Friday, 21 April 2017

And On To The Travel Photographer Society


I will soon be on my way to Kuala Lumpur to attend the many events at Travel Photographer Society; whose mission it to promote the work and expertise of photographers from across the globe, as well as providing enrichment programs such as workshops, talks, photo contests and photography exhibitions.

I am scheduled to give a 6 days workshop on 'telling stories with photographs and audio'; a sort of simplified multimedia workshop for photographers and photojournalists.


I shall also give a 40 minute talk on "The Joys (And Angst) of The Personal Project"; during which I will share how I immersed myself in the world of Vietnam's Hầu Đồng rituals, and the joys (and disappointments) in producing Hầu Đồng: The Spirit Mediums of Vietnama 170-page photo book, over the course of 18-24 months.

Monday, 17 April 2017

Experimenting With The Fuji GFX50s

Photo © Tewfic El-Sawy - All Rights Reserved
I had been ruminating getting involved with medium format photography for quite some time. In fact, I had used the analog Mamiya 645 many years ago, but when I tried to have its defective shutter replaced a few months ago, I was told that the lack of readily-available parts would make it difficult, lengthy and potentially costly. Then I reflected on having to get involved in buying films, have them processed, scanned et al. So that impulse came to a halt.

I've been using the X-Pro2 (and a panoply of prime and zoom Fuji lenses) as my primary go-to camera since mid-2016 and was (and still am) perfectly content with the quality of its images. I also used -to a lesser extent- two Fuji X-T1 cameras which came in handy when I needed them for certain situations. So my gear needs were more than satisfied in terms of image quality and job requirements.

Nevertheless, the medium format itch was still there. I read all the reviews that were available on various photography websites. Many were obviously overly-gushing in their praise of the camera, whilst a few were more sensible and measured in their recommendations. 


Photo © Tewfic El-Sawy | All Rights Reserved
My just acquired "new-car-smell" GFX50s was in my hands on March 21st in Tokyo. When testing it at the retailer, I immediately and instinctively understood the menu (almost identical to the X-Pro2's), and the ergonomics felt perfect. I did think a couple of buttons were awkwardly placed, but reading through the online manual, I assigned the function of playback to the down selector button (as one example).

Photo © Tewfic El-Sawy | All Rights Reserved
I thought fitting the GFX50s strap could wait until I was back in NYC, bought a hand strap/cord fitted to the tripod mount, and carried it in a should bag. I tested it quite a lot in Senso-ji, the famous Tokyo  shrine, and in the streets of Kyoto. 

I did not find it too heavy to carry or to hold. As I said earlier, it's lighter than my Canon DSLRs, and its ergonomics are comfortable for hand-holding. That said, it's certainly not an X-Pro2 for street photography, and it's auto-focus is not as fast; with or without the face-detection option. I managed to shoot a few on-the-fly photographs of people walking about, but, for the time being and until I get the hang of it, it's not ideal for the kind of street photography I am used to. This too will have to wait.


Photo © Tewfic El-Sawy | All Rights Reserved
Other than that, the GFX50s performed flawlessly when I used it to photograph rather static subjects and the not-so-static but very willing young women posing in their kimonos in Kyoto and Tokyo. Its image quality is superlative, but I found I needed to choose the aperture/iso wisely as its heft/weight meant that on occasions my hand-holding was not steady enough for pin-sharp photographs.


Photo © Tewfic El-Sawy | All Rights Reserved
Whether on my laptop or desktop, I used Iridient Developer 3 to process either the GFX50s' RAW or jpgs with no difficulty at all. If need be, I used Color Efex Pro 4 to add some saturation and vignetting to the images.


A few months ago, I've written a blog post titled 'Can The X-Pro2 Do The Job Of The GFX50s?', and now that I have both, I believe it can (despite the variance between the X-Pro2's 24 megapixels and the GFX50s' 51.4 megapixels -which matters to pixel-peepers-).
However, using the medium format will push me into an ancillary trajectory to my "travel meets photojournalism" niche, and merge fashion-travel photography style into it, and it will allow me to photograph thematic ethnic fashion wherever I travel.

Friday, 14 April 2017

Terri Gold | Still Points In A Turning World Exhibition

Photo © Terri Gold - All Rights Reserved
Terri Gold is an award-winning photographer and artist based in New York City, and has built an impressive reputation for her infrared imagery of rituals, rites of passage, festivals, celebrations and portraits from all over the world. 

Her work “Still Points in a Turning World,” is a life-long series of images exploring our universal cross-cultural truths: the importance of family, community, ritual and the amazing diversity of its expression. The images are from Niger, Namibia, Ethiopia, Kenya, and China & India, and will be shown at a forthcoming exhibition here in New York City: 


It's one of many well deserved recognition of her talent and energy, and of her unwavering commitment to her craft. Her work has garnered many awards, is shown in galleries internationally and has been published extensively. Recent exhibitions of her work have taken place in Spain, San Francisco, Los Angeles, New York City, Colorado, Vermont and at The Annenberg Space for Photography in conjunction with the "No Strangers" exhibition. Recent awards include the International Photography Awards, Prix de la Photographie, Paris (Px3), Humanity Photo Awards, and the Black and White Spider Awards.

Terri's work has been published by Random House, Penguin Putnam, and Henry Holt, featured on numerous high profile photography blogs. She is represented by Getty Images, and has taught at the Cape Cod Photo Workshop and ICP. Terri is also a member of ASMP and National Association of Photoshop Professionals.

Tuesday, 11 April 2017

Tokyo Noir With the X-Pro2/18mm



As all large metropolitan cities (and this one is the largest and most populated), Tokyo has proven to be a 'gift that keeps giving' for street photography. This megapolis has super modern skyscrapers, neon lights (that rival NYC's Times Square), unusual fashion sense, faceless salarymen (and women) with surgical masks, temples and narrow alleys from the 1940s, small eateries that ought to have samurais in full regalia as patrons, occasional kimono-clad ladies and an eerie cleanliness....and everything seems to work efficiently, painlessly and politely.

Wandering the various distinct areas of Tokyo such as the famous crosswalk intersection in front of Shibuya Station; Shinjuku, Japan’s largest red light district, and the narrow alleys of of Golden Gai and Memory Lane; the red light district of Kabukicho; Harajuku and its crowded Takeshita Dori; Ginza, the capital's most famous upscale shopping district; Asakusa with the incomparable Sensoji temple; and Tsukiji Market, one of the largest fish markets in the world and its surrounding stalls and eating places, are all areas 'created' for taking street photographs.

I found that the Tokyo-residents were generally not as 'photo-friendly' as other Asian nationalities. As an example, some of the cos-play dressed young women walking in Harajuku covered their faces when they saw my camera. Most of the “maids” advertising Maid Cafes in Akihabara also covered their faces with their hands or their pamphlets whenever they noticed cameras pointed at them....understandably perhaps, as dressing up in maid costumes, and enticing young men (mostly) to go to their cafes is not exactly well-regarded....but it's a job.

My style of "shooting-from-the-hip" worked well in the streets of Tokyo. I managed to capture a lot of facial expressions that wouldn't have been there if I had raised my Fuji X-Pro2 to my eye, and composed normally.

Friday, 7 April 2017

The Greatest Show On Earth With The X-Pro2/18mm



In his 2013 episode of Parts Unknown, Anthony Bourdain called the Robot Restaurant as "The Greatest Show On Earth". It is in the narrow streets/alleys of Kabukicho, Shinjuku, that the Robot Restaurant's facade immediately assaults one's senses, by standing out in its utter glitzy gaudiness amongst its more "normal"neighboring establishments.

Since Bourdain got the shock of his life here, it has become a magnet for foreign visitors seeking to experience the same "buzz' he had. the cabaret show is reported to have cost in excess of $10 million (some say $100 million, which beggars belief), and provides an overwhelming LSD-like experience of robots, loud thumping electronic music, strobing neon lights, giant animatronics, hyper pop songs and naturally, scantily-clad shapely dancing girls whose names range from Namie Osawa, Love Katase and Rin Tanba.


While the whole atmosphere looks more like the interior of a very gaudy cruise ship and more lights than Las Vegas, the show is unique and mind-boggling (or mindless). It's very popular despite that it's $60 per person to watch the 60-minutes show. Imagine robots engaging in mock battles with beautiful bikini-clad, drumming and ninja fighting Japanese women riding neon tanks and giant fembots; while other robots roller-skate and dance swathed in a rainbow of neon lights.

I had read somewhere that photography with "large" cameras was prohibited, and that's perhaps the reason I was freely able to use the small X-Pro2 and the Fujinon 18mm 2.0 during the whole show. Its small size let it slip under the radar. l just pushed the ISO almost as high as it would go and, almost instinctively, snapped away as fast as I could with little disregard to composition. The blinking strong multi-colored lights often fooled the camera's exposure system.

I wasn't optimistic at the number and quality of the resulting images, so was extremely surprised that there many more that were completely usable...way more than I expected. I knew Fuji cameras have been known for their high ISO performance, but I am very pleased with the performance of the X-Pro2 and the 18mm Fujinon lens (at its largest aperture) at such a venue with disparate light intensities, and rapid movement of the performers.

Thursday, 6 April 2017

Travel Photographer Society Awards 2017

© Zarni Myo Win-Courtesy Travel Photographer Society
It has been a pleasure and an eye opening experience to be part of the jury that adjudicated the Travel Photographer Society Awards 2017. The entries were incredibly powerful, beautiful, compelling and imaginative. And it's extremely gratifying to have Zarni Myo Win of Myanmar winning the overall prize with his monochromatic photograph of three boys jumping off a mythical lion statue into the Irrawaddy river near Mandalay's Mya Thein Tan Pagoda, .

It is infrequent to see a monochromatic image submitted to travel competitions, and the composition of the scene is "balanced". The sense of timing is perfect. I also liked the toning done to the photograph...it gives the clouds an ominous look, but the waters are dark but calm, and the unmistakable insouciance of the youths gives the overall image a wonderful feeling.

Congratulations to all the winners, and for more of the top 45 TPS Awards, click here.

Some of the other and equally talented category winners are:

Category Winner Landscape/Environment. © Giuseppe Mario (Etna Eruption)

Category Winner Travel/Documentary: © Yen Sin Wong. (Suri)
Category Winner: People/Culture. © Corneliu Cazacu (Girl With Bear Skin)

Category Winner: Street. © Moin Uddin (The Man’s Stare)
As for the Editors' Choice Winners, these are:

Landscape/Environment: © Jan Pusdrowski. Flames of Herostratus
Travel/Documentary: © Nick Ng Yeow Kee (A Day’s Work)
 People/Culture: © Suhaimi Abdullah (Color My World)
Street: © Maria Kassimatis. (British Commonwealth)

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