Arsenal Steps
Stabbing Alley
Doge's Palace
Santa Giorgio Maggiore
Doorway
Murano
Sunset
The Bridge of Sighs
Selfie on Burano
]]>
Terrace
Leonardo's Horse
Villa
Cellar
Rolling Downs
]]>
The Bicycle
Brunelleschi's dome
The frailty of man
Evening rain
The Tower
Sunday Stroll
Cantucci and Vin Santo
The courtyard
Perseus
]]>
Mediaeval Sprawl
Rampart Walk
Tuscan Antipasti
Sunset
Church Door
The Duomo
Light and Shadow
The Doorway
Gothic roof
]]>
Bernini's fountain
The Artist
The entrance
The oculus
Gnocchi
Driveway Sentinel
The street hawker
The Window
Dawn
The shopper
The Pantheon
Trastevere
The Colosseum
The Circus Maximus from the Palatine Hill
Trajan's Column
https://economictimes.indiatimes.com/travel/kuching-once-developed-by-19th-century-adventurer-james-brooke-is-a-must-see-tourist-destination/articleshow/70621144.cms?from=mdr
]]>
https://economictimes.indiatimes.com/magazines/panache/sea-of-green-what-makes-kota-kinabalu-in-borneo-so-special/articleshow/69390581.cms
https://economictimes.indiatimes.com/penh-is-a-testimony-to-the-horrors-glories-of-cambodias-past/articleshow/68026825.cms
Phnom Penh is a self-contained destination that provides something for the culture, food and casual tourist. You don’t have to plan distant excursions or all-day programs to make your trip memorable. Half-day diversions for the temple buff (Phnom Chisor and Ta Prohm – no fig trees but better carvings) and the handicrafts aficionado (Koh Dach) exist, but you would be better served by visiting Siem Reap instead. Less frenetic than Hanoi or Bangkok, livelier than Vientiane or Chiang Mai, Phnom Penh offers the visitor an opportunity to savour the essence of its culture and cuisine in the space of only two or three days.
A deeply religious country, Buddhist monks are as common here as Catholic priests in Rome
The night market operates every day of the year and is situated near the busiest thoroughfare of Phnom Penh
The kitchen of the Bopha Phnom Penh Titanic Restaurant
Under the dome of the Central Market, one of Phnom Penh's finest art-deco buildings
Tourists at the Royal Palace entrance
The National Museum is a wonderful way to explore the history of Phnom Pen's religious culture through its statuary, like this Durga above
Wat Ounalom, one of Phnom Penh's best preserved Buddhist Temples
Tonle Bati, a weekend picnic spot
Inside the ruins of Ta Prohm which, unlike its eponymous twin at Siem Reap, lacks the giant fig trees but has better preserved carvings
The Stupa in the Killing Fields contains a horrific set of skulls and bones exhumed from the mass graves discovered there
The gallows at the notorious Tuol Sleng Genocide Museum, a former high school that was converted into a torture centre by the Khmer Rouge
Even the locals wonder at the scale of the Royal Palace including the Silver Pagoda and the Throne Hall
Presiding deities and priest at Phnom Chisor, a hill-top temple that is reached by climbing 400 steps
]]>https://economictimes.indiatimes.com/magazines/travel/hot-lava-cool-java-bandung-offers-a-break-with-coffee-and-crater-lakes/articleshow/67704220.cms
https://economictimes.indiatimes.com/industry/services/travel/heritage-buildings-quirky-street-art-and-delicious-local-food-make-penang-an-ideal-getaway/articleshow/66395400.cms
https://economictimes.indiatimes.com/magazines/panache/melaka-a-perfect-getaway-for-tourists-tired-of-singapores-set-pieces-and-kuala-lumpurs-bustle/articleshow/65735231.cms
h
]]>
The Teesta River above Geyzing (Western Sikkim)
Solitude at the Rabdentse ruins (Western Sikkim)
Kanchendjonga Falls (Western Sikkim)
Giant Prayer Wheel near Khecheopalri Lake (Western Sikkim)
Rice Fields (Western Sikkim)
The road to Rumtek Monastery (Eastern Sikkim)
Chonghu Lake (Eastern Sikkim)
The Road to Gangtok (Eastern Sikkim)
Gonjang Monastery terrace, Gangtok (Eastern Sikkim)
Near Nathula Pass (Eastern Sikkim)
Leaning in
Evening entertainer
Comic Con artists
The acrobat
Summer madness
A Montreal pastime
The penitent
Where it all begins
Smoking hot
]]>
Returning to Jersey City after more than two years provided me an opportunity to visit all my old haunts and use the Fuji X70 after a hiatus of at least eight months. Though much has changed, much abides. While the slow gentrification of the city has resulted in much that is welcome, the urban development spree - visible evidence of which is everywhere - has taken away some of the quaintness and the laid-back charm that were the hallmarks of the city in the past. But it still offers, in cameo, great opportunities for the street and documentary photographer.
Matching murals
Guilty pleasures
Device dates
Digital Delivery
Pedestrian exercise
Outdoor confabs
Midnight solitude
]]>Pavel, the founder and administrator of the site, was himself something of a knowledge mine on Ricoh cameras (both film and digital). Unfortunately, unlike other sites focused on the likes of Fujifilm gear, he never received support or encouragement from the company whose cameras he played no small part in promoting. I have personally gained so many valuable insights, tips and tricks from the website over the years that I can honestly say that I have grown in my understanding, tastes and techniques as a result of the plethora of interactions on the forum.
I joined the party quite late, in 2011, with the Ricoh GRD III. I then went on to acquire and love the GRD IV and finally settled with the Ricoh GR, a gem that remains by my side to this very day and against which every other purchase since - the Fuji X100S, X100F, X70, Panasonic LX100, Sony A6000 - has been compared and contrasted. Since I prefer to shoot street, documentary, urbanscapes and travel, the Ricoh GR has bested them all except in a very few instances where the aforementioned cameras have held their own.
Needless to say, the Ricoh GRDIV and Ricoh GR accompanied me everywhere from 2012 - 2106. They still retain a special place in my heart and the call to use the GR surfaces every time I get frustrated with another piece of gear that pretends to be more sophisticated and capable. In this age, where the convenience of smartphones vies with the versatility and quality of ILCs, the form factor and performance of the Ricoh GR serves as a constant reminder that cameras can still be made that serve both ends of the spectrum without sacrificing the essential requirements, for me, of photography: gear responsiveness, image clarity and creative latitude.
As a token of farewell to a website to which I remain indebted, below are 24 examples of how Ricoh has served me over the years, training my vision and my instincts, ensuring by this method that I constantly aspired to something better than I was. Each one was posted on the forum all those years ago.
www.ricohforum.com RIP.
Craftsmen, Cambodia, 2012, GRDIV
Nightlife, Jersey City, 2012, GRD IV
The sign, Jersey City, 2012, GRD IV
BAM, NYC, 2013, GRD IV
Caricatures, NYC, 2013, GRD IV
The viewer, NYC, 2013, GRD IV
Strangers on a train, NYC, 2013, GRD IV
The morning after, Jersey City, 2013, GRD IV
Mayan mummers, Yucatan, 2013, GR
Museum, Philadelphia, 2013, GR
Pera, Istanbul, 2013, GR
Firing her up, Cappadocia, Turkey, 2013, GR
1 Km above the earth, Cappadocia, 2013, GR
Flare, Cappadocia, 2013, GR
Lake Champlain, Vermont, 2014, GR
The coca-leaf seller, Urubumba Valley, Peru, 2014, GR
Macchu Picchu, Peru, 2014, GR
Lake Titicaca, Peru, 2014, GR
Ellis Island, 2015, GR
Mohonk Preserve, NY State, 2015, GR
Storm, Liberty State Park, 2015, GR
Spring, New Jersey, 2016, GR, GM-1​​​​​
Morris Canal, Jersey City, 2016, GR
Jogjakarta, Java, 2016, GR
]]>
My first visit to Sri Lanka involved a road trip that started at 2AM in Colombo, and continued for 9 days along a route that took in historic Dambulla in the north, the old capital Kandy, the tea growing regions around Newara Eliya, the southern coast and the beaches between colonial Galle and Bentota and finally, a short stay in Colombo itself where we savoured some of the best seafood I have eaten anywhere. Every place visited had a unique charm, every dish a taste all its own, every personal interaction a natural ease: serendipity after serendipity indeed!
While I carried only the Fuji X100F for the sake of simplicity, I found myself reaching for my favoured 28mm length more and more and discovered, therefore, that the iPhone 7Plus suited my preferred focal length quite often. I think the only thing I missed on this trip was not carrying the Fuji X70. I've made a note to carry it on all my trips going forward. Having said this, the Fuji X100F is a great camera and performed well in some pretty challenging situations.
Inside the Dambulla Cave Temple: better preserved than similar temples on the subcontinent (X100F)
The signs of the devotee (X100F)
Temple pensioner (X100F)
Hillside Vista (X100F)
The famous hill fort of Sigiriya (X100F)
Climbers snaking their way up to the top of Sigiriya (X100F)
Guardian of the Royal Baths (iPhone 7Plus)
On top of the world: View from Sigiriya (X100F)
Nalanda Gedige: Glimpse of the enlightened one (X100F)
When the beasts are athirst (iPhone 7Plus)
The Temple of the Tooth, Kandy (X100F)
The moat, Temple of the Tooth, once infested by crocodiles (X100F)
The hill country in central Sri Lanka (X100F)
The stone edifice that is the Hill Club, Newark Eliya (X100F)
Sunset at the Galle Fort (X100F)
Bentota Beach (X100F)
Green Architecture (X100F)
Wabi-Sabi, Bentota Hatcheries (X100F)
The symmetry of perfection (X100F)
]]>
I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.
Each time I visit Lucknow, I am filled with a sense of majesty that was, of promise that might have been, and of a present that constantly rides the current of progress without succumbing to it. This is my fourth visit in twenty-five years and my first in fifteen. Though much has changed, much abides. The old monuments, many of whom have been subjected to serious repair, continue to command our respect as we gaze upon their stately grandeur. Some of the new, though vast in scale and ambitious in scope, are no more than the the hallucinatory projects of those who lack inspiration and taste to meet the demands of their megalomania. Such is the case with the the concrete park erected by one worthy who has impermanently, one hopes, enshrined herself within its Xanadu-like limits and looks out in all four cardinal directions like a modern day but uninspiring Ramses at Aswan.
Below is a selection of sepia toned images that bring home the real and eternal Lucknow to me: visible history, eclectic variety and living tradition.
All photos taken with the Fuji X100F.
The old town from the Grand Mosque
The Bara Imambara
Travelling through the Bhul Bhuliya (Labyrinth) of a thousand doors
Inside the Bawli or Step Well
Entrance gate near the Chota Imambara
The Husseinabad Clock Tower
The old and the new at Rumi Gate
Bullet holes by the Magazine in the Residency 160 years later
The old hospital at the Residency
Abandoned Mosque
Baroque Drive, La Martiniere College
]]>
Georgetown is a tribute to the English (for putting it on the map), to the Chinese (for making it what it was), to the Tamils (for adding diversity) and to the Malays (for making it what it is). In the twenty-first century it stands out not so much for being the crowning jewel of a tourist area, but for being a rich and complex cultural enclave in what is undoubtedly Malaysia's industrial heartland. And unlike Hoi-An, which is the closest thing I can think of by way of comparison (given the narrow lanes, rickshaws, endless eating houses and local colour), Georgetown is very much a living city - though tidied up and inviting for the tourist - full to bursting with commerce, schools, hospitals and cemeteries.
The Hokkien Khoo Kongsi Clan House temple houses some magnificent carvings and reliefs
The Cheong Fact Tze (Blue Mansion) boasts 38 rooms, 5 courtyards, 7 staircases and 220 windows
Within the UNESCO world heritage area are to be found a number of cultural and historical points of interest that are worth visiting: the Blue Mansion, the Chew Jetty, the Penang Museum, the Protestant Cemetery, the Pinang Peranakan Museum and Straits Chinese Jewellery Museum, the Town Hall, Sri Mariamman Temple, Fort Cornwallis and the excellent Museum of Batik Art to name a few. In between all of these are the boutique hotels - really converted shop-houses and old Peranakan mansions - that offer old world charm with the trappings of modern luxury to satisfy the most fussy sybarite.
The Pinang Peranakan Museum is a must-do to get a flavour of how Babas and Nyonyas lived at the height of Penang's affluence
The old Protestant Cemetery is full of many Old Calcutta and East India Company worthies
But once you are done with the touristy hotspots (which can all be completed in a day), you can get down to the serious business of observing street art, eating local food and savouring the good stuff in the cafes and bistros at leisure. For this is what makes Penang so special: the quaint and humorous touches that accompany the depiction of art and heritage; the flavourful mix of Chinese and Malay cooking; and the laid-back cafes that cater to every taste, age and wallet. As one of the three Straits Settlements (the other two being Malacca and Singapore), Penang is worth a visit no matter whether you are a jaded history buff, a discerning gourmand in search of new tastes or an accidental tourist looking to escape for the weekend.
Mural as shop advertisement
Young boy on old motorcycle
The Window
The Sinhalese lady
A renovated shop-house
With wonderful doors and courtyard
Traditional Roti Kanai
Not all activities are traditional
Even a wreck can be put to use for the purpose of art
A sense of scale
Even the cafes are not devoid of the artistic touch
Outside the Sri Mariamman Temple
The Indian Boatman
All photographs taken with the iPhone 7 Plus (with the OOWA wide lens attached occasionally).
]]>
One of the nice things about revisiting a location you have particularly enjoyed in the past is that you tend to look forward to a great many activities and places without worrying about the tedium of doing it all over again. But sometimes inevitable change, however small, comes in the way of your historical perspective, impacting it in ways that you could never imagine.
Such was the case with my second visit to Siem Reap. I had first visited 6 years ago. At that time, a little over a decade had passed since the end of the civil war and the beginning of proper reconstruction in Cambodia. Siem reap looked like a somewhat mouldy, colonial town where the old and the new had settled their differences with a grudging amicability. Today Siem Reap looks like a town that has understood the requirements of the budget and the leisure tourist. There are large hostels that cater to the teeming crowds from China and Thailand. There are the five and (if I may be permitted the term) seven star luxury hotels and spas that have sprung up like desert roses after a short shower. There are chic restaurants, a plethora of quality street food kiosks, night markets where you bargain just to pass the time, and more sit-down and mobile bars than you would care to count. Day-time activities for the more eclectic tourist including pottery, jewellery-making, carving and cooking classes are now par for the course. In fact Siem Reap resembles nothing more closely than Hue or Chiang Mai now, with its broad streets, branded stores and restaurant clusters. In a few years it may very well outdo Hoi An for quaintness and homogeneity.
But all this does not take any from the fact that Siem Reap is a great weekend, 3-day, 4-day or one-week getaway for the cultural, ecological, religious or accidental tourist alike. It is now easily accessed by a number of airlines at all times of the day from every major hub in South-East Asia. Visas may be had on arrival, but the wait may be such as to drive you crazy; best to acquire one before you depart for Cambodia. Once you have dispensed with the formalities of the airport, everything is but a short drive away. Being friendly is part of the Cambodian national character and tuk-tuk drivers, hotel staff and shopkeepers will all go out of their way to make you feel at ease even when they are being over-solicitous. You don't have to plan too much ahead; everything is accessible, everything is mostly affordable, and everything can be planned at almost the last minute. The issue is really the throngs who are all interested in the same itinerary as you! And there are but two ways to beat this: either visit in the off-season and hazard the rain, or book a private car and plan your daily route to be an hour ahead of or behind the tour buses that follow a fixed schedule.
With all the logistics planning out of the way (it took about an hour to do this after we checked into our hotel), we proceeded to the part where we began to enjoy our 3-day getaway in earnest. We had chosen the Borei Angkor Hotel and Spa (again) for its large airy rooms, courteous staff and simply awesome breakfast. The rooms were still airy, spacious, luxurious. They still served diverse and delicious fare at breakfast. But the staff, while courteous, were somewhat more self-conscious and formal - one of the hazards of a place becoming a must-see tourist destination. In such places, everyone eventually begins to behave like the staff at The British Museum!
But we were not to be put off and decided to spend our first afternoon visiting a few craft workshops before heading into one of the main thoroughfares to sample the local fare and the night market. This is where we got our first shock! The handicrafts that had been so beautifully hand-made and displayed at Artisans d'Angkor in the past now appeared suspiciously to lack the little inconsistencies that are the stock-in-trade of the master craftsman. And the prices had at least doubled since the last time we had visited. And so, somewhat in despair, we made our way to the street food stalls and mobile bars that lined the night market. These, at least, did not disappoint! For the beer index (that universal inflation peg for South-East Asia) had not really moved an inch. Where else in the world can you get a 50ml peg of Macallan for only $1? And the food, like the street fare in neighbouring Vietnam or Laos, was excellent.
A craftsman at Artisans D'Angkor
Psychedelia at its most vibrant
Unlike many who tend to visit the temple complexes all at once on their first day or two, we chose to start as far way from Angkor Wat as possible and then make our way back to the centre. So Day 1 was all about visiting Kbal Spean with its river of a thousand lingas and Phnom Kulen whose waterfall and sandy river bed are more spectacular than the reclining Buddha in the temple, a la Wat Arun. From here we travelled to Banteay Srei, arguably the prettiest temple in the whole of Siem Reap. Constructed by a royal counsellor rather than a king, this Hindu temple was never used as a Buddhist monastery. The intricacy of the carvings and the quality of sandstone used to build the temple never fail to impress. Coming from one who has suffered a surfeit of impressive temples across the length and breadth of India, Banteay Srei was still able to impress me after a 6 year absence. Finally, we made our way to the banks of the Tonle Sap lake, hopped on a boat and meandered through the floating village of Chong Kneas where we were able to view a sunset fit to inspire Turner. The evening was spent at Amok, a traditional Khmer (pronounced KHMAEE) restaurant, where a shot of traditional Coconut-Pineapple Sombai (rice spirit) was followed up with a mango salad, Khmer soup, a freezing cold beer, Amok, Khmer Curry, another freezing cold beer and then a ravishing chocolate dessert. You never feel bad about dinners like this when you know that the next day involves some strenuous hiking!
Phnom Kulen Temple is fully operational and open for penitents
The waterfall and the surrounding pool provide welcome relief
The exquisite sandstone used at Banteay Srei makes it stand out as the pinnacle of Cambodian temple art
Well preserved, the temple is situated some 20km away from the main Angkor Thom Citadel
Family navigating the waterways near Chong Kneas
Gathering storm over the Tonle Sap lake
After a hearty breakfast the following day, we decided to take the temple tour, visiting those places that had particularly enthralled us the last time and at least two that we had not visited earlier. Naturally, if one has come all the way to Siem Reap, one cannot avoid paying obeisance to Angkor Wat, undoubtedly the largest temple complex ever built to honour Vishnu, the preserver of the three worlds. Arguably, the greatest artistic achievements here are the bas-reliefs, with the northern and southern reliefs depicting the battles of the Ramayana and the Mahabharata respectively. Nowhere in extant Hindu temples will you find such a complete and well-preserved tableaux. In fact, except for a few grand temple complexes in the eastern and southern parts of India, you are not likely to find such a large, magnificent Hindu temple complex at all. For in addition to appeasing the Gods, this complex was also meant to immortalise the epic ambitions of its royal benefactor, Suryavarman II. You can spend a whole day at Angkor Wat and come away with the feeling that you have not spent enough time exploring every aspect of note. But if you can live with a 4 hour visit, here are some recommended highlights: the bas-reliefs, the apsaras, the library, the basins in the cruciform cloister and the view from the upper gallery.
Stepping forth in Angkor Wat
And the bas-reliefs depicting the Ramayana and the Mahabharata are as good as it is going to get anywhere on earth
Long corridors full of a large variety of Apsaras greet you
From Angkor Wat it's only a short distance to the fortifications of Angkor Thom. This walled city has some of the most amazing and diverse temples to be found within a three kilometre radius anywhere on earth. Most impressive of these is the enigmatic temple of Bayon, with its myriad faces, each one watching over the surrounding countryside, a hundred big brothers, the eyes and ears of a king, conscious of his power and achievements, unashamed of laying down, in the form of a temple, his naked intentions. In fact, there is no king since Ramses II, who has left such an indelible impression of his visage on the sacred architecture of his country as Jayavarman VII! And while the faces are the main attraction, the bas-reliefs, more secular in nature and meant to be a testament to the events that led to the rise of Jayavarman VII and to his heroic exploits, are no less spectacular than those found at Angkor Wat. As we headed back to town, we stopped to view Bapuon (and I'm still not clear how to describe it), the terrace of the elephants and the terrace of the leper king (more Yama, but anyway!). As we passed the south gate and began to cross the moat, there stood before us 54 gods and demons, all churning the ocean of milk in an endless enactment of the struggle between good and evil.
The south gate into Angkor Thom that presages the face of the temples within
Bayon, with its monolithic heads, is certainly the most spectacular temple in the Angkor Thom complex
A few tourists resisted the urge to take selfies at Bayon
That night, we headed towards the canal and chose to eat at Chanrey Tree, certainly one of the best and most classy Khmer restaurants at which one can dine. Once again Amok was the signature dish. But the pomelo salad and the cocktails were equally fantastic! In fact both Chanrey Tree and Malis are new entities that are a sign of just how much the canal front has developed in half a decade. What was once a sleepy, underdeveloped waterfront which was dark and quiet by 8PM, now has a vibe and night scene to compete with many other southeast Asian tourist destinations.
We woke early the next day. Really early. To view, with about a million other tourists of every provenance, the sunrise over Angkor. This has to be the most overrated, underwhelming and claustrophobic gathering of people at 5AM this side of the Greenwich Meridien! If you are a professional photographer, you will hate it; if you are a serious traveller, you may begin to prefer staycations; if you are a casual tourist, you may be put off celebrity destinations forever. And the clouds played spoilsport. Enough said! In order to access the upper gallery of Angkor Wat, you need to climb a sheer staircase that is open from 630AM to 530PM. If you cannot get upstairs by 730AM, you may need to wait for up to two hours in line (with temperatures that soar up to 38C and humidity that usually stays constant at 75%) before you experience the pleasure of ascending to the Gods. Realising that the sunrise was not going to be particularly Homeric, we rushed to the main building and attempted to get to the front of the line so that we could be among the privileged few who could climb to the top and climb back down before the sun made us all feel his ire. Once up there we took in the vistas, marvelled at the scale of this edifice and its supreme location, and pondered about the indomitable mind, will and ambition that ensured its eventual construction!
The iconic silhouette as dawn's rosy fingers appeared in the sky
To fully appreciate the scale of Angkor Wat you need to visit the upper galleries
Having had our fill over two days and wanting to take our leave before Angkor Wat dwarfed and trivialised all other construction, we made our way to the temples that have been taken over by nature and have been made justly famous by the giant figs that now lord it over the works of man. Perhaps the most famous of these is Ta Prohm (not least because it featured in the Lara Croft movie). But it is also the most annoying because there is always a great migration of tourists there that push and rage like wildebeest. Far more impressive, both as a temple and as a ruin with a resident giant fig, is Preah Khan (temple of the Sacred Sword). The edifice is full of lichen-dressed stone, fine but hidden carvings and archways and openings that would thrill the heart of even the most bored schoolboy. It is the archetypal "look what we came across in the jungle" ruin, waiting to be rediscovered anew with every visit. Less frequently visited for reasons of which I am unaware, this temple can, on a day that the weather holds up, impress the most jaded tourist. We wound up our trip by visiting Preah Neak Poan and Pre Rup, the former an island temple approached through a 600 metre walkway and the latter an earlier Hindu pyramid-style structure, that is fun to climb.
After the wildebeest have dispersed at Ta Prohm
More impressive than the ruined temple is the stonework
A Buddhist stupa in Preah Khan
More impressive than Ta Prohm, Preah Khan's figs are also more massive
The walkway to Preah Neak Poan was full of signs that warned against straying from the path on account of landmines!
Pre Rup was the last grand temple built from bricks rather than stone
On our last night at Siem reap, we decided to eat at Sugar Palm, whose wooden structure and fixtures provides the perfect backdrop to round off your Khmer experience. We then visited the old market (Psar Chaas) and the Made in Cambodia Market that displays everything from handicrafts and modern pottery to apparel and funky household items. This last is certainly worth a visit as it is noisy, affordable, is flanked by bars and restaurants that play live music, and affords you a taste of some very delicious coffee and chocolate-based desserts.
A night Market policeman wakes from his snooze
There's something for everyone at the night market
Our visit was concluded shortly before the trouble began. The last time we were here, the only thing on people's minds was development. As a result, courtesy, honesty, and candour were prevalent in generous measure. But development that has obviously bypassed a sizeable section of the people seems to have taken its toll. As we speak, newspapers have been shut down, parliamentary opposition is suppressed and openness, integrity and tolerance have all fallen victim to political ambition. While many think Phnom Penh is far away and that the idyllic ruins of Angkor are too precious to be tainted by the brief and tempestuous careers of a few politicians and their cronies, the consciousness of current facts are palpable in unease, in cautious responses and in political correctness. But Siem Reap has weathered much worse before and one hopes that this brief interlude too shall pass and that the people of Angkor, justly proud of their ancient inheritance, may continue to reap in full measure the benefits of their fascinating history and culture.
]]>
But Hong Kong is also a street photographer's paradise, competing with the likes of New York, Tokyo and London for sheer diversity of experience. There are the lanes like beckoning warrens of exploration, the myriad-hued light that challenges you at every hour of the day, the four seasons accompanied as they are by the unpredictability of the weather, the street lights after dark (both sulphur vapour and bright white), the shadows, textures and colours ... and of course the characters that enter the frame at every crossroad and street corner.
New use for a mobile phone
Some of the best places for candid street captures include Soho (also a food haven), Kowloon, Stanley Village, Ocean Park and the length and breadth of Hollywood Road. Sometimes you really have to get in close. It's at times like this that the compact and unobtrusive Fuji X70 shines. It's silent, fairly quick and allows for both one-handed and hip-level captures.
There's a whole city underground
Contemplation at Blake Pier
The old man near the sea
Except for Sunday the weather was a bit of a disappointment, but the wet and cloudy days provided a diffuseness all of their own that was pleasing in its own way, providing a somewhat filmy look to many of the captures.
The absence of junks was also a little disappointing
Glass, steel and concrete make for great reflections
Trump is as popular here as the fell hand of the PRC
Some nice bokeh at the Man Mo temple
The Fairies in the forger's glass
There is a pulse in Hong Kong, a real city vibe that mixes the confidence and glitter of affluent modernity with the starker realities of coexistence, struggle and individual angst. You can feel in on the streets, in the pubs and cafes, in the buses and tram cars and even in the malls! But this only adds to the excitement and enjoyment of the street photographer, providing immediacy, uniqueness and narrative which, with a little luck, can be captured through the lens of the camera.
We also serve who only sit and wait
The watcher
The Hosier
Chasing Bubbles
The Couple
The vendor
View from the Peak
The eternal selfie is never far away
]]>
Back in May I had the opportunity to revisit Bali. This was my first visit in more than 14 years. Many things have changed since then. For one, it has become considerably more expensive. Having recently visited Vietnam and supped on some of the best food on earth, sipped some of the easiest lagers and purchased some of the most beautiful handicrafts - all on a reasonable budget - Bali seemed unreasonably overpriced. There were many restaurants which advertised their crazily priced fare on shop windows that were virtually empty each time I passed, both afternoon and evening. There were art stores and artisan galleries that had obviously not entertained patrons in a very long time and yet any attempt at negotiation was rebuffed by a vigorous shake of the head and a gallic shrug!
And yet, Bali is still great for a number of things. The beaches are as spectacular as I remember them. And they cater to every taste - from the crowded to the secluded. If surfing is your thing, there are stretches that are as good as anywhere else on earth. Then there are the coastal drives and the temples like Uluwatu and the forests. Bali has its own brand of Hinduism which is something of interest, mixing local customs and beliefs with a stricter diet of Hinduism untouched by any parallel belief in Buddhism as evidenced on other Indonesian islands.
Food, however, is not Bali's strong suit. Java has a wider selection of local fare and tastier. That's not to say that Bali doesn't have some great restaurants. Locavore in Ubud and Bali Cardamom in Nusa Dua were some of the key highlights of the trip. But Warung fare just doesn't do it for me. Even the much vaunted Jimbaran Bay seafood was less tasty than I remember. And I tried it on two separate occasions at two different (but high recommended) restaurants.
Still Bali still stands out as a place that caters to the pure holiday maker. If you are not in it for eco, religious, historical or gastronomical tourism, but rather want a few days away from the madding crowd (or to immerse yourself in it), to laze and be active, to gorge and abstain, to sally forth and retreat, all after the inclinations of the moment, then Bali is certainly among the top five destinations to consider for your next vacation.
Trio, Nusa Dua
The over-hyped paddy fields
Monsters watching over us, Ubud Palace
The road to Uluwatu
Fisherfolk, Sanur
Surfer's sunset, southern coast
Inland farmer, Ubud
Hindu Priest, Pura Jagatnatha
Sacred Monkey Forest, Ubud
Tile work, Nusa Dua
Masks rival Batik work for beauty
All pictures taken with the iPhone 7 Plus.
]]>
Fishermen, Tam Giang Cauhai lagoon
Hue, the old imperial capital of Vietnam is only some 50 km north of Da Nang (famous for the US airbase here during the Vietnam War). Itself the scene of some of the worst carnage in the war (remember the Tet offensive of 1968), Hue resembles nothing so much today as a peaceful little town that offers satisfaction to both the earnest and casual tourist. It is home to some fabulous hotels, restaurants, structures and handicrafts that will suit every budget and taste. Most famous among the hotels is the Saigon Morin Hotel which, with its classic old world charm and understated elegance, played host to Charles Chaplin and Paulette Goddard when they honeymooned here after a quick wedding in Shanghai. Situated by the Perfume River, it is the perfect place to be situated to enjoy the strand, access the citadel and sally forth into the maze of lanes that house some of the best restaurants to be had anywhere in Vietnam. The best among these is undoubtedly Le Jardins de la Carambole for both French and traditional Vietnamese: the Bun Bo Hue is not to be missed.
Living statue, Perfume River Walk
But the icing on the cake has to be the citadel, the tombs and monasteries, and the local art for which Hue is quite famous. The citadel is a grand fortification whose construction began in 1804. Within the citadel lies the Imperial City (not unlike the Forbidden City in China), that houses imposing gates, palaces, temples, gardens and pavilions.
A different era, a different flag
Giant dynastic urns to commemorate less grand (often short) lives
And then there's the Perfume River. Emitting a somewhat nauseating scent (perhaps the putrefying relic of bygone days), a short boat ride brings you to The Pagoda of the Celestial Lady that affords some superb views of the river and the southern bank. It was also from this pagoda that the monk Quang Duc set forth in his Austin for Saigon and set himself ablaze in 1963 in protest against the government of Ngo Dinh Diem. His blue Austin has been returned and will, to the best of my knowledge, be parked here for all eternity.
Tourist on the north bank
View of the Perfume River and the south bank
And then there are the tombs - well mostly mausoleum complexes - that lie strewn in a somewhat broken line along the north bank of the river. Each as imposing as the next, my favourites were the tombs of the emperors Tu Duc and Khai Dinh, the former for its sheer scale and splendour, the latter for its location and prospect.
Mandarins guarding the ghost of Khai Dinh
The hills beyond Khai Dinh
Tu Duc's lavish mausoleum complex allows you to take shelter from the rain ...
...or walk for miles and feel like pieces on a giant chessboard!
Hoi An, however, is everything Hue is not. It is a beautifully preserved beach town that has consciously started up from the bedrock of an old trading village (Fai Fo). It has a wonderful beach, some chic hotels, a vibrant night market, lots of touristy activities, boutiques, dives, great restaurants (Ancient Faifo is one of the very best), outstanding cafes and visitors from almost every corner of of at least 3 continents. And all this within a walkable 4 square kilometres (except maybe the beach for which you would need to cycle some 2 kms)!
The ubiquitous rickshaw will take you from anywhere to anywhere else in less than 20 minutes
Lanterns hanging from the rafters
Even the locals know how to play to the popular imagination
If I were to go back to Hoi An, it would be for the beach, the restaurants and the cafes. I'd probably give the boat ride (except during the monthly lantern festival), the lantern making and the night market a wide berth!
The balcony of Ancient Faifo: the scallion pancakes, mango and lotus salad, and the crispy rolls are to die for
Even at the night market, the lantern shops are a star attraction
Sunset on Thu Bon river: the estuary here was a major mediaeval port
Another ode to the local craft: during the beginning of the lunar month, the power is shut off and the central courtyard is lit by lanterns only
A note on the pictures: Once again, all these images were snapped by the iPhone 7 Plus. I am beginning to get more and more impressed by the capabilities of this humble phone camera. Even as the light begins to fade, the camera performs well, especially if supported by a tripod. Apps like Cortex Cam allow handheld shots that are absolutely amazing! Except if you need to capture very fast moving objects or if you need longer reach, the iPhone may be all you need for almost any type of vacation.
]]>
First, because of the weather there were fewer boats in the bay than (I am given to believe) normally ply these waters. Not only that, we were the only ones on a boat that could have held at least 50 passengers. Secondly, the soft even light was perfect for the iPhone 7 Plus. With a dynamic range that seemed made for this small sensor, the little beast was able to manage every scene masterfully. Lastly, it was cool. Cool enough to ensure that we never wanted to go below deck. In fact my advice is to try and choose an overcast day to really enjoy the beauty of Halong Bay. Bright sun, heat and humidity are good for the beach, but not so good for sipping a cocktail and looking out on this geological wonder.
A small piece of advice. When booking a trip, ditch the guide. Just book a car or take a bus to Halong Bay (if you are not already staying in town) and reserve your tickets in advance. The guides do little more than point out some forgettable towns on the way from Hanoi to Halong Bay and make you stop at one or two equally forgettable handicraft factories of indifferent provenance and skill to get you to spend some money that you would be better served spending at smaller village shops or even shops in Hanoi itself, if you are that way inclined.
There are half-day, full-day and overnight boat tours. I personally prefer the half-day tour because it gives you a wonderful taste of what Halong Bay has to offer without ever making you wish that the trip could come to an end. In a span of 5 hours you traverse a distance of some 60 kms, take in one of the most beautiful marine landscapes in the world, eat a wonderful seafood lunch, get to sip your favourite tipple at least three times, and get to visit at least one cavern. What's not to like?
Back on shore, if you are staying the night, there are some great cafes and restaurants that serve fresh seafood to suit every taste. And there's even a cable car ride for those who just need to be reminded that they are on holiday!
Nhat Tan Bridge
But there are at least some key differences between say, Bangkok, Kuala Lumpur or even it's southern sister - Saigon or Ho Chi Minh City - and Hanoi itself. First, like some other cities in India like Calcutta, Hanoi has no specific sense of urgency. Despite the crowds and the traffic, you never get a feeling that people are impelled (or indeed compelled) to move forward at a rate that makes the empty monotony of life obvious and unbearable. Shopkeepers are attentive, taxi drivers are forgiving and restaurants are long-sufferingly patient. There is an ease about the pace of life that makes it both quaint and timeless. You cannot walk on the footpaths on account of the hawkers, but you can sit on them wherever you like without shame or fear of rebuke; It is not easy to hail down a cab here but you can jump into and out of a rickshaw at will.
Taking a break
Secondly, people are friendly without any of the ingratiating sweetness that usually grows like a giant toadstool in every tourist hotspot. The people you meet in restaurants and parks and temples are ordinary people carrying out the ordinary business of their everyday lives. They are unselfconscious and inattentive. When they smile, it is by way of a tentative companionship - strangers who find themselves enjoying the same meal or spectacle - not a precursor to a commercial transaction.
It's easy to be a communist and a buddhist since neither believe in divinity
That's not to say that there are no tourist hotspots: any guidebook will recommend The Hanoi Opera House (with a national ballet that rivals any gymnastics troupe) the Thang Long Water Puppet Theatre (not for the impatient or those with a decided taste in music) the Hoa Lo prison (too sanitised for a weak imagination), the Temple of Literature (touristy), the Tran Quoc pagoda (beautiful) the Ho Chi Minh mausoleum (austere but impressive) and the serene walks along Hoan Kiem lake. But none of these are deal breakers. Hanoi might even be enjoyed without a noteworthy visit. Well, maybe not without a visit to Tran Quoc pagoda, or the walks around Hoan Kiem lake and the old French Quarter!
The beautiful Quan Troc pagoda on West Lake
Watching the sunset at Hoan Kiem Lake
Lastly, there's the sense here that people genuinely don't want to give up their past or let progress and trade hold their future choices hostage. There's a pride in language, food and culture that doesn't assert itself by shouting like the class bully; instead it wins you over through understatement and the quiet dignity of a people who understand their identity. In this it is more refreshing than Bangkok and less subdued than Rangoon.
In northern Vietnam the Chinese influence in strong
Hop on Hop off
No place, though, is ever made famous without a famous cuisine. And while the British have (at least) their fish-and-chips and Cornish pasties, the Vietnamese are far more richly endowed. From the ubiquitous Pho to the almost equally popular Bun, from salads to wantons, from beef and pork to a tantalising array of creatures from the sea, there is something here to please every palate, somewhere to meet the size of every pocket. And talking of pockets, the warm and cold liquid stuff retails cheaply here. The concept of taxing the population (indigenous or foreign) for a tipple is alien to Hanoi. Bia Hoi pubs aside (you couldn't ask for cheaper beer), neither a large hotel nor a tiny restaurant would ever think of cheating its customers by overcharging for liquor.
Bun Bo Nam Bo
The restaurant ambience here is startlingly diverse. From the arty interiors of Chim Soo to the hole-in-the-wall snugness of Che Cap Tham Cu, there is food aplenty. Some of my personal favourites included Bun Bo Nam Bo and Koto. The only thing you can ever be sure of is that the local food will be tasty, different and fresh.
Salad at Koto
It's plain to see that all ingredients are fresh
Eventually Hanoi is as much a place as a mindset, a location in the traveller's imagination that asks no more than tolerance, empathy, friendliness and adventure. From its night markets that somehow seem more alive than those that greet you in the day to its interesting street characters and bustling cafes - that serve a delicious brew - Hanoi brings together a myriad of experiences, stimulating the senses in a way that makes a visit to this city thoroughly enjoyable.
Sugarcane at the night market
Open wares, hidden owner
The Red River
The barber and the tea seller
Special Note: All photos on this post were shot with the iPhone 7 Plus. I was most wary of carrying this as my travel camera, but it served me well. I noticed that the Portrait Mode worked well in good light; the tele lens was less contrasty than the wide. I would recommend this as a travel and street camera - not as sharp as a Ricoh, not as versatile as a Fuji - that for its size and convenience, is a great carry everywhere piece of gear.
]]>I had only my iPhone 7Plus and my Moment Wide lens and I tried to make the most of the late afternoon sun. While I missed my Fuji X70, especially when I wanted to capture the dynamic range of the scene before me, the iPhone held up quite well.
Ancient Set, Modern Props
Tete-a-tete in (sic) ruins
The inmates, 2000 years later
Enjoying the view
Rock Climbers
The documentary impulse
Leave taking
]]>
Dashing Monk
Posing Tourist
Reach for the Sky
At the feet of the Master
Outside the sanctum
Modern Times
Royal Splendour
Competitors
Sunlight
Vertigo Bar
Wat Arun
Profusion
]]>
The Singapore Flyer and Marina Bay Sands
The eternal selphie
The helix bridge
It's not often that you find folks who are allowed to wantonly post their impressions on public property here. Every so often Singapore (Antisepticopolis) believes that it must project an image of being more liberal, of promoting urban art, of embracing grit and popular angst. So it was that after months of aimless wandering and many hours of applying filters to provide some soul to my ham-boiled images, I came across - O frabjous day! Callooh! Callay! - 4 young men that were having a blast, literally, at the expense of the state in a skater's park. I do not know what prompted me to carry my X70 in my pocket yesterday but have it I did and, in a flash, out it came. For the first time I really thanked Fuji for providing both a tiltable touchscreen and a camera small enough to cradle in the palm of my hand and I bent, squatted and stood on tip-toe to frame my shots.
I do believe the X70 is proving more and more to be a worthwhile street camera!
]]>
Among these is the Notre Dame Cathedral. One wonders if this was a pre-requisite for every French colony. However this has neither the elegance of the one in Paris nor the splendor of the one in Montreal. This is simply plain, robust and worth checking off in your travel book. The crowd outside is usually more interesting, especially over the weekend. Couples especially make epic and fearless crossings while all around them scooters and cars zip by oblivious to things in their path!
There is also the post-office where people congregate under the watchful eye of Ho Chi Minh to view some old maps and look at all sorts of paraphernalia linked to the old post and telegraph services. I don't think you will ever see such a post-office anywhere else - with people lounging around as if they are all waiting for the last train out from Siberia in some second class waiting room.
And there are the few museums - the City Museum, the Reunification Palace and the American War Museum - the last a gallery of horrors and atrocities that cannot but make you cringe. Though somewhat representative of the Vietnamese side of things, there are indisputable facts that will not be brushed aside and points of view that leave you undecided. A must visit but not for the faint hearted. They even have a children's playpen there so as not to expose the impressionably young to the exhibits.
The City Museum has no such gut-wrenching exhibits however. A sedate, demure colonial building that was obviously once the home of some French grandee, the most interesting thing there is the balustrade ... and the underground tunneled pathways.
But I personally feel that these are not the reasons one visits Saigon (or Ho Chi Minh City if you prefer). If you want history, atmosphere, colonial architecture and culture in Vietnam, you would be better served going to Hanoi and ... well, north at any rate. That's not to say there is no reason to visit this southern city at all. It has at least 3 things going for it. First, it's a big urban Metropolis and has a fairly active night scene. Secondly, it's got a great food scene and serves not only the myriad Vietnamese cuisines that exist but a whole lot of other Asian ones as well. Lastly, it has a casual, friendly vibe that puts you at ease almost at once. And so, it's great for street photographers and foodies.
And the X70 really delivered here. It proved to be fast, inconspicuous, flexible and reliable in a whole host of situations: indoors, in low light, on overcast days, close-up and wide.
Reflections on an overcast day
Taking a break from the eternal ride, ride, forever ride ...
Preoccupation of the print-seller
Les Masseuses sont perces
Vestibule atelier
The best way to get into Vietnamese cuisine
Chic restaurant
The fruit seller
Restored: Through this gate a tank made its rude entrance to end the war in 1975
The pick up
The elevator shaft & stairwell
Young flaneur
National Mosque. Palm trees and fountains surround the compound.
KL is full of underpasses that provide both access and relief from the heat.
Despite the humidity, Merdeka (Independence) Square is a popular tourist destination.
​Situated at the confluence of two streams, the Masjid Jamek was the main mosque in KL before the creation of the National Mosque.
Chinese temples abound in KL and are the most accessible places of worship.
Taking a break. KL provides great opportunities for street photography.
A pair of tired legs. The X70 was able to focus quite quickly in scenes such as these.
The Menara KL Tower is a popular place in the sky (at 515m) from which to look down on the city.
As is the wonderful open-air butterfly park. Who said 28mm was limiting?
And the world's largest free-flight bird sanctuary. Holocene Park anyone? Again the X70 was up to the task of capturing (albeit close) wildlife.
]]>
Recently I had the opportunity to visit the island of Java in Indonesia. My original destination was the town of Yogyakarta, not quite the typical Indonesian tourist hotspot. Most tourists visit Bali/ Lombok and, if they visit Java, stay on the western side near Jakarta or the east near Surabaya and volcanic Mount Bromo (currently smoking). This is a pity, because, other than the superlative beaches and highlands, Java actually has a much richer and longer Hindu-Buddhist heritage than Bali; in fact the culture migrated from Java to Bali because earthquakes and volcanic eruptions and finally the rise of Islamic kingdoms threatened the prevailing civilization.
Yogyakarta looks like any medium sized city in SE Asia. A town square, a main market and restaurants clustered near the shopping area. Traffic is chaotic and, though transport is good and cheap, it takes an interminable length of time to go anywhere within the city.
But Yogyakarta gives you special access to at least 3 must-dos:
1. The most celebrated Hindu and Buddhist temples in the Southern Hemisphere
2. Some amazing Batik and Wayang (leather carved puppets used in shadow plays)
3. The Keraton (palace of the Sultan) that stands as a testament to how a Muslim ruler has integrated pre-islamic culture into a proud living tradition
The main attractions for me were the temples of Borobudur (Buddhist) and Prambanan (Hindu), both completed sometime in the 9th century. In fact Borobudur is especially attractive because it is one of the few historical Buddhist temples that I have ever seen (the other being Angkor Wat). Historical Buddhist edifices (such as remain or are excavated in India and the Eastern Himalayas) tend to be stupa-monasteries and no evidence of grand temples survive in any appreciable form today.
We set off early, determined to catch the sunrise. Along with at least 50 other tourists (mainly Dutch) I waited patiently for the sun to rise. When at last it did, we were all rewarded with an amazing spectacle of stone and light and shadow and scene.
Pre-dawn tourists taking in as much as possible.
As the sun came up, I was attracted to the glimmer on this lady's hair.
Everything in Borobudur adds up to the number nine (the number leading up to zero), a symbol of surrender and freedom from desire. There are 108 (1+0+8) stupas and 54 (5+4) Buddha statues that make up the temple.
Chinese Buddhist group performing a ritual. I like the way my trusty Ricoh GR handled the colours here.
Lost among the stupas. The Ricoh GW-3 (21mm converter) did a good job.
That evening we made our way to the Hindu temple complex of Prambanan prior to watching a Ramayana ballet (staged with the temple as a background). This temple complex has a huge Shiva temple and is flanked by smaller Vishnu and Brahma temples. The complex seems to have taken a bit of a beating in the recent quake (2010) and is currently undergoing extensive restoration. Though very different in style to Borobudur it is equally impressive and lends itself to Ricoh's special way of handling B&W.
Welcoming party at the gate of the temple.
The temples afford great vantage points to take in aspects of the overall scene.
The stones are able to speak to those who are willing to listen.
The next morning we visited the Keraton and after touring its various exhibits made our way down to the Water Palace and the underground tunnels that served as an escape route in earlier days. The place complex (still inhabited) is quite impressive and displays a great blend of tradition and modernity.
Who can resist a picture on holiday? Phone Cameras were ubiquitous. Maybe Ricoh should tie up with Apple or Samsung!!
Palace Guard. The Ricoh GR was, as usual, the stealth camera of choice.
Water Palace. In this pool, it is said, the Sultan would permit his favourites to bathe with him.
One of the underground passages. Now lit by street level skylights.
Indonesia is a nation relentlessly marching along the road of development. But what impressed me most about the area was how well Indonesia has integrated its Hindu/ Buddhist history with Muslim culture and global modernity. This is no where more evident that among the artisans who, in each instance, endeavour to preserve ancient tradition with the demands of the present. But even among the ordinary man on the street - and as street photographers one must engage with the man on the street - there is a sense of pride in what was that is mixed with a desire for what will be ... the same struggle to better one's lot that defines the essence of existence anywhere in the world.
]]>
The Menu Spinner
The Order Taker
The Satay Griller
Even lamp-posts are potent symbols of the Chief Minister's power. LX100.
But the Hooghly remains what it always was, a large and majestic river that runs at its own sedate pace. The LX100 performed admirably and was bale to capture the colors of a cloudy sunset perfectly.
The river runs on forever. LX100.
I was also able to take in Prinsep Ghat (Wharf) and it surroundings and indulge in a little street photography. Despite the failing light, the LX100 was able to produce great files because of its fast and stellar lens.
Nothing like a selfie in an historical monument. LX100.
Who says adults can't join in the fun? LX100.
From Calcutta I took a drive South along the peninsula to Puri - which affords both a lovely beach and a lot of history. On the road, we passed Dhauli, close to a very historic battlefield and a stone inscription that began the spread of a major world religion. It is said that in about 262BCE, the emperor Ashoka decided to wage war against the kingdom of Kalinga and in so doing began a conflict that was to end in his victory. But the conflict took such a toll in human lives that he was sickened by the prospect of war and turned to Buddhism. As a result he made Buddhism a state sponsored religion and sent missionaries to Burma, Sri Lanka, China, Afghanistan and Central Asia.There is a very famous rock edict at Dhauli that speaks of his grief and conversion and above this memorial is a statue of an elephant - a symbol in India associated with the Buddha and Buddhism.
​The elephant marks the spot. LX100.
Often a place or monument takes on a life of its own in the human imagination because of what it connotes in the popular idiom. Such is the case with the word juggernaut. This magnificently Germanic sounding word actually derives from the word Jagarnath - an avatar of the God Vishnu - and more specifically came into vogue when it was discovered that the image of the God (in the Jagarnath Temple in Puri) was pulled in a giant chariot with long ropes measuring many kilometers by thousands of devotees each year in July. This ancient custom goes back many centuries, but I like to believe that its likeness is forever enshrined in the Konark Sun Temple, some thirty kilometers from Puri. Despite the ravages of time, it has lost none of its magnificence.
The original chariot of the Juggernaut. LX100.
One of the seven steeds that pulled it through the cosmos. LX100.
And its giant Sundial Wheels. LX100.
The local tourists make for some great juxtaposition. LX100.
And the local residents make for some great portraits. LX100.
We finally repaired to the beach where we spent a few days soaking it all in. The LX100 made for a fantastic camera right through the trip, holding its own in sunny and cloudy weather, in low light and bright, in haze and rain. I really am beginning to believe that this is one of the best all-round travel cameras on the market today.
Early risers. LX100.
Monochrome. LX100.
Environmental Portrait 1: Where the smaller sensor of the LX100 shines.
Environmental Portrait 2: LX100.
One with the original Fuji X100. The old girl still performs.
Great colours, even SOOC.
Great metering.
Able to preserve great detail even in low light.
Sharp and contrasty lens.
Some pretty astounding macro capabilities.
No need to over-or-under expose when shooting A-priority or Manual.
Versatile zoom range allows for great framing.
Great compact camera overall.
First off, like the GW-3, the GM-1 is also made in Japan (at least both my lenses are of Japanese make). Sometimes I wonder if the there would have been no dust issue if the camera had been manufactured there as well. But unlike the GW-3, the GM-1 is a little sleeker and a little shorter than its wide-angle sibling. And unlike with the GW-3, I was not worried about edge sharpness, only about focusing distance and centre sharpness.
Secondly, the GM-1 feels a lot lighter than the GW-3. In some ways the increase in weight (<120g) is not as perceptible and one-handed operation is effortless (though two hands are recommended for close-up macro work). Thirdly, this attachment allows for 49mm filters to be screwed on. Lastly, as with the GW-3, the GH-3 adaptor is required to mount this on to the camera.
So how does the lens perform? My initial impressions were restricted to testing minimum focusing distance, AF speed and sharpness when taking pictures handheld. And my initial impressions are that this is an absolutely fantastic lens. For most of the pictures below, I set the camera to F4 - F5, set the ISO value to 400, pretty much ensuring that shutter speed was always in the 1/400 sec - 1/1000 sec range (enough to freeze motion and compensate for lack of IS.
One of the really great benefits of this lens is that it allows you to focus up to 1.5inches away (and I can swear there were instances that I was able to focus from a little farther than an inch away!) AF is pretty quick, and in my tests, the camera did not hunt. Even in very contrasty scenes (as in the pic below), the camera was able to lock focus quickly enough.
Sharpness is outstanding for a screw-on adaptor lens and in my humble opinion takes the joy of macro photography with the GR to an all new level. As with all macro shooting on the GR bokeh is smooth and pleasing.
There were times when I wished that I had carried a tripod, but I was able to ensure focus accuracy most of the time. While sharpness is fantastic, there are still a few things that could be improved - not so much with the lens as with the macro shooting experience as it relates to the camera. And while most of these will have to wait for the next iteration of the series, here goes:
a. Articulating screen for those shots that need to be taken at odd angles and for when brightness makes it too difficult to see
b. Touchscreen interface to enable setting the focus and exposure point at will
c. A better implemented manual focus operation to maximize the use of the lens and GR sensor
d. A 24mp or higher sensor to allow creative cropping.
I know this probably seems like a gratuitous rant but I hope Ricoh is listening and implements this in the GR 3. I have purposely left out the request for an EVF, but some of the stuff above would be a great start. A camera like this with the GW-3 and GM-1 to complement and enhance its abilities would keep the GR series in the game for a long time.
For now, though, the GM-1 promises to be a great GR companion and a must have for those who want macro equipment that is both highly capable and compact.
100% Crop
Here are a few examples of the images created close-up a few days ago when I happened to visit the local botanical garden. No surprises here: they are mostly of flowers. But I find shooting flowers a great way to test sharpness and colour accuracy ... and the ultimate way to test the macro capabilities of a lens.
Lack of IS coupled with the fact that the camera has no VF can make handheld macro shots difficult. Having said that, being able to set the minimum shutter speed to 1/500 sec and being able to tilt the LCD does help as far as framing and stabilizing the shot are concerned. While these shots are very pleasing and prove the capabilities of the lens, I still prefer the bokeh of the GR. And I still believe the GR has an edge when it comes to sharpness ... if ever so slightly. I would love to get my hands on the new GM-1 macro converter and test it on the GR. If it is as capable as Ricoh claims it is, it will probably make the GR a macro champion in its class.
As the elusive 21mm WCL-X70 wide angle adaptor lens is still not available I decided to try my trusty old Ricoh GW-3 on the X70. Luckily it screws on perfectly and allows one to shoot without switching to the "converter lens" option in the Fuji menu system. What amazed me was that this lens worked better on the X70 than either the WCL-100 or the TCL-100 options. In both of the latter cases there were major issues with vignetting and edge distortion. The GW-3 on the other hand provides an image almost as sharp in the centre and almost as acceptably sharp at the edges as you would get when it is screwed on to the Ricoh GR.
With touchscreen shooting, it was possible to enjoy the wider angle and the ability to quickly place focus at the bottom left hand corner and capture the image all at once. Despite the added bulk, because this is essentially a camera with an articulating LCD that needs to be operated with both hands, it provides more stability in my opinion.
Finally the GW-3 lets you get both wide and close as the following shots demonstrate. The minimum focal length with the wide angle adaptor lens attached (I believe) shrank from 10cm to about 6cm. Since centre sharpness is really the most important thing here I believe that the lens performed admirably with the X-70. I am now curious to see how well Fuji's own wide angle adapter lens performs!
Given the ambient light and the lack of IS, I was forced to shoot this wide open at ISO 200 while resting the body on a table. In this regard the articulating screen acted as a support and the camera performed admirably. Focus was locked almost immediately (years ago I took a similar shot in the Spice Market in Istanbul, but it did take a little longer to focus) and the image was captured at 1/90 sec.
I was also hell bent on shooting foliage to see if the watercolor effect was really as painterly as some have described. I am happy to report that as long as the foliage is (literally) front or middling, this is not really a problem. Foliage in the background is still a big issue. I will try shooting foliage again in the distance next week to see how this impacts the final image.
In the harsh, flat light of a Singapore morning I did miss a viewfinder. At first I used my trusty GV-1 (Ricoh) viewfinder to frame shots when the screen was unusable, but then i learnt through trial and error how to use angle the articulating touchscreen to ensure that I could compose my images with ease. I think the trick is to not only compose by angling the screen but to turn on the touch interface and focus and shoot with it at times. Crazy as this sounds, I think I get the best out of the camera when I use it like a smartphone. Which begs the question: Why all the vintage dials and rings? Frankly, I think to keep true to Fujifilm's design principles and ethos. One who wishes to rely on these may never really come to terms with the ultimate flexibility of the camera. At the expense os sounding like a stuck record, if Fujifilm were to include the ability to separate focus point from exposure point via the touchscreen, many street shooters who currently use smartphones may turn to this as the "big daddy" camera.
On Saturday, April 2nd, Fujifilm organized a photo walk in Singapore. Having learnt of it on Friday night I made my way over on Saturday morning hoping to be included on the grounds that I was visiting. While it was wonderful to experience the warmth with which I was received and quickly registered with one of the groups (I was given a red wrist band, was provided a Fujifilm wrist strap and given a bottle of water), it was equally gratifying to see the number of participants who had gathered early on what was already a steaming hot day. There were about 80 participants of all sexes and ages and every time of camera was present. The Fuji X-Pro 2 already had a strong following and the XT-1 and XT-10 were the most ubiquitous. I am happy to report that there were at least 4 of us who were sporting the X-70 (in addition to two of the X-photographers there). What is equally interesting to note is that 2 of the 4 were Ricoh GR previously - this was their first Fuji - and one was an ardent iPhone photographer!
Starting at the base of the Helix Bridge we made our way towards Gardens by the Bay and here some of us (who fortunately had purchased tickets earlier) entered the two main greenhouses. Some, like me, decided to stroll outdoors and take in the riverfront. The cherry blossoms are in full bloom here and I hope to visit this coming weekend. i will give me a chance to test out the macro capabilities of the X70. The walk provided many opportunities to capture Singapore's more celebrated structures.
I was also able to make some friends - like John, featured below. An ardent photographer, he owns the classic X100T and is currently shooting with a Nikon FM2, making notes about exposure details after every shot. He hopes to master film photography in the not too distant future. We spent mor ethan an hour chatting about photography, styles, equipment, etc.
While I still think that the Ricoh GR is a little sharper across the frame, the X70 delivers colours that pop, dynamic range and speed to make up for it. When using it for landscape there is very little distortion and the ability to compose at virtually any angle and in any light (thanks to the articulating screen) and to shoot with the flow of your finger (on account of the touchscreen) makes this a pretty handy tool in the field.
Of course, the ability to compose from the waist and snap without feeling for the shutter is a real blessing. This shot was taken between the bars of a bicycle. The avid texter-subject had just turned my way and thought nothing of my shenanigans. In fact, he probably thought I was texting too!
In the coming week I want to test two things. First the macro capabilities of the lens, with and without a tripod. Secondly, with the aid of the the 21mm Ricoh GW-3 converter (which fits perfectly, incidentally) shoot wide and see if the Ricoh lens renders crisp images sans distortion/ vignetting. If it does (and on the Ricoh GR it was a mighty fine piece of glass), owners of the Ricoh conversion lens may never need to buy the WCL-70.
Till next week ...
]]>
This review is not meant to be an uber technical review. Instead, I would like to dispense with some of the key features of the X70 upfront and then move on to a user's comparison between the X70 and (to my mind) its chief rival in the 28mm, F2.8 space – the Ricoh GRII – that includes handling, image quality, best features and ares of improvement. I was lucky enough to get to use both these cameras simultaneously (the GRII was borrowed from a friend) and, after much deliberation, decided to keep the X70 and return the GR II. While the choice was simplified by the fact that I already own and use the original GR, there were reasons beyond these that drove my decision.
Riverside shrine, India
To begin, let’s take a look at the X70. There are at least 3 things that make it more appealing than other Fuji cameras out there for certain types of photography. First it is small; I mean small enough to fit into the pocket of my shorts. It may not fit into the front pocket of a pair of skin-tight jeans, but when you think of its APSC-size sensor and non-retractable pancake lens, you realize that those Fuji engineers actually pulled off a fairly challenging feat! With a small wrist strap to tether it to your wrist, the X70 can be perfectly gripped and concealed in the palm of your hand, much like a regular sized mobile phone with a protective case (or a GRII for that matter). Second, it has an articulating touchscreen that can be used to set focus, shoot and set some other functions. This is a first for Fuji who, so far, has been busy trying to please a generation of photographers who loved and continue to love the age of film, brass, film emulsions and faux leather … but with all the trappings and convenience and technology of the digital age! Now with the Fuji X70 it appears that Fuji has subtly – without sacrificing the look or the build quality – incorporated aspects that would be familiar to and welcomed by a generation of young photographers whose initiation into photography was through – and in many instances whose current device continues to be – a mobile phone. And finally, it allows 8 customizable buttons and a totally customizable Q menu that seems like overkill. This is the first time I have seen a serious compact camera that permits more customization than the Ricoh GR! While this may not appeal to everyone, there are those who do not like having to resort to the menu every time they need to recall or change a setting.
Handling
So let’s talk about build and haptics. Both the X70 and GRII feel pretty solid in the hand (even though the Fuji is a little heavier). The GRII is a little longer while the Fuji is a little thicker, not least because of the tilting touchscreen. While Ricoh has a number of pre-assigned buttons (visibly represented through symbols) on the back plate, the Fuji layout looks sparser, almost by way of reinforcing the fact that the actual layout can be customized by the user. For users unfamiliar with the Fuji system and Fuji’s new drive towards user empowerment, their best bet will be to resort to the Q menu. Fuji has also sacrificed the toggle wheel around the menu button for the 4-way control buttons last seen on the X100. Again, the user can customize each of these buttons. Where Ricoh uses a front control wheel and a back rocker (in addition to an up/ down switch to control exposure), Fuji resorts to its standard array of milled dials on the top plate to control shutter speed and exposure and another control dial around the lens barrel to control aperture. While all of this looks great, for street and candid photography where speed is of the essence, the Fuji (unlike the Ricoh) does not automatically lend itself to one-handed operation or swift changes on the fly. In fact the aperture dial is a little too fiddly for my liking.
Since neither camera has an EVF, framing is managed through the rear LCD. On the face of it, Fuji has a similar sized LCD but Ricoh has higher resolution. If this camera were simply a copy of the X100T without the EVF, I would have to hand it to the Ricoh. But this is where the Fuji comes into its own. With a bright, tiltable screen that is responsive to touch, whose display can be customized, and that can be used to set both focus and shoot, the Fuji has set a trend that others will need to follow in the near future. There have been others before this that tried: Samsung is the first manufacturer that comes to mind. But Samsung focused on extending certain phone features into its serious compacts ahead of developing the camera and lens line that these features were meant to augment. Fuji on the other hand has developed a highly sought after aesthetic, top-of-class functionality, a fairly robust line of cameras and lenses and an expectation of quality from its X line. Only now has it gingerly ventured into a domain that has traditionally been the preserve of compact camera and mobile phone manufacturers. But by doing so, it is seeking to define how a really serious compact camera can be an extension of how you shoot with a phone! For those who are used to getting the best out of their phones by using camera replacement apps like Camera Plus, Pro Camera 8, 645 Pro, etc. this camera provides more control - more welcome button functionality but familiar touch-screen logic – to make the X70 one of the best ways to start using a serious camera that can produce results beyond the capabilities of any mobile device!
Autofocus speed is generally excellent. In good light, the speed is only just better than on the Ricoh; but as the light wanes, the Fuji does considerably better (at least in my tests). The manual focus and macro functions can be invoked through a switch on the front plate of the camera and manual focus works beautifully – through the use of magnification, a digital spilt image or a focus peak highlight. One of my biggest peeves with the Ricoh is the way in which manual focus is implemented. Though the snap focus function somewhat alleviates this, it does not wholly do away with the need for a manual focus option. Add to this that the start-up time and shot-to-shot time are faster on the Fuji, and suddenly you seem to have a serious contender to the GRII.
Some areas where the Fuji loses out to the Ricoh GR are:
- Lack of a dedicated ND filter (what were you thinking Fuji?): To compensate you have to either switch to the electronic shutter (but keep perfectly still) or screw on an ND filter (which means buying an additional filter holder).
- Lack of Custom Combination Settings: While Fuji does remember your most recent settings, there is no method as on the Ricoh to retain up to 3 custom settings at a time to be quickly invoked at the flick of a switch (MY settings). To do this the X70 user will need to set and memorize button assignments and quickly change these as required.
- Crop Mode constraints: While Fuji does provide 35mm and 47mm crop modes akin to Ricoh, these cannot be used when shooting in RAW. Fuji claims that the integrity of the 16MP jpeg file is maintained at all focal lengths (28mm, 35mm, 47mm) but this is not entirely true.
Image Quality
Eventually despite everything else, it all boils down to image quality. Note that I am comparing these two cameras in terms of still images only. Those who would like to purchase either camera as an “all-rounder” would be better served investing in a Sony or a Panasonic. Those cameras have far better video capabilities than either Fuji or Ricoh are likely to have in the foreseeable future. While comparing the two cameras I have looked at sharpness, colour saturation, B&W tonality, dynamic range and High ISO noise. Doubtless many will think that there are more scientific ways to run a comparison; I agree but then this review is not meant to imitate or plagiarise from a DXO report. I have tried as far as possible to shoot in succession at the same time of day, using the same aperture, shutter speed and ISO values and have applied as far as possible to apply the same minimum post-processing edits in Lightroom (to my taste).
Sharpness: In general the Fuji X70 is sharp from F4 – f11. Images are sharpest at the centre while edge sharpness lags a little. In this it is not much different than the Ricoh Gr II though, under a magnifying glass, the prize for sharpness wide open and corner sharpness under F5.6 may go to the Ricoh GRII. I talk of images processed from RAW. The JPEGs from the Fuji have a bit of that watercolour effect loved and hated by users in equal measure.
Fuji X70
Ricoh GRII
Colour Saturation: I have always liked the somewhat muted colours produced by the GRII, but I love the colours that pop from Fuji OOC. There is no doubt in my mind that the Fuji processing engine is superior here.
Fuji X70
Ricoh GRII
B&W tonality: I think both cameras do an admirable job of shooting B&W JPEGs. I find that Fuji with the green filter handles skin tones better; Ricoh’s signature high contrast grain can’t be touched though.
Fuji X70
Ricoh GRII
Dynamic Range: Nothing that can’t be neutralized in Lightroom, but in some instances Fuji had a slight edge.
Fuji X70
Ricoh GRII
High ISO noise: Up to ISO 1600, both cameras perform equally; between ISO 2000 and ISO 4000, the prize goes to Fuji. After that, it doesn’t really matter. Stepping above that limit shows carelessness: the use of a tripod would obviate such a need.
Fuji X70
Ricoh GRII
X70: Assessment Summary
Pros
- Excellent Build Quality with dimensions that seem right
- Sharp and contrasty lens
- ​Excellent JPEG output, great RAW output (I'm still learning to process these files), with punchy colours
- Responsive and well-thought out touch screen LCD defines a new way to operate a serious compact
- Commendable auto-focus and good shot-to-shot times
- Lots of customizability
- Ability to shoot looking down (for those times when this provides stability or conceals intent!)
Areas of Improvement (in current model)
- Allow Crop Mode in RAW (even if this means an 11MP file for 35mm and a 5MP file for 47mm)
- Through firmware update, allow separation of focus area and exposure area through touchscreen interface
- For street shooters, include the ability to turn off the LCD screen altogether and rely on the external OVF or pure hit and miss!
- Through a firmware update, allow the use of the TCL-100 converter lens. Given that the Fuji already has a dedicated 21mm converter lens (I am yet to get my hands on one), the combination of 21mm, 28mm and 40mm may prove irresistible to Ricoh fans who have been demanding something like this for years
- Include the much vaunted ACROS filter
Areas of Improvement for (for the next model)
- Include an ND filter (a real miss here)
- Allow at least 2 Custom Settings through an external dial
- Include the Snap focus function (essentially zone focusing at set distances) for street photography
- ​Create an external EVF for those who need a VF at all. The external OVF is an expensive accessory that provides very rough framing guidelines. A quality EVF will provide another level of differentiation that may make the Richoh GR crowd sit up and notice
- Include a 20MP or higher sensor for greater detail. This may allow the camera more versatility and detail, especially for landscape photography
- Include OIS as longs it does not compromise size or specs
- ​Create a weather sealed option
Conclusion
In the final analysis, as with any artistic tool, we must ask whether this camera is meant for personal or commercial use. Because of its focal length, it is will not typically lend itself to portraiture, wildlife or wedding photography. Because of its sensor size and resolution many professional landscape photographers will ignore it in favour of full-frame, medium format or larger format equipment. Because it is not the fastest kid on the block, it is particularly unsuited to sports photography. The one area it may meet the needs of the job is photojournalism: but even here the photographer may choose another camera with interchangeable lenses or a zoom lens as these provide more flexibility.
Who then is it for? On a recent visit to India I had a chance to use the camera, experiment in a variety of light conditions, and shoot a number of different subjects. The one thing that struck me about the camera is that it is uniquely responsive once you have taken the trouble to understand its menu system and have customized its buttons to suit your taste. Very much like the Ricoh (and many complain of the latter's complicated menu system ... ha! Have they ever tried figuring out Olympus' menu system) it takes time to get used to it. Once you have, it can be an intensely enriching experience.
Barges on the Ganges
I would say, after having used this camera for about 3 weeks, that this is a very personal tool. Like the GR series, it is a serious piece of equipment meant to record impressions, a contemplative, take-everywhere camera, that forces you think about what you are about to capture. This is not necessarily the kind of camera where you fire off a hundred shots and keep one. It is a perfect camera for street and documentary photography. But it is also excellent for travel and personal impressions including landscape, portraits and still life. As with the Ricoh, the closer you are to the subject, the sharper the image and the more individual the capture.
​To cross or not to cross?
It is actually quite strange that Fuji has still not included the X70 in its X-Photographers site. The X-Pro 2 which was released at the same time already has a ton of aficionados and ambassadors, and they have posted enough photographs to fill a book. I believe that there is a simple reason for this. After the X100 series, this is the first time that Fuji has actually created a personal tool. All its other cameras are either positioned as commercial products or all-purpose vehicles for enthusiasts and advanced amateurs. There is a very specific kind of photographer to whom the X70 will appeal. That photographer is the kind who only owns or mostly uses the X100 series. But the 28mm length may be too wide for them. Despite their proximity there is a huge difference in the FOV, and 35mm shooters do not always produce pleasing results at 28mm and vice versa. Furthermore, those who owns 35mm fixed focal length compact will not always see value in a 28mm compact when the WCL-100 converter lens option is available to them.
Early morning sketch
Fuji is going to have to look beyond its loyal base to get the kind of user who will do this camera justice. In fact, users of the GR series would be the perfect target. Frustrated by the fact that the GRII was hardly an upgrade from the original GR, many are beginning to upgrade to full-frame or look farther afield to meet their needs. The kind of Fuji ambassador for this camera may also be the mobile phone shooter (and there is some really great stuff being done by such shooters on the street and elsewhere), who is used to the 28mm - 30mm FOV and who is looking to take his/ her photography to the next level with more creative control. There is a real opportunity for Fuji here to make inroads into a market that has traditionally stolen share from camera manufacturers. In fact Fuji should dedicate a special site to showcase the capabilities of the X70 and its descendants.
He can't be taking my pic. He's looking down at the screen.
I for one intend to test the hell out of this camera in the weeks and months to come. Starting April 1st, I will post a weekly blog with my impressions, experiments and captures. No camera is perfect but this camera really makes you want it to work for you. I can state that after the GR, this camera has really fired my imagination and sown the seed of infinite possibility.
Make shift clothes horse
]]>
Ricoh GR
The sun was up at once and the snow began to melt away at astonishing speed.
iPhone 6
The skies cleared and visibility was perfect again.
Ricoh GR
The golden hour was glorious, with soft light and long, lazy shadows.
iPhone 6
iPhone 6
And sunset came unfettered through wispy lies.
Ricoh GR
Ricoh GR
The mist and the trees framed a ghostly landscape, complementing the inclement weather.
The late afternoon light on the denuded trees
Frozen waterfall
Pool in Thaw
Narrow Canyon
Water under the bridge
And swirling near my feet
Forest Debris and frozen cataract
Finding our way back at dusk by the light of a returning jet
And now they dock. The ferry brings them to a large, imposing edifice ... forbidding ... but the open sky and the cry of gulls is a great comfort.
Inside began the checks ... interminable, inscrutable paperwork ... doctors who, like inquisitors, methodically looked for signs of difference, otherness, strangeness ...
... but here was a melting-pot, a confusing polyglot ... a convergence of fear, suspicion and desperation.
Pools of light alternate with areas of darkness ... for some the joy of togetherness, for others the pain of everlasting separation ...
... as some look on to the welcoming city of the new world ...
... and yet others face the agony of enforced quarantine with windows all facing the destination of the day before ...
... and others make ready, after perhaps a hasty and tearful farewell to begin the journey back to their abandoned homeland...
... rejected for reasons they barely understand never, in this life, to return.
March 27: High Noon
March 28: Bulb and negative space
March 29: Window s(t)ill life
March 30: Statue of Liberty
March 31: Dusk with moon and gull
M
April 1: Sunset
THIS CONCLUDES THE PHOTO A DAY SERIES (PAD)
]]>
March 20: Still Life
March 21: Soaring
March 22: Skyline
March 23: Sunset
March 24: The first blush of spring
March 25: Set piece
]]>
March 13: The farther shore
March 14: Harbinger
March 15: The Ides of March
March 16: Faces
March 17: Still Life
March 18: Study in Translucence
March 6: Experience and Innocence
March 7: First Spring Skies
March 8: Footsteps on the frozen lake
March 9: The ice fisherman
March 10: Last winter landscape
March 11: Hard Times
February 27: Firmament
February 28: Trail to the city
March 1: Perspective
March 2: A couple for consideration
March 3: The Watcher
March 4: Snow lesson
February 20: The Soaring Blue
February 21: Diana in dappled light
February 22: Fleeting life
February 23: Meaningful earrings
February 24: Blend of still lives
February 25: Open Sky (WTC Memorial)
February 13: Preoccupations
February 14: Snowy Valentine's Day
February 15: The Metropolitan Museum of Art, NYC
February 16: In awe of a preening Paris
February 17: Quiet Nook
February 18: Already at All Right
February 6: Charred Remains
February 7: Cemetery
February 8: Sunday Morning
February 9: Evening blues
February 10: The lady at sunrise
February 11: Edgy
January 30: Last Blush
January 31: Afternoon Illumination
February 1: Burnt Sienna
February 2: Amber Fluid, Golden Light
February 3: Warps and Curves
February 4: The Question
]]>
January 23: Neon Lighting
January 24: Listener, Reader, Watcher
January 25: Boots
January 26: Off duty
January 27: After the blizzard
January 28: Laugh out loud
January 16: The odd couple
January 17: Reflection
January 18: Manhattan Bridge
January 19: One case of underground Work
January 20: Killing me softly
January 21: The tie
January 9: Wings at Sunset
January 10: Forgotten
January 11: Skyline at sunrise
January 12: Back lit Lily
January 13: The long day wanes over the frozen water
January 14: The Watcher
January 1: In Memoriam (WTC Memorial in JC)
January 2: Winter's naked face
January 3: Winter Rain and Still Life (nothing like indoor orchids for uplifting the spirit)
January 4: Brief Encounter
January 5: Sunset and Orchids
January 6: The brave little tailor
January 7: Subway working above his calling
Dramatic before dawn
As dawn breaks
The first flush of morning
Noon shrouded in cloud
The quiet of afternoon
Evening's subtle approach
And the short-lived but satisfying sunset
A mime artist, confident in his craft, is unchallenged by the barriers of language.
Of many faces, one will stare with the same intensity as you, curious, guarded, watchful.
The nervous candidate takes a break from the citizenship quiz on her way home.
The subway is a shelter for the homeless, a haven for the tired, a mobile island for the hopeless.
Despite the proximity there is loneliness and the subway operates like a its own dystopia, a 21st century soylent green.
Through the bowels of the earth travel the rich, the poor, the oblivious, side bi side, ignorant of each other's desires.
The cares of the world are the same for all, regardless of difference in degree or kind.
Some find escape in peace, some in diversion, some only in the tangled knots of their own thought.
]]>
The journey began at Cusco (3400m) and ended ten hours later at Puno (3800m) on Lake Titicaca, passing its highest point (4300m) along the way. Snow only forms at 5000m and it was warm and dry despite the season. The vast plateau afforded wonderful vistas of local weather differences.
The ten hours were passed pleasurably, with Pisco Sours and some excellent Peruvian music!
Titicaca is the highest navigable lake in the world. At this height is is certainly the largest, in addition to being South America's largest freshwater lake. It is home to many islands, both man-made and floating ... and permanent!
There are some 40 floating and inhabited islands (Uros) on the lake. Made entirely of reeds that are edible, there islands serve as home to small communities of people who fish, hunt and make handicrafts for a living. While it takes about a year to build an island, the standard period of occupation is typically about 10-15 years.
The permanent islands such as Taquile have their own local communities and councils that govern the island. Once a penal colony, the island is now famous for its knitting ...the cloth produced here is highly sought after.
Titicaca means "Puma's Rock" in the local language and some see in its shape a tapestry in which a puma chases a rabbit in an eternal hunt. The lake is as deep as 200m in parts and is home to a large number of indigenous birds and fish, to say nothing of the prehistoric frog (fully aquatic) that dwells in its depths! While I was unable to catch a glimpse of this "pre-amphibian" there were some interesting shapes in the clear water by the shore.
While the winter nights can get pretty nippy, the days are gloriously warm and dry. In fact, the islands remind one of nothing so much as the western reaches of the Greek isles, rocky, green and arid in turn, long and winding paths along cliffs to the water below, grazing llamas and alpacas (instead of sheep), the occasional boat in the distance and the wonderful canopy of stars at night. But the most satisfying aspects of the lake were the glorious sunsets and the sense of peace that was all pervading!
The house of blue balconies
A convent built on top of an Inca Palace
The Plaza de Armas
Extant Monastery
...with its ornate door.
The special afternoon light in winter ...
...always allows for some street shooting!
Outside Cusco is the fortress of Sacsayhuaman with its massive stones - some of which are 8 metros high and weigh more than 300 tons ...
... and Quechua women who still graze their llamas on the hills nearby.
]]>
The royal palace
... as with the rest of the structures is full of trapezoidal doors
The Intihuatana (or "the place where the sun was tied") has been called by many a sundial, solar observatory, sacrificial altar or centerpiece of a temple aligned with the surrounding mountains.
Terraces abound ...
... as do long passages with magnificent views.
The view of Huayna Picchu is as impressive ...
... as the climb to its summit is daunting.
Sometimes its best to sit and stare while you marvel at this engineering feat ...
... and take a leaf out of the happy and carefree Coca-leaf seller's book!
The photos below are all from the areas in and around North Hero, Isle la Motte and Grand Isle, three of the largest islands in the lake. Cycling, hiking and canoeing (despite the tales of Champ) remain the most popular activities in the area. While the inviting water and the verdure of the islands are attractive, even more attractive are the vistas afforded by the Green Mountains of Vermont, that subtly frame the horizon.
For a quiet, non-adventure sport, non-seaside resort type vacation, Lake Champlain is highly recommended.
Sunrise
Moored in the Morning
Lakeside sculpture
Fauna
Flora
Soon to be driftwood
Backwater
Cliff
After the paddling
The long day wanes
Sunset
We were rounded up, spoken to, while one or two distracted or distracting, did what they would do ...
And then we were free to roam, for the island is a self-contained, safe space, the roads lead up and down, the same roads in and out, the unchanging views of the water, a boundless sense of confinement...
From north, south, east or west ...
Everything so near and yet so far, the familiar just beyond the liquid boundaries...
The decrepit civil war structures remind you that this place if an old habitation, prudent, spare, lacking luxury, comfort and ease ...
Only the birds are really free, for the open spaces are coveted, guarded, enclosed and vacant...
The walls are thick, secure, a fortress built not to keep out but to restrain within ...
The cells are small, fit perhaps for 2 byzantine monks, perfect for men of leisure to renounce a life of ease ...
Where sleep is the price for active indiscretion ...
Operations here are mundane affairs, necessities to uphold the laws of the state...
And recuperation the envy of every inmate and warden, full of sloth and hope...
Fame and notoriety are all the same here, and sometimes twisted brains can sublimate in confinement...
But in the end we are alone, gazed upon by others, wrapped in our thoughts, , while the cold finality of extinction overtakes us...
And we depart, returning the way we came, unsure if we have been cured, freed, forgiven or abandoned.
First off, set-up: To affix the 21mm converter you need to separately buy the GH-3 lens adaptor and hood. While it's easy enough to screw on, there are at least two things that are a little off-putting about this. One, both the hood and adaptor have the look and feel of cheap plastic (which they are) and do not really suit the build and feel of the GR. Two, it is galling that the GW-3 can be affixed to the Sigma DP cameras directly without the GH-3 while the dedicated Ricoh user is expected to buy an additional piece of equipment to do the same.
Second, look and feel: The actual lens is a beauty with a solid feel that adds weight and character to the otherwise pocketable GR. The rubber lens hood is another matter altogether, fiddly and vulgar. In fact, given that one cannot really use the GW-3 without the GH-3, one wonders why the rubber lens hood was included at all. The GH-3's hood, although matte finished plastic, would have sufficed.
Lastly, the handling: You have to remember to switch on the conversion lens option from the menu! To ensure I did not forget this, I assigned all my personal settings to MY3 along with the conversion lens setting to "on". This way, I could toggle between MY1 and MY3 every time I unscrewed or screwed on the conversion lens. The other suggestion I have is to use a monopod or, even better, a tripod while using the lens. This is because (and I am working on the assumption that you have used the Ricoh GR long enough to believe that it feels just right in your hand) the extra lens sometimes make the overall setup seem too heavy when shooting, especially if you are used to shooting with one hand.
Once you've reconciled yourself to all of the above, there only remains the proof of the pudding ... image quality. Below are some samples from my (rather brief) sojourn to the dispossessed Mayan walled city-by-the-sea: Tulum.
The Ricoh GW-3 is a very competent performer and, given its relatively low price (you can even pick one up brand new for ~$200), it is worth the expense. Chromatic aberration was missing in the GR, and is virtually absent after the addition of the GW-3 lens. There is very slight barrel distortion (and nothing that cannot be fixed in PP). While the 28mm lens id sharp corner to corner from say F4 onwards, to get the same level of sharpness from the GW-3 step down to F7.1 or F8. Else (F2.8 - F5.6), the lens is sharp in the centre and at the corners, with image deterioration restricted to the corners. If you are fond of vignetting, this problem will be taken care of automatically.
Ultimately, I was impressed by the GW-3. I can see myself using the lens for general landscape photography, street photography (where I want more context) and architecture (skylines, etc.). Where it may suffer, and I have not had a chance to test this yet, is landscape-in-low-light (where a larger aperture is required) and interiors (where detail is needed corner-to-corner). Despite this, the GW-3's compactness, sharpness and versatility make it a keeper.
]]>I have tried to capture the spirit as much as the spectacle. These players perform with as much professionalism as they do with pride and passion. Many believe, as one of the mummers later told me, that the conquistadors' rapine resulted in far more than the loss of wealth. In fact their greatest regret is that the Yucatan has lost its central core, its pre-Columbian identity.
1. Jack and the Beanstalk (shadow play)
2. After the fire on Thanksgiving Day ( a whole building was gutted)
3. The Sea, the Coast, the Rain ...
4. Psychedelic view from office window
5. Negative space with filament.
Late Autumn Mood
Sign of the times
The Image Trap
The lonely flag
The weight of water
And the fun part is that you can constantly experiment with the files to ensure a final image that suits your taste. Below are a few samples.
Now if Windows could only introduce RAW (I know they intend to in the new year) and improve the autofocus speed, this would be the undisputed champion out there.
Wall Painter
Leanings
Language of Lines
Bodies
Squirrel
The colours of late fall
... aptly complemented by urban art ...
... and reflected in the water.
I decided to use the phone camera so as to take it through its paces ... as in the snapshot of these ducks ...
... and this rope used to secure a schooner by the lake ...
... and the plane that was taking off in the distance!
There is art in almost every shop window ...
... and urban structure ...
and reflection on a gray day!
And then of course there is the CN Tower, the tallest man made structure in the Americas
So tall it dwarfs every other structure in the vicinity.
Standing at an imposing 584m (approximately), it was originally intended as a radio tower for the railways ...
... before it became Toronto's premier tourist attraction and home to one of its finest restaurants with vertiginous and breathtaking views.
For those who enjoy (or get their thrills from) heights, there is the glass bottomed viewing gallery, that looks upon the Ripley's Aquarium's shark tank 1700 feet below. In the unlikely event that the glass gives way and you find yourself in free fall - and in the even more unlikely event that you survive the drop - you may just find yourself playing the part of manna from heaven for the little beasties!
The next day, we were able to grab a taste at the local Amsterdam Brewery
And last, and not to be missed, the fabulous Inniskillin vineyards (makers of perhaps the most famous ice wine ever) by Niagara.
Heading to the falls in another Maid of the Mist ... the colours reflect Breast Cancer Awareness Month
First passing the American Falls (US)
Before coming up to the Horse-Shoe Falls (Canada)
The sheer power of the water is evident near the falls ...
...behind the Falls
And downriver ...
... where class 6 rapids lead to a whirlpool farther on
Rainbows were abundant in the afternoon
And the fall colours were glorious
]]>
Abandoned Cave Dwelling with dovecote, Goreme
Tufa architecture, Rose Valley
View from within the Church of the Snake (dedicated to St Onuphrius)
The fairy chimneys ... and originally chosen location for Star Wars (because the Turkish government did not agree, the movie was shot in Tunisia)
Mushroom tops in Devrent Valley
The landscape is full of solitude
Strange shapes dominates ... like this cat of the Bubastes ...
... and this that looks like the ship of the desert in Imagination Valley, Devrent
These formations at Pasabag are testament to the fact that there have been no earthquakes in 8 millennia
Underground passageway in Derinkuyu
The seminary with refectory slab, underground city, Derinkuyu
The deepest gorge in Cappadocia (a mini Grand Canyon) Ihlara Valley
Abandoned cave near the Melendiz river
Churches, caves and dovecotes near the Zelve open air museum
View on the way up to Selime Cathedral
Remnants of the Last Supper
Pigeon Valley
Potter with Hittite Wheel, Avanos
The balloon ride is spectacular for at least 3 reasons. First, it gives you an opportunity to leisurely and aerially discover the amazing volcanic landscape that was last shaped only about 8,000 years ago. Secondly, it gives you an opportunity to view the sunrise from what is tantamount to an open air platform 1 km high with the wind in your face and only a few other balloons for company. Lastly, as the majestic spectacle below and around you begins to mesmerize you, you finally sense the sound of silence that envelops everything at this altitude.
The caves, pigeon houses, rock formations, rose and red hues, blue skies, extinct volcanoes and subtly changing landscape all combine to make this arguably one of the best aerial cruises to be had in any part of the world.
Firing her up
Upending the Craft
Off they go
In the pre-dawn light, colorful balloons appear to rise up from crevices and sunken caves like fantastic creatures
Our guide, Osman, tells us that he is more than capable of taking a balloon up, bringing her down, and turning the balloon in a circle to ensure that everyone gets to see the same view, but cannot guarantee where he will land nor, he says, (with a wink) whether every landing will be smooth. Every so often, accidents do happen.
Because the balloons take their own time to rise to their zenith (about a 1000 metres) one gets to enjoy topography and hues of such spectacular landscapes as the Rose Valley
Sometimes the jet of flame from your craft or from a neighbouring balloon is the only bright light (and source of warmth) in your immediate vicinity
As the sun rises, it lays bare the stark landscape and all heads turn in silence as if on cue. In the distance is Erciyes Dagi, the headiest peak in this part of the world.
At times like this, you understand (despite the knowledge of other balloons in the area) that it's always lonely at this height
Some balloons have been known to go up to 1300 metres but most hover between 800 and 1000 metres
Sun worshippers in days gone by never had an opportunity to congregate like this
Though balloons take off from different parts of the valley they tend to drift along the same currents and land within a circle about a kilometre in diameter
The cars and buses that dropped you off at the start scramble in an attempt to guess the point at which your balloon will land
A safe landing calls for a celebration as bottles of Anatolian sparkling wine are popped
The remains of the Odeon
By the Prytaneum
By the Tomb of Memmius
The steps leading to the Domitian Temple
Columns by Curetes Street
Temple of Trajan
The great Library of Celsus
View from within
The Amphitheatre
Ancient Erotic Graffiti
All that remains of the Temple of Artemis
House of the Virgin Mary
Explaining the mystery of silk: strength, beauty, versatility
The innards of the cathedral
A side entrance
The Blue Mosque compound
The Kaiser Wilhelm Fountain (with the Blue Mosque in the background)
The Blue Mosque at sunset
The Hippodrome
The Obelisk of Theodosius
The Serpentine Column
The Hippodrome at night
The Sulemaniye Hamaam
Medusa of the Cistern
The Basilica Cistern
The other Medusa of the Cistern
Old Byzantine Ruin
The Irene Church in the compound of the Topkapi Palace
The Imperial Gate
By the Imperial Courtyard
Gazebo
Circumcision Room
View of the Bosphorus
Canopy
Entrance to the Harem
In the Royal Hamaam
Door to the Chamber of the Black Eunuch
Kariye Museum ceiling (old Byzantine Church)
Wall Detail
The Walls of Theodosius
Galata Bridge
Galata Tower
The Golden Horn with the Sulemaniye Mosque in the distance
The Suleymaniye Mosque at sunset
The Dolmabahce Palace
Palace Urn
Old Czech Pension at Pera
The Blue Bosphorus
Shoe Shine
The Joke
Mannequins
Backgammon
Harem Gate
Burnt Column
Carpet Seller
Gully
Fish Market
Grand Bazaar
Suleymaniye Mosque
Dervish
Despair
Despondent
Tram on the Grand Rue de Pera (Istiklal Caddesi)
Quiet enjoyment
Flautist
]]>
Dejection
Contemplation
Stealth
]]>
]]>
- Image Quality: Given that this is an old EXR sensor (12MP, with the AA filter) this lens is incredibly sharp.
- AF: Not the fastest horse in the race but good enough for most people's needs.
- VF: Exceptional ... coming from the GR series, you never knew what you missed till you try this dual VF.
- Handling: Still getting used to it. Not quite the Ricoh. But then ... there's an intuitive set of controls (harking back to DIY, everything manual) that are something of a pleasure to use once you begin to relearn what to do with this camera in your hands.
- Colour: Absolutely stunning. This camera will make you (as does the GR) want to shoot with colour again.
- Overall: Un-pocketable compact with SLR style handling and great IQ.
]]>
Let me explain. There is nothing wrong with the GR. It produces fantastic pictures, is almost completely customizable, is fast, silent, has fantastic ergonomics and is pocketable. What's not to like? If you are a street shooter or a documentary photographer, then these specs are absolutely perfect. But that's what I felt about the GRD IV. And it's true ... there were 3 principal things that the latter excelled at - street, documentary and macro. Not that you couldn't take portraits or landscape or architecture with it ... but the difference in quality between the street shot and the architecture study was sometimes evident ... often the sharpness at the centre was not matched by the sharpness at the sides of the frame.
And the GR? Well here's the problem: you can't crib and confine its abilities to street and documentary (macro may not be the best fit anyway). Because sharpness is much more even across the frame, because it has a much larger sensor, because it is capable of some delicious bokeh, because it has a built in ND filter ... the list is endless ... it is capable of much more. As a photographer recently in possession of this camera you are as surprised by its abilities as you discover them as you are uncomfortably conscious those you have not yet discovered. Sometimes the camera responds to your intention without you pushing too hard; sometimes it makes you experiment countless times till you get the effect you demand. I think this is what Don (Streetshooter) was onto in some of his earlier blogs.
Anyway, and this is very personal, I have come to relish this camera for a number of reasons (and not just those linked to snaps like the one above). These are in no particular order:
- Street
- Still Life
- Landscape
- Architectural Detail
- Abstract
- Object Detail
- Documentary and Portraits
Ultimately, I think you need to take control of the camera to really unlock its potential. I'm really not sure if I am even halfway there yet. The real challenge here is to learn all of the camera's limitations. Often yesterday's limitations disappear today and we are back to acknowledging that we have still not mastered what we thought was an easy enough camera to control. Or perhaps, despite the familiar controls and FOV, we need to relearn our technique, recalibrate our aesthetic and reaffirm our vision.
]]>
A young woman was killed the other day outside our building. She was simply cycling down a residential street late in the evening when a drunk driver hit her and ran. One week on she is no more than a statistic in the annals of DUI related deaths.
This snap somewhat captures my thoughts at the time.
Morning: a period of contemplation with a hint of despair
Afternoon: a period of energy amid a plethora of curiosity
Evening: a period of peace filled with luscious thoughts
Night: a period of reflection besieged by illusion
The bridge is in regular use again, just in time to provide passage for runners, bikers and bladers. And of course the boats are back in force at the marina.
]]>
To capture the subject in the moment is to capture an essence - subtle, simple, masked or naked.
Despite my disappointment, I have used the camera to form some initial impressions about the versatility of this piece of equipment and have personally been able to compare the same with the GRD IV (which I still own). The few dimensions that I have laid out below are in comparison to the IV, and not (I don't own either unfortunately) the Coolpix A or the X100s.
1. Startup speed: Much faster. It's on and ready to go before you raise it to eye level.
2. Weight and tactile assessment: Seems (somehow) a little larger, but also a little less substantial than the IV. I kept waiting for the weight to sit more comfortably in my hand. I think I lost a lot of shots as a result! Maybe this is just a getting-used-to issue and will eventually disappear.
3. Autofocus: In good light, years ahead (pun intended). In situations where the ISO is at 1600 or greater, not much faster (especially if you are using multi-point or subject tracking AF)
4. Sharpness: Lens is still tack sharp and the sharpness is not just restricted to the centre of the frame.
5. Image Quality: Compared to the GRD IV (which is no slouch), simply outstanding. And the files are really easy to work with it in LR4.
6. High ISO noise: I almost never take the camera beyond 1600. Till 800, no discernible noise. At 1600, the noise is just about present but (as with the GRD IV at 600) film-grainy and pleasing. When the replacement camera arrives, I will try shooting between >2000 and up to 3200.
7. JPeg versus RAW: JPeg images are really good, but the RAW files are excellent.
8. Colours: Punchy especially the yellows, greens, blues. And I didn't necessarily see too many issues with the reds. But I defer to more critical eyes than mine on this topic. When I get my replacement camera, I will test more extensively.
9. Image stabilisation: None. And the short answer to what difference this makes is this: You can use the GRDIV at 1/13 or 1/10 of a second and get a sharp image. I would urge you to restrict your speed to 1/30 when using the GR. Because the maximum aperture is 2.8, carry a gorillapod or small tripod/ monopod when shooting in dark interiors. Even ISO 1600 may need a shutter speed faster than 1 second.
10. Snap Focus: Still works well but you need to "unlearn" the way you use snap focus on the IV. For one or both of these reasons: first, if you were used to the Auto option on the IV, you may need to learn to quickly use the DOF scale and/ or set hyper-focal distance on the fly or default to 2.5m. However, you have to remember (in the latter instance) that you now "HAVE TO" keep about 8 feet between your subject and the lens. Secondly, given the larger sensor, DOF becomes an issue as you increase aperture. At anything less than f9 (and sometimes higher), you are unlikely to get an entire scene in sharp focus.
11. Overall operability: Still fantastic. If you have used a III or IV, the interface and menu systems will be second nature to you. If you have not, it still takes only a few days to appreciate and respect the customizability of the camera. I must confess that there were many new additions to the menu system, but I never really got much of a chance to explore.
All in all, I think Ricoh has produced a winner here that, if nothing else, will certainly make its loyal patrons happy, and will probably result in winning over some new customers and erstwhile sceptics. I intend to more fully review the camera in the future but look forward to making this my main camera for 2013. To my less than professional mind, it's that good. Perfect for street, interiors, photojournalism or as a visual notebook/ sketchbook. For more comprehensive assessments, visit Jorge Ledesma's GR microsite (actually pretty compelling) or read Ray Sachs' commentary on dpreview.com.
Below are a selection of photographs that were taken before the camera was returned. You will notice the dark spot near the top right hand corner of the frame ... the only real blemish that I could make out during my short period of ownership and assessment.
]]>
The Mask
The 3 Women
The dark steed
]]>
]]>
Bicycles at Grove
Walking the dog at Newark
Scratching for luck at 2nd
Running at Jersey
Stretching at Columbus
Walking near 6th
Strolling down 1st
Balancing at Manila
Snoozing near the PATH
Unloading near 3rd
Budding near 2nd
Open near Marin
Outside on 4th
Cleaned in the park
Ferrying on the Hudson
Sunlit by the abandoned CRRNJ terminals
While a sheep all amazed was kidnapped to his left
And a coat full of magic longed to be taken
To escape the grim fate of the bottles bereft!
But while stolid faces expressed disapproval
Of new fangled ideas from old silverware
The minstrel did sing of young love unrequited
And trinkets abandoned in utter despair!
So he hired a humble potter. The potter worked with mud and hay for 6 whole weeks fashioning and moulding, colouring and painting. But as the Mother Goddess began to take shape, the potter began to feel a twinge of possessiveness. When the idol was almost finished - he had only to paint the Goddess's fiery third eye, seat of knowledge, power and rage - the landowner walked into his workshop and marvelled at the artistry of the potter. So smitten was he with the work that he had commissioned that he was ready to transport it back to his palatial home right away. But the potter, stalling for time, begged leave to paint the third eye before his image was carted away.
The landowner returned two days later with his family priest to retrieve the idol. He discovered to his chagrin that the third eye had not yet been painted. The potter, who was standing before the Goddess, seemed to be meditating, staring at the face he had created. "Why have you not completed your commission?" expostulated the landowner. The potter did not deign to reply. But when the landowner and his priest tried to remove the idol, the potter, suddenly coming to life, forbade them in a menacing tone and told the landowner that he would never possess Her. Shocked, the landowner left with his priest, threatening dire consequences on the morrow.
The next morning, the landowner returned once again with his priest and three henchmen. The henchmen carried thick staves and wore thin smiles. The potter stood before his creation as before, transfixed, giving the impression that he had not moved in a whole day. But when the henchmen were directed to remove the idol, the potter grabbed a stave from the man nearest him and proclaimed loudly that he would destroy his artwork before he surrendered the same to another man. The landowner urged his minions to stand down while he conducted negotiations. But no matter how hard he begged, cajoled and threatened, the potter would not relent.
Realizing that they had reached an impasse the priest, in a fit of inspiration, attempted to broker a compromise. His solution was simple. No man would possess the Goddess. The Goddess would be placed at the disposal of the landowner for the duration of the ceremony and then would be immersed in the holy Ganges. Literally returned to the elements from which She had sprung. And every year the potter would be able to recreate the Goddess. The joy of creation would compensate for the pain of loss. The potter heard, the potter thought, the potter smiled. And then, in a single flourish that signalled his acceptance, he painted the Goddess's third eye.
Centuries passed. The landowners gave way to community patrons. The potters remained. And the tradition of the original compromise was preserved at Kumartuli: river, mud, hay, shape, form, sun, paint, inspiration, meditation, ornament, carriage, pedestal, worship, carriage, discoloration, dissolution, river.
A myriad imaginations. A million images.
Sugarcane vendor
Couples
Concession Stand Owner
Door Keeper
Bus Conductor
Tom cat
Jain Priest
Beggars and a devotee
Easy Rider
QUEUE
DELIVERY
TIME OFF
PERFORMER
ABANDONED
SINGLE
Overcast skies leading to heavy snowfall, worsening visibility, a blizzard! Endless flurries, white night, treacherous roads, sub-zero chill! But in the midst of this lonely, silent storm, the familiar siren, flashing lights, the comfort of it all!
In the morning, most people were either inconvenienced or cranky or both. Even the birds were forced to find shelter under the bushes. Only the children, having waited for more than a month, were overjoyed. And some teenagers with shovels, looking for quick work and fast cash, were content. Not to mention some inquisitive photographers ...
But winter is much more quiet. The air is crisp, the wind is cold, voices carry over street and marina. The exotic flavours that briefly escape when a chef takes five tantalise the senses into a feigned hunger which cannot be sated. The cloying smell that escapes when a jacket is removed or a neck is exposed brings back all the memories associated with summer. The lights burn longer but the streets empty earlier. Solitude and single companions are more welcome than the circle of acquaintanceship. For on the street, men and women hurry through winter in expectation of spring.
In winter, the street is an interior space, guarded in approach but inviting in scope.
What I liked about the camera. First the UI. Coming to the K-01 from the K-5 made it very easy to understand the menu system and customize the settings. There are a number of external and customizable buttons but not so many that the camera feels like a gadget. Secondly the heft. I know, I know, but it grows on you and while it seems large by P&S and MFT standards, it seems more compact and manageable than a DSLR. And the heft helps in a number of situations, especially when trying to pan or trying to take shots at low shutter speeds ... using two hands to steady this camera is easier than trying the same with a camera half its size. Thirdly, the ability to use almost any Pentax lens produced in the last 30 or so years. And focus peaking works well with both AF and MF lenses. Fourthly, a dedicated HDR mode, allowing you to pretty much choose HDR in a wide variety of light situations and film simulations that make for some amazing effects. Fifthly. the LCD screen. Crisp and clear, quashing any remorse you may feel due to the lack of an EVF. Lastly, and MOST importantly, the 16MP APS-C sensor aside, the image quality can't be matched by any camera at this price point ($300+). In fact, for the most part, the K-01 matches the K-5's pretty stellar image quality. And JPEG images are pretty impressive, though RAW files are even better.
What I didn't like so much. Slower AF than its competitors in any kind of or low light or where speed is of the essence. Despite the firmware fix (which did improve the AF speed considerably), focusing can sometimes still be an issue when shooting on the street or at and after sunset. RAW writing speed than almost makes you want to stick to JPEGs most of the time except when shooting portraits or still life. The lack of a second control dial which would have done away with the need for having to press the exposure button each time you need to toggle between aperture size and shutter speed when in Manual mode. And lastly, the noisy autofocus that sometimes distracts both the shooter and the subject of a candid shot.
The best uses of this camera, to my mind, include portraiture, architecture, still life, travel, low light and, at a pinch, street photography. As with most mirrorless cameras, wildlife and sport are not the best ideas. And if you do not have/ are not sure that you want to invest in a library of Pentax lenses, then this camera is really not for you. But if you are not already invested with another legacy system, are looking to upgrade from a point and shoot, prefer to avoid the bulk of a DSLR and value image quality above all else, then you may want to consider the K-01. At the current price, you'd be hard pressed to find a better and more able tool.
]]>So why did I buy this camera? I think 2 reasons. Primarily because I have been intrigued by mirrorless cameras for a while but have been put off because of the investment required in a new lens system. Secondly I have been looking for a slightly smaller, less conspicuous and quieter camera than the K-5 to assist me in my street photography adventures. While I have used the GRD IV and continue to use the RX-100, I have been on the lookout for a larger sensor tool for some time. So when Pentax introduced its foray into the mirrorless market earlier this year I was enticed. When they dropped the price dramatically this November I was sold.
Anyway, here are my preliminary impressions. First off (and Pentax followers have probably heard this said many times before) it looks and feels like a brick. The solid construction and ergonomics immediately recall a DSLR. So let this be a warning to those out there who do not own a DSLR and hope to enjoy all the benefits of a more compact EVIL/ Mirrorless camera coupled with a APS-C sensor: this camera is only a minor step down from the Pentax K-5; if you want a smaller package look to Olympus, Panasonic or Sony. If, however, you own a lot of legacy Pentax glass and want a mirrorless that lets you take advantage of this fact, then the K-01 is the camera for you. This is the reason why the camera is built the way is. It allows you to use a huge number of legacy and extant Pentax lenses (the same that could be used on any Pentax D-SLR).
Secondly, image quality is very impressive. I'm still to test extensively, but (and it's not just the DxO labs score) there's something about the colours and the image clarity that may make this camera special. Below are two test shots:
]]>