works well when flash is not used indoor too.

B - "Indoor flash" - ISO auto base @ 800/Standard + 5 sharpening + 1 saturation/NR low/AD-lighting off. This is usually for indoor events. The reason for ISO auto is that if subject is too far for flash to light up, it will automatically bump up the ISO. For all other cases, it remains at the base 800. U will have to manually crank it up if u want more ambient light. ADL must be off. If left on, it will ALWAYS underexp 0.3~0.7 stops depending on settings, and then level it up in PP. My strategy indoors however is to overexp 0.3 stops and level down, as indoors we are more worried of shadow noise than highlight blowouts.

C - "Vivid landscapes" - ISO auto base @ 100/ Vivid + 5 Sharpening/NR low/AD-lighting high. This is used interchangeably with A. It is equivalent to Velvia 100. Very good for high contrast landscapes.

D - "HDR" - ISO base 100/Neutral/NR off/AD-lighting off. As the name states, this is purely for HDR, as well as pictures where I want to do heavy PP. Since we will be shooting and bracketing on a tripod, NR and ADL isn't required.

Any other settings are normalised throughout the 4 banks so as to reduce confusion.

Custom banks: I think of this as the "camera" I'm using. This is also effective should you be sharing the camera with someone else. Right now I'm only varying the AF settings and button arrangements across the banks. It is worth to consider reserving a bank as "dummy", with everything auto, so that the friend who is picking up your camera won't suddenly realise that the buttons don't work as labeled.

High ISO performance

This was taken for granted in the Canon camp. But with the D300, Nikonians are finally on the same level. But this is no D3. D3 is the jaw dropping available DARKNESS shooter. That said, the shot above was taken around 7.30pm, and the tires were lit by streetlights. Very impressive, coming from a Nikon. But Nikon has never been stingy with image quality. I wouldn't be surprised the upcoming D90 will have better high ISO performance, so this shouldn't be the main factor for any upgraders.

Liveview

I shot the above pic using LV. Otherwise i'll have to prone on what looks suspiciously like an army of ants. But it is without it's idiosyncrasies. It still flips its mirror down, and up, before a picture is taken, even in MF mode. I know I have a 150,000 shutter durability unit, but this is a stupid way to waste shutter count.

AF

It is not magic. U HAVE to fully understand the algorithms before you can max it out. That said, I just shot my nephew - an 18 month toddler running around the house in 3D 51pt focus, and results are superior to D70. I no longer need to focus and recompose. I can concentrate on composition while the camera takes care of focus. You have to watch it though, it may go nuts when the light gets low.

AWB

This is something head and shoulders ahead of D70. It is eerily accurate even under artificial lighting. Tungsten is a little warm though, but very representative of what our eyes see.

That's all for tonight. Shall end with a picture for my 6 year old favourite transportation.

F2.8 1/50th ISO 2200
Yes, the orange light is streetlight as well

D300 - Coming from the D70

The more you understand it, the less you will want any other DSLR

I am beginning to agree to this advertising statement from Nikon. I put this baby through some portrait shoot today, and shot some 150 pics. While I'm still far from understanding it inside out, initial impressions are that this is something no nikon user could have imagined 5 months ago. I'm not going to bore people with the usual specs, you should know them if you managed to find my blog. This is purely my personal opinion, coming from the nikon d70.

Build and ergonomics

The d70 feels like a toy next to this thing. The softer, stickier rubber used on the already well sculpted body ensures a very comfortable grip. The MB-D10 is almost indespensible if one shoots portrait orientation often. The battery grip, I believe, is the most well made grip ever. (don't know about the F6's grip though). It's revolutionary design means that it has a slimmer profile, and batteries are loaded just like the pro bodies. Solid, with no creaks and hardly any movement even when I mounted the d300 + grip + 80-200 f2.8 on a tripod via the grip's tripod socket. Yes.. it's the closest thing to an integrated grip as I can imagine.

Viewfinder is 100%. Real 100%. Users of D200/D80 would not find any difference in size, but the 100% is CRUCIAL to framing portraits. I can now be confident that I cropped off the body parts at appropriate positions. I can now be confident the space around the subject is just right. Put it shortly, I can frame the shot just like I would crop it in post process.

The LCD

No need to shoot tethered to a laptop on commercial shoots now. Enough said.

The Colours

I loaded up the D2XModeI for a portrait shoot today. While amatuer models would tweak the rendition for a more punchy look, it screws up skintones, making people look jaundiced. This mode got me very natural skintones. Smooth and detailed, replicated pretty darn close to what my eyes perceive. Awesome. No more orangy arms, or magenta faces. Just like I want it to be.

The CAM3500DX 51pt AF module

51pt dynamic 3D tracking may not be the most accurate method for sports, but it is pretty darn useful for portraits. I could concentrate on composition while the model strolls down the road. No need for the subject to stay in selected focus point. The camera takes care of it all, and you could actually see the AF points light up wherever the face is. Something like face-detection on point and shoots. Cool stuff.

Handling and feel

I remembered how intrigued I was when I moved from FZ30 to D70, and as I move to D300, I was equally stunned. Employing a 'soft' spring on the shutter release buttons, I can almost trigger the camera by instinct. I can take a picture before I actually realise it. Wow.

8fps is just ecstacy. I have no use for it now, except maybe to draw some unwanted attention. But knowing that you have such an option is a definite boost to one's confidence.

Oh yes, I've asked this question many times but seldom will people answer me. There IS a noticable improvement in focusing speed when the 8 AAs are loaded. Add that to the inherent improvement over the D70, my all AFD arsenal of lens just got more responsive.

AF Fine tuning

I can now ensure that my lens won't back/front focus. They are now TACK sharp. You won't think this is important until you start shooting 12mpx files. This is the way to ensure every single ounce of detail is squeezed out of your prized lenses.

A point to note though, there can be compatibility problems with 3rd party lenses. My d300 cannot tell a tokina 12-24 from a tamron 17-50... but very very luckily, both my lenses require the same compensation. Phew!

Metering with non-cpu lens

Shot with my AIS 50mm f1.4 indoors. It can matrix meter, and do ITTL flash. No problem. Turning the aperture ring automatically updates the camera. DOF preview is also possible. The large viewfinder makes manual focusing easier, though it's still a far cry from the prism split screens on the FM. But I no longer need to guess the exposure with my 50mm. Every single shot is well exposed, vibrant and colourful. I now know how optically wonderful this lens actually is.

Extras extras extras!!!

The more I read into the thick manual, the more surprises are revealed, all contributing to making the D300 one of the most customizable camera ever built.

New year goodies #1 - Tamron 17-50mm

New year goodies should come in red, but mine will all be black. Ok, with a bit of gold, and the one with a bit of red will arrive... soon?

For a start, my goodies should come in 2 parts. (hint hint) This is the first major upgrade - the Tamron SP AF 17-50mm F/2.8 XR Di-II Aspherical IF. Try saying that in one breath. This is the one lens that will take over my kit, and it's my 2nd lens capable of an f2.8 throughout.

There are many people looking to upgrade their kit lens, and being just 300 bucks more, one should certainly consider this lens as an option. So just how big is the improvement? When I took the first picture with this lens, I was stunned. Despite the picture being taken indoors (in the shop) without flash, the colour rendition was punchy and bright. Why couldn't i get the same picture with other lenses? I shot it at iso400.

It is only when one uses a fast lens that he realizes the advantage. No matter how great your body's high iso capability is, it is no substitute for fast glass. The subject isolation, OOF highlight rendition, it's simply one level up. For the price of SGD600, there is just no contest. Nikon's very own 17-55mm is at least 3.5 times the price for the slight improvement in optical quality. For a cheapskate like me, that lens is simply out of the question.

Reviewers like to say how much inferior the built of the lens is, compared to the rest of the competition. I'd say it's rubbish. One shouldn't compare a 600 dollar lens to a 2k+ Nikon, or a 800+ Tokina. I can break 3 tamrons before I actually match the loss of a Nikon. That is almost a 9 year warranty! (18 years, if you are in USA) Compared to a tokina 16-50, this is simply the sharper lens. You are trading image quality for build. Coming from the kit 18-70, I'd say this lens feels more solid. There is no wobble in the extension cam, unlike the shaky twin cam design of the kit. The thick rubber zoom ring has a nice tension when turned, and the focus ring is pretty damped. It is quite comparable in built to a Canon 17-85 imho, and I'm not at all worried about using this lens on my assignments.

Next, is the focus. For Nikon users, we are in luck. (Sony guys too) Tamron's own micro-motor for canon is just squeaky and slow. On my d70, I am hard pressed to find any difference between this lens and my kit. Sure it is less silent, and the moving focus ring might annoy some, but I have no complains. Hopefully, it is even more responsive on a d300 (another hint hint). Of course, these are just first impressions as i have yet to drive it hard on assignment.

Image quality is stellar for the price. I tested it extensively in the shop, bringing my laptop to view pictures at 100%. This made in Japan set has no TTL-BL overexposure syndrome, and is tack sharp, even at f2.8. No front, back focus problems too.

My remorse for selling my kit lens is pretty much gone when I tested this lens. I believe it shall be one hell of a companion in the days to come.

One for the family

Panasonic TZ-3, 1 torchlight, 20 sec exposure

No one in the family wants to use my d70. I decided to recommend this cam instead. Easy to use, with a super versatile 28-280mm lens and true 16:9 aspect ratio, it is very fun to shoot with. But image quality.... is quite a disappointment. One must really understand the behavior of the camera in order to bring out its true potential.

I'm exploring the techniques of light painting. It is free (provided you own a camera and torch light), and fun.

Yet another RANT

I've finally come to the last wedding pictures for this "season". As usual, I'll do a de-brief of things I learnt.

Where I failed:

• Too tight crops of subjects. I was a little too desperate to capture certain expressions, so much so that I zoomed right into their faces. Not only does it look weird to have 6mpx worth of a face, the picture also fails to tell a story. Why did this person laugh? Why the funny expression? An excuse I can come up with is that with a small and dark viewfinder, I tend to zoom in more closely to look at the expressions. Crap, another excuse for a d300.
• Too much tilt shots. This is getting out of hand. An occasional tilt adds life to the set, but overdoing it resulted in a hap-hazard presentation. Stupid. In my tries for the perfect tilt, I screwed up many shots that would otherwise be ok. In addition, having too much tilt shots also shows that i lack maturity and proper composition skills.
• Poor focus. Can't be helped, I'll get the solution should a new wedding assignment draws near.
• Not observant of light. Mounting a flash results in being totally insensitive to light. I should also learn to add more direction to where my flash is bounced, but have to watch where I blast it at.
• Bias towards family members. I shot so many pictures of my relatives I find them sick. Should have paid more attention to other people. I still lack professionalism.
• Lazy. Somewhere into the dinner, I felt tired and began to think I've got enough shots. But the truth is, the later into the night, the livelier the crowd becomes, and the more opportunities there are. Haiz.

Where I improved:

• Expression. Of course as I mentioned I get too tight expressions, but having expressions is still better than none at all. At least there is a little more variety compared to previous weddings.
• Exposure. Although I have no fast lens and hot bodies, I do have a good flash, helping me nail the exposure for the bread and butter group shots. I need to develop a way to flash without getting reflections from glasses though. An option would be off hand lighting, which is cumbersome.
• Workflow. I learnt to be more organized in picking out the better pictures and developing them, saving time (as if i'm in a hurry...lol)

Enough said. To the average joe, my pics might look ok, even great. But I know where I stand - NOOB

3rd try, no major improvements

Taking a break off the post processing of photos from my 3rd wedding assignment, held at Fullerton. I was better prepared than before, in terms of equipment as well as exposure. However, as i looked through the files i brought back, it struck me how little i improved. Perhaps I was not properly briefed on what's going on, perhaps because there were pros around and i did not want to get in the way, perhaps the lighting condition was so bad my cheapo equipment could not cope, perhaps.... the usual 101 excuses. Now for the debrief...

Biggest changes since the previous assignments:

1. Better flash control. This is no doubt due to the more powerful (and expensive) SB800 being deployed, able to light up the whole room. Also because of more experience with flash during my SYD assignments, I was able to make the flash look more subtle.
2. More ambient shots. Fullerton hotel was so grand, the interior so well decorated that I couldn't stop myself snapping away at little details and textures. These pics work well for "fillers", but are not the money shots.
3. Natural light. I'm lucky to have a borrowed D50 body with me. Its iso1600 produces much richer and cleaner pictures than my D70 noise machine. I realised that I never went below iso800 for the whole of the assignment! However, this is still not enough to capture natural light shots during dinner reception. A check with the pro showed that he is shooting ISO 3200 (on a canon 40d), at F2!!! That is a wopping 2-4 stops of light ahead of me. Pro tio si pro... got money to buy fast lens and good bodies. Perhaps one day when i get a d3...
4. More closeups. Yes, the bazooka is out again. It got me lots of smiles and expression shots that i could never achieve before. However, even the bazooka is not fast enough for the damn dinner room.

I learnt a big lesson: No matter how up ur skills can be, equipment matters! I also lack the experience, unable to anticipate moments of rich expression. The pro (ckuang from 39east) was ALWAYS there when people were smiling, laughing and shaking hands. Call him a psychic. Patience... Now i have to quickly finish my processing, and prepare myself for the 2nd wedding reception shoot in Penang, by the same couple. I'm feel honoured to be flown overseas just to shoot, and it'd better be good.

Somebody kill me!

I burnt a hole in my pocket, splurging on the most advanced flash unit nikon has ever made: the SB-800. It's hell ex... at $520 (a new one costs $620) for a xenon tube people will think you are SIAO. Some time i will make my equipment pay for themselves.

I figured i will be shooting more events, and realised the weakness of the SB-600 after the previous wedding shoot. It just isn't powerful/accurate enough. I have to levels up almost every pic and ended up with a whole lot of noise. Hopefully the new flash will solve the problem.

The worst part of this purchase is... i want more stuff! I'm now awaiting the new 55-200mm VR, and eventually i should go for the tamron/tokina 16/17-50mm f2.8.... and eventually i will be begging on the streets with a sign that reads "will shoot for food"

Clean and Clear

I'm not selling any facial cream here.

Many people send their DSLRs to manufacturer for CCD cleaning, which ranges from $20-100 per clean. Its simply daylight robbery for me. Sadly, the extra money is spent purely for peace of mind.

I use a d70, bought second hand, and without any warranty left. The guy who sold me clearly did not maintain it well, resulting in a plethora of dust on the sensor. I was tempted to send it to nikon, but luckily i came to my senses and ditched the idea.

Got a pack of 50 lens cleaning sheets for 2 bucks, wrapped it around an ice-cream stick and taking a deep breath, swiped the sensor in one firm movement. To my horror, i saw a STREAK... i thought this was the end of the world...

Luckily, it was just some unevaporated lens cleaning solution. A test image showed no scratches, and much to my delight, less dust! I became bolder and swiped the sensor many more times, each time increasing pressure, till 95% of the dust is gone. (the world isn't perfect, its better to have 1 or 2 specks of dust than to have a scratch)

Now i'm glad my sensor is sufficiently clean, and i only spent 1 cent (i used 1/4 of a lens tissue btw)

Conclusion: Be brave my men! Don't let fear be your weakness.

Disclaimer: This information is provided solely for the reader's information and is not meant to be taken as an advice. The author will not be held responsible for any damages to the reader's camera and loss of warranty, where applicable, by following the procedures described in this article. The reader is taking his own risks by following these procedures!