Travel: X-Pro 1

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Thứ Tư, 15 tháng 6, 2016

Verdict | The People of Tây Bắc Photo Expedition

Having had more than a week to mull over what worked and what didn't on The People of Tay Bac Photo Expedition-Workshop, I come to the conclusion that it earns a B....not a B+, not a B-...just a plain B.

However, the trip's logistics and accommodations were faultless, and all the credit goes to the travel agent I work with in Hà Nội. They were responsive and on the ball at all times.

I think the prevailing extraordinary high humidity levels we faced all through the trip played a significant role in dampening our energy levels (certainly mine were), especially in the streets of Hà Nội. That said, and set aside...here's what I thought were home runs (or third base hits).

1. Hà Nội Street Photography:

A definite home run.

Hà Nội's streets are just ripe for the taking of photographs...whether monochrome or color. The scenes are there and are sometimes too numerous to choose from. Visual (and aural) overload besieged my senses for the first one or two days, but then it passed and I immersed myself neck deep in the flow of life.

The Hà Nội Noir assignment to the group participants was especially well received, since it introduced them to the street photography's 'on the fly' element that they were not entirely familiar with. The shooting from the hip technique was experimented with, and provided an inventory of interesting images to each participant.

2. Hội An Fishermen:

Another home run.

I had pre-arranged through Eviva, my local travel agents, a dawn-time trip on a local boat to photograph the fishermen using traditional netting systems. We boated to the mouth of the Thu Bon River to photograph these large fishing nets (see top photograph and the one above). These large contraptions are lowered into the water to catch fish during the night. They are slowly raised and lowered by the fishermen using foot-powered winches.

These must have been the most photogenic 4 hours of the entire photo expedition. The weather was just perfect, with the sun rising on cue and the whole experience was phenomenal. The subsequent hour-long visit to Hội An's main fishing harbor/market was also interesting, and offered many photographic opportunities.

3. Hầu đồng Ceremony:

Home run, because it's a ceremony I've never witnessed (nor heard of) before.

Hầu đồng is also known as lên đồng, and is a ritual of spirit mediumship practiced in Vietnamese indigenous religion and Đạo Mẫu, a Vietnamese mother goddess religion, in which followers become mediums for various deities.

It was by pure serendipity that we witnessed and photographed such a hầu đồng full ceremony in Bac Ha, and a rehearsal in Sa Pa. The full ceremony may last up to seven hours, and it begins with petitions to Buddha and to the deities for permission to carry out the ritual, after which the medium sits in the middle of four assistants, whose job it is to facilitate the medium's incarnation of different deities and spirits. It's a fascinating spectacle during which the medium (dressed in pink in the above photograph) chants, dances and changes in no less than 6 or 7 costumes of different colors during the ceremony.

Due to a misunderstanding, a member of our group committed a grave offense during the ceremony in Bac Ha, but a sincere apology to the temple's authorities (after which I was offered glasses of rice wine to drink to help the reconciliation along) allowed us to continue photographing. It's a testament to the generosity of the Vietnamese temple's congregation that the incident was so promptly forgiven.

4. Hội An Streets:

Yes, Hội An is a tourist town. What can we expect from a small town recognized as a World Heritage Site by UNESCO? But setting that aside, it's a wonderfully atmospheric place with an incredible wealth of stunning backdrops for street photography, for travel photography and for fashion/model photography.

I would definitely consider staying in Hội An for a week or so. Rather than stay in the lovely and posh (but sort of generic) Hoi An Hotel, I'd stay at the Vinh Hung Hotel, an upscale but tiny heritage hotel located in the heart of town. And have Cao Lau, the local signature noodle dish at Miss Ly every day!

It'd be wonderful to take my time...and indulge in slow street photography. In other words, pick a spot (preferably with a cup of coffee or a La Rue beer), wait and cherry-pick whatever happens in the street. As I wrote in a different post, I'd also enjoy fusing travel photography to ethnic/modern fashion photography. The style can be posed...with static portraits, or can be pseudo environmental-street portraits.

There's no limit to the willingness of eye-catching persons, whether locals or tourists (such as the lovely Vi in the above photograph) to pose for photographers. Hội An is a magnet for newly-weds (or about to be married) who come here with their make-up artists and photographers.

The pretty and lively bride in pink loved my suggestion that she pose under the bird cages...I told her that it'd be an appropriate setting since they were lovebirds. She left her photographer, and ran to the spot I indicated. Nothing is set up in this photograph...the brooms, the bird cages, the bicycle...all was left as is. That's Hội An.

A bride-to-be is being dolled-up by her make-up artist, just around from the famous Japanese Bridge. It's these quotidian scenes that attract me visually to places like these. Yes, here the bride saw the photographer...but I'd wait for as long as it took to become just part of the background, and for a scene (a story) to develop.

Have I said that Hội An was a home run? If I haven't yet, then yes...it is.

5. The Tây Bắc Region:

I need to be quite emphatic about this: I resent blue tarpaulins, motorbike helmets, motorbikes and baseball caps photo-bombing my photographs.

So no home run for the northern region of Tây Bắc, which for us mostly meant the markets of Bac Ha, Can Cau, and Coc Ly. We had to pass on Xin Cheng market due to Typhoon Kalmaegi. The exception was Sa Pa, which is a nice little town with some opportunities for street photography and ethnic photography of the H'mong.

Bac Ha market is the largest of the region, and perhaps because I had been before, it didn't have the visual umph it had when I was there in 2012. One thing for sure has changed...the area where the Flower Hmong, Dzao and others ate their breakfasts and lunches was moved by Bac Ha municipality (or whatever it's called) from the center of the market to the right of its entrance. It's now more orderly, but it removed the ad hoc feel that the market had before the move.

And because of the threatening rain, blue tarpaulins were stretched all over the stalls...giving out a rather nasty light to faces and clothes.

That said, Bac Ha is still the granddaddy market of the region. As we had spent the night at the nearby Sao Mai hotel, we had the market almost to ourselves until 10:00 am. When the tourists arrived with their GoPro and heavy cameras, we left for breakfast.

Can Cau Market is held on Saturdays, and is predominantly frequented by the Flower H’mong. While not far from Bac Ha, it took us about 3 hours to drive from Sa Pa. Much smaller than the Bac Ha market, it doesn't have its 'charisma'. It'd be easy to blame the humidity, but it was quite high...and it drained us of energy quite rapidly. The locals seemed to take the humidity in stride, carrying umbrellas and sometimes fans.

Coc Ly market is held weekly on Tuesdays, and is also crowded with Flower H’mong. Only 35 kilometers from Bac Ha, the roads are quite nasty and bumpy...and were probably made worse during the rainy season. It's perched on a hillock, and it struck me as one of the least interesting. I was amused when a meddlesome American woman kept watching me photographing a very amenable Flower Hmong for a while, and then told me to stop because I was "harassing" her.

In short, there indisputably were some interesting photographs to make in these markets, but group tourism's tentacles have reached these markets, and they've lost some of their authenticity. I suspect many of the implements and products sold to to the locals are made in China...while the handicrafts presumably made by the local minorities seems to be shoddier than usual.

In a future iteration, a People of Tây Bắc Photo Expedition will continue to be based in Sa Pa but will venture to markets and villages further afield...as far as possible from tour buses, it that's possible.

6. Sa Pa:

I like Sa Pa. The Victoria Hotel is great...although their staff can be somewhat impersonal. But that's what happens when your guests are mostly tour groups. The restaurants are welcoming, all have free wi-fi and the food is quite good. Not as good as Hoi An...but good.

Yes, I like Sa Pa...it wasn't misty nor cool as it was in 2012, and the main square is now empty of the Hmong vendors that had taken it over in the late afternoons. They've been chased away, and given a dreary space above the market to sell their goods. Presumably to have them pay a permit fee or something like that.

Along with the group, I enjoyed doing some monochrome work in the tiny market; exploiting the chiaroscuro of its alleys, and the black dress of the Hmong as best I could. It was in Sa Pa that I also stumbled on a Hầu đồng rehearsal ceremony, which in a way prepared us for the real thing in Bac Ha.

So what would I do differently?

If I was omnipotent, I'd change the weather. It affected the attendance of the Tet Trung Thu street festival; it prevented us from attending the least touristy market in the northern region and it exhausted us.

But within my direct control, I'd reduce the number of days in Hà Nội and increase the stay in Hội An. I'd still stay in Sa Pa, spend a day in Bac Ha, but travel much further in search of traditional small villages that are not on the tourist trail.

Red Dzao in Ta Phin. Photo © Tewfic El-Sawy-All Tights Reserved

Now, the finale for the those who like statistics. My estimated usage of my cameras was as follows:
Fuji X-T1 + Zeiss Touit 12mm f2.8: 75%
Fuji X-Pro1 + Fujinon 18mm f2.8 : 10%
Leica M9 + Voigtlander 40mm f1.4: 15%

(I used the Fuji Zoom XF18-135mm f3.5-5.6 for the fishermen photo shoot, and another time in Hà Nội around Hoàn Kiếm lake.)

Did I miss my Canon 5D Mark II and my panoply of primes and zooms?

No. Not once.

Thứ Hai, 25 tháng 5, 2015

Zeiss Touit 12mm | Fuiji X-Pro 1

Well, I succumbed.

I've been think about another prime lens for my Fuji X-Pro1 for quite some time, and having the XF 18mm f2.0 "pancake", I just couldn't make up my mind between the XF 35mm f1.4, the XF 23mm f1.4
or the XF 27mm f2.8.

I tossed around the pros and cons of various Fujifilm X Mount Lenses, and finally decided on the Zeiss 12mm f2.8 Touit. It’s a solid, all glass lens that feels well made, and while it's manufactured in Japan (as if that is a downside), it feels 'German Zeiss'. It's essentially an 18mm f2.8 equivalent on the Fuji X-Pro1 1.5x crop sensor. And it's hand-built.

The decision was made based on my heavy reliance on my Canon 17-40mm f 4.0 lens during the past 2-3 years. I went back to my images from the Oracles of Kerala Photo Expedition, the Vietnam: North of the 16th Parallel Photo-Expedition/Workshop, The Sufi Saints of Rajasthan & Kashmir Photo Expedition-Workshop, The Sacred Cities: Varanasi & Vrindavan Photo Expedition-Workshop and remembered my lens usage statistics, which confirmed my preference of using my wide angle zoom and get really close to the subjects I'm photographing.

To underscore the point; most of my photographs on The Birth of Color photo essay were made with the Canon 17-40mm, at its wider setting....as the following photograph demonstrates.

While the Zeiss Touit's 12mm wide angle is perfectly suited for landscape and architectural photography, I'm certain it'll suit my style of photography whether for environmental portraiture, or street photography.

It'd be superfluous for me to to review this lens in any depth as there are many more qualified photographers who have already done so. For an eminently readable and succinct review of the lens, take a look at The Phoblographer.

As for street photography, I've snapped a couple of 'from-the-hip' photographs yesterday, and although it's a little too early, I was pleased with the results. One of these photographs (below) was made in front of the Papaya King on Sixth Avenue, and there are a few more on The Leica File.

The Zeiss Tuit has smooth rubber for the focusing and aperture ring, and while this doesn't bother me, I did find the aperture ring moves easily, and I had to make certain that the aperture was set on my chosen f-stop. The lack of a depth of field and distance scales are also disconcerting, but I managed to get by. It'll take some practice to get used to it, as most of my street photography is by shooting from the hip.

As I said, it's a little too early, but my gut feel is that this lens -while having marvelous optics- is better suited for environmental and documentary photography. I'll keep using it on my wanderings in New York City for some time, and see if I will change my mind.

Thứ Bảy, 28 tháng 9, 2013

POV: Street Photography | Should It Be Furtive?

“Of course it’s all luck.” – Henri Cartier-Bresson

This POV is prompted by a number of recent posts expressing soul-searching angst from various quarters, as well as various photographers expressing some discomfort in utilizing 'guerrilla' (their term...not mine) tactics to get candid photographs of the street.

It seems that a hands-on review of the Fuji X-T1 by the photographer Zack Arias in Marrakech included some of his tips and tricks in capturing unguarded moments of street life, and a number of photographers questioned the ethics of furtive street photography.

I don't have this issue. To me, street photography is furtive in its very essence...and there is no presumption of privacy for individuals in a public place. By definition, street photography is making photographs on the sly.

When I'm pounding the New York City pavements with a M9 or a X Pro-1, I shoot from the hip about 90% of the time. This technique -if you can call it that- ensures that the people I photograph are totally unaware that I am making a photograph of them...and frequently, unaware that I'm even there.

Street photography is -to my mind- synonymous with candid photography. The latter "...is achieved by avoiding prior preparation of the subject and by either surprising the subject or by not distracting the subject during the process of taking photos". (Source: Candid Photography:Wikipedia).

We all know the father of candid photography was the iconic Henri Cartier-Bresson, whose book Images à la Sauvette was published in 1952, was the master of candid photography. Setting aside that his photographs were mostly of unguarded moments, the very title of his book is French for 'furtively'...and not The Decisive Moment as his publisher translated it.

I recall Costa Manos exhorting us in a Havana workshop that successful street photographs ought to have no one looking at the photographer or noticing the camera. It may not have been accurate, since there are many examples of terrific street photography images in which the subjects look directly -and even pose- for the photographer.

When I photograph in religious spaces such as Sufi dargahs or Hindu temples in India...or wherever I am mingling with people going about their daily life, I much prefer photographing furtively and shooting from the hip. This is to capture candid expressions, unposed body language and unplanned layers.

It's impossible for me to avoid attention wherever I travel. A foreigner with a camera is always a focus of attention, and I have to use all sorts of stratagems and 'techniques' to grab frames as I can...ranging from the "I'm a lost tourist in NYC...and I'm looking for street names/landmarks/addresses" while shooting my iPhone...to the gazing in another direction or pretending to be talking on my iPhone whilst shooting my rangefinder from the hip...yes, there are myriads of ways to play the dumb tourist, sightseer or a disinterested photographer.

The iPhone image of the two musicians going for a hug was made by (1) anticipating what they were about to do, and (2) holding the device in my hand as if I was looking at a map. The other image of the Indian men having a snack near the shrine of Nizzam Uddin was made by shooting my X Pro-1 from the hip whilst pretending to be talking on the iPhone. Had I planted myself in front of them with a camera to my eye, they would've stopped eating and awkwardly froze to pose for the picture.

Remember, I'm not photographing to capture people in awkward or embarrassing moments...that's not my interest. My interest is capturing scenes where people are at their most unguarded, at their most normal and candid moments. If one of my frames accidentally depicts someone picking his/her nose...or a man scratching his crotch, the frame gets deleted.

To those who take that as being furtive, sneaky or sly...I say to each his own.

Thứ Năm, 15 tháng 11, 2012

First Results: Zeiss Touit 12mm | Fuiji X-Pro 1

Here are two examples of what I intend to do with my newly acquired Zeiss Touit 12mm for my Fuji X Pro-1.

The top image is un-cropped, and was made by shooting from-the-hip at a distance of about 2 feet from the couple who were having a rather intense conversation. They were so engrossed in their conversation that they barely noticed me.

The lower image is cropped, and also made by shooting from-the-hip at a similar distance. The tattoo artist was also too busy talking to a colleague to really notice me.

The only irritant in the Touit 12mm is that the aperture ring moves too easily and, especially that I'm shooting from the hip, I have to frequently make certain that the aperture is set on my chosen f-stop. I may consider using a small piece of gaffer tape fixing it at either f4 or f5.6 (which is probably the lens' sweet spots), but Zeiss engineers/designers ought to have come with a firmer aperture ring.

As I mentioned in my earlier post, I am fond of wide angle photography, and have used the 17-40mm (mostly at the 17-24mm setting) on my Canon 5D Mark II most of the time during my recent photo expeditions in India and Vietnam. While perhaps not optimally ideal for street photography, the Touit 12mm (18mm equivalent on a full frame) gives me a viable alternative to the Fujinon 18mm (27mm equivalent on a full frame) pancake lens I used in the past.

My investment in new gear is a slow and steady one....I'm waiting for the right time and mindset to acquire for the Fuji X-T1. It'll come soon...the real question is whether it'll be part of my Vietnam Photo Expedition in September or not. And whether I move away from the DSLR system completely in favor of the X Series or not.