Despite all the gear I’ve accumulated and sold off in the past three years, I never once owned a prime ‘L’ lens from Canon. Sure, I’ve held a few and shot many photos with them (like the 85mm and 135mm) but when it came down to swiping that credit card, a zoom also seemed to be the more practical choice.

That status quo was shattered recently, after acquiring the 24mm f1.4 lens, Canon’s widest lens with the f1.4 aperture, which is also their largest in that focal length range. Cosmetically, it’s built like any other L lens – pretty sturdy and feels better than the non-L lenses. One of the nice advantages of its physical attributes is its size. It’s only about 8cm long, so it doesn’t draw attention like some of the bigger zooms.

Let’s get to why someone would even get this lens — the f1.4 aperture. When you shoot this wide open, so much light goes in that it can be blinding. Indoor and low-light scenarios will no longer be such a pain and you can even make use of the faster shutter speeds to freeze action. The lens has literally been a god-send as just days after I got it, I had two assignments involving late night and dark, indoor shoots.

The next best thing would be the unique combination of a thin depth-of-field and the wide, distorted view of a 24mm lens. Some may moan that it’s too wide for their needs. Well, in that case, get the 35mm version. For me, I like getting in close to subjects so 24mm provides good coverage. You can always crop out the photo fats if you don’t need it. As you can see from the photo above, some interesting, wide-angle portraits can work even with the distortion. The one above was shot at 1/160 sec, f1.4 and ISO 400. If I were shooting with a f2.8 lens, I’d need to use ISO1600 just to get the same shutter speed. That’s not very smart, in terms of image quality. Shooting at f1.4 also gives that nice background blur.

Sharpness-wise, I’m very satisfied with this copy, at least. Even before post-production sharpening, the raw image is pretty darn sharp, better than any of my zooms, even when shot at f1.4. I guess that’s the shock and awe when you lose your virginity to a prime ‘L’ lens!

What I didn’t really like was the distortion. Straight lines are going to curve a little (though not as bad as an ultra-wide or fisheye) so it’ll make for extra work in post-production.

And that’s it with the boo-boo points! There really isn’t much worse about this lens. Vignetting is present but I like it and can make use of it. Lens weight’s just significant enough to provide a sturdy counterbalance to your camera body. But that’s all! Who would complain about the wide aperture or the sharpness?

It was a pricey investment but I’m glad I made the purchase. In the near future, you can bet I’ll be diving in more with prime ‘L’ lenses, to add to this already stellar performer.

See more sample photos below!

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HDR is one of the many niches of photography that has grown in awareness and popularity in recent years. Otherwise known as “high dynamic range”, these images (ideally) more closely resembles what our eyes see. In the digital age, a lot of it is done with a computer, but now even phone processors are good enough to do it.

I admit, I’ve not been a huge fan of camera phones. They’ve progressed vastly but to me its quality is still lacking. But when I heard about this HDR Pro app for the iPhone, I thought I’d give it a shot. It’d only be a US$1.99 loss if it turned out to be a cheap gimmick.

But it was not! Overall, I am immensely impressed with this photo-related app. You can make HDR photos automatically or manually, and both are easy as pie. With automatic, just tap the screen and the phone will do the rest. It’s only an extra step for the manual option, where you tap both the bright and dark spots separately, in case the phone misreads what you want.

The opening screen and a shot of its processing of the Pro HDR app.

The day I got the app, I went out to capture a few shots on my way to work. I had almost a 100% success rate, even in the automatic mode. HDR is useful in many situations, like when you’re in a dark room looking at the scenery outside. Our cameras today are still unable to capture the scene as we see it, hence the need for HDR.

What’s best about this app is the images come out looking natural and not in a stylized, arty-farty manner. Some people may yearn for that look, but for me, I still like photos looking like any other photo out there. The downside is it does take a matter of five seconds or more to shoot and process. In that time, you have to keep the phone relatively still and of course, if there’s movement in the scene (like a person running), you may not get him captured in a ‘freeze-frame’ moment.

Truthfully, the $1.99 cost is way worth it, as long as you’re at least remotely interesting in taking snapshots wherever you go. This app can cure a lot of the frustration attacks one gets when using a camera phone.

Check out a few more of my sample images below!

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As a photographer, I try to look out for great works to emulate or learn from. It’s probably the same scenario with whatever field you’re in. If you’re a doctor, you’re reading medical journals to see what other doctors are researching. If you’re a writer, you read what other people are writing.

So, with the 2nd Singapore International Photography Festival (SIPF) opening this weekend, I wanted to take this opportunity to learn from my peers. The SIPF is split into many locations and themes, which you can understand to with greater detail at their website. Because the one at the Singapore Management University (SMU) Gallery was ending today, I rushed down for a visual treat.

The small exhibit space was empty when I got there, but it featured four different exhibits, with about 10 images in each series. They were: “Afghanistan” by Guilad Khan, “As Time Goes By” by Lek Kiatsirikajorn, “The Archaeology of Absence” by Madhuban Mitra and Manas Bhattacharya, and “Family Ties” by Sanjeev Thakur.

Graphically, I’d have to say I’m most impressed with “As Time Goes By,” which speaks of the biological degradation and ageing of the photographer’s parents’ bodies. It’s a simple and very personal topic, but I liked Lek’s very clean (yet highly detailed) style of shooting. It’s something that I try to do on my own as well, maybe that’s why I’m leaning a little toward it.

For story originality, my pick goes to “Archaeology of Absence”. The captivating tale of India’s first and only still camera factory tugs a heart-string for photographers. What’s even more deeply concerting is that this factory is already in ruins. The images of decay and destruction are a glimpse to its past, and it’s very remarkable that the items left behind have been left intact. Powerful imagery, and an equally strong story.

Well, that’s it for this week! If time permits, I’ll definitely be visiting the other locations like Nanyang Academy of Fine Arts and Selegie Centre, among others. The SIPF runs for about a month so if you’re interested, you have plenty of time to check it out. And I’d love to meet new photographers, so if you’re keen on a shared trip to one of these exhibits, please holler!

Christmas this year has arrived early! What you see is correct – it’s the latest top-of-the-line camera from Canon – the 1D Mark IV. Fresh out of the box, I might add. But I think the most important point here is that I didn’t buy it. It’s on loan, and I’d be happy to share some initial user experience impressions right here.

So far I’ve used it for only one day, so these are really the very first impressions I got while using the camera. To understand where I’m coming from, know that I’ve never shot from a 1 series camera before. I have tried all the way from the 400D to the 40D to the 5D but never Canon’s top-level camera.

Let’s talk about the good stuff. Firstly, the ergonomics. It feels great and comfortable in the hand, way better than having a regular DSLR attached with a battery grip. Focusing is noticeably faster than any non-1-series camera, and the availability of so many focus points is just pure bliss. Haven’t really tested the high ISOs, but I’ve shot at 2500 to 3200 and it still looks great. Lives up to its reputation!

Now for the cons, and there are a few. The top panel no longer shows the metering scale to show if you’re over or under exposing. I use that a lot, and now I can’t tell unless I look through the viewfinder. Also, the metering and drive buttons are on the left instead of on the right in semi-pro bodies. I’m used to having it all on the right where I can adjust things with one hand. Now I need two! Ugh, so much for making the camera easier to use!

Notice I didn’t say anything about the weight. Maybe it’s because I’m used to heavy gear, so the 1D is exception. It’s heavy alright, but hey photographers need to deal with it. And I also didn’t mention anything about its video capabilities because I’ve not tried it out yet. But if it’s anything like or better than the 7D, then it’s bound to be good.

Alright, next time I hope to post some sample photos shot with it!

At the slow rate I’m running through my photography books, I’d need a few lifetimes to read all that I want. When it gets that bad, I prioritize on the books I feel I should read.

David duChemin’s Vision Mongers is what I call a soul-searching book. It gives a primer on what being a full-time, vocational photographer means, and tells you how to dig deep to figure out if that is the path for you. With the boom in photography as a hobby/skill/profession, I can see how many would pick up this book.

I feel the very last paragraph of his book encompasses the message very well, and I reproduce it here, hopefully without angering Mr duChemin:

“I’m a huge preacher of the gospel of tenacity. It’s a far too overlooked component of success in this business. Photo magazines talk about successful photographers with vision and style but what is also common to those photographers is a single-mindedness. You have to be willing to hear “no” a lot more than you hear “yes”. Sure it’s tough, but if you have an itch you absolutely can’t scratch unless you pick up a camera, then you have no choice but to plunge ahead. If you can do that with clarity of approach, vision, market savvy, and technical skill, you will make it.”

As you can see from just this one paragraph, duChemin has a very approachable voice, not meant to scare you away nor trick you into joining the profession. Some of the topics he dives into include his background, choosing your niche, some basic business skills and tips, branding and marketing, and how to manage your finances.

Of course, none of it were covered comprehensively as each topic should probably get its own book. But what I’d like to highlight as special with Vision Mongers is how after reading it, you get a better sense of whether you want to be a photographer for life. Many of his words will either ring true like gospel or sound like the most foul words you’ve heard. Choosing to be a photographer is not easy, especially in this tumultuous business climate for the industry.

Thankfully, duChemin took the trouble to highlight the works and motivations of several very prominent photographers in the world, including Chase Jarvis, Zack Arias and Gavin Gough. Even if you’re not a fan of duChemin or maybe never even heard of him (there are just so many good photographers in the world today), then the book will at least satisfy you with other people’s accounts.

Have a good read, and leave comments on what you think of the book.

When we buy stuff, we normally go to brands we trust. For camera bags, those are Lowepro, ThinkTank, Tamrac, etc. But somehow, when I was searching for a new shoulder bag for cameras, I pleasantly stumbled upon a new brand — Vanguard.

Some background: I have many other bags — two backpacks and one semi-backpack. I also had a cheap shoulder bag which I had found abandoned, but gave it away myself a few months ago. I recently began my hunt for a new shoulder bag (and 5th overall) when I realised I did not have a casual bag which offered quick access to my cameras. The backpacks were great for heavy duty carrying, but weren’t practical when you were just out to meet some friends, nor did they offer quick access to the camera for those one-in-a-life moments.

Top zipper which allows you to access your camera without opening the flap

I was looking for specific features in my new shoulder bag, and I realised the Vanguard Up-rise series met all those requirements at a much more affordable price than other big brands. Apart from carrying a pro-sized DSLR and maybe 2 other lenses/flashes, I needed it to have a sleeve for a laptop and a top zipper for easy access (instead of flipping the flap up everytime). The Up-rise 33 fulfills all my needs, and more.

With the Uprise-33, you can remove the cushion inserts to turn the shoulder bag into a regular one

Many other cool and smart features make this shoulder bag a good snatch. You can remove the cushion inserts to turn the shoulder bag into a regular one. Then there’s hardened support at the bottom for rough or wet surfaces. The bag also has an expandable zipper when necessary. Finally, it has a sweet sleeve for slipping the Up-rise on top of your rolling luggage. There really isn’t much more than I can ask for. Perhaps the only peeve I have is the orange colour. If only it weren’t so attention-grabbing.

The up-rise holds full-size pro cameras as well, though perhaps at the expense of the laptop

When it comes to carrying cameras, the Up-rise does its job, which is to carry one body and a few lenses. The bag is tall enough to accommodate a 70-200 lens mounted onto the body (as shown above). It’ll fit bodies up to the prosumer size, but as you can see above, it can also fit full-size DSLRs, like Canon’s 1-series, except that you may have to give up the use of the laptop sleeve.

So overall, a very capable bag which hasn’t let me down. Use it for what it’s meant for – casual and quick shooting. In Singapore, the Up-rise 33 can be bought for S$150 at Challenger stores. Pretty good price considering other similar shoulder bags will cost above S$200 and even S$300. The only thing that Vanguard got wrong is the laptop sizes it can accommodate. Officially, the Up-rise 33 is supposed to be able to fit a 15″ laptop, but it my 13″ laptop had a snug fit in the sleeve. If you have a 15″ laptop, go for the bigger one – Up-rise 38!

I’d wanted this bag for a long time. For those who don’t know much about the ThinkTank Shapeshifter, it’s a transformable backpack that can expand/contract to suit the presence/absence of camera equipment. As you can see above, the shrunk backpack makes a very nice low profile, which is great for shooting in the field.

The Shapeshifter is my fourth camera bag. Those that came before were the Lowepro Slingshot 200, Lowepro Fastpack 350 and a no-name shoulder bag that was originally meant to hold a video camcorder. So why weren’t they all good enough?

The Slingshot and shoulder bag are good for simple photo walks where you’d only need one body and a couple of lenses, while allowing quick draw-and-shoot action. But neither carries a laptop (essential for photojournalists and traveling photographers), and they put considerable strain on one side of the shoulders.

Then came the Fastpack. It’s a great concept. Half is dedicated to compartments to store a body and lenses, and the other half offers general storage. To top it off, you can slip a laptop in the back, and it even offers quick-draw capability like the Slingshot. It’s almost perfect.. except it’s too big. If on assignment out on the streets, it sticks out like a turtle shall on your back. Jostling with people means it might be tough to maneuver through them.

So, enter the Shapeshifter. It keeps a laptop, 2 bodies, 3 lenses and enough accessories, and it shrinks once you take the equipment out. One downside (in comparison to the other bags I’ve had) is the inability to quick draw anytime you want (unless you already had the cameras out around your neck). Oh, and it also doesn’t hold as much gear as the Fastpack.

Despite that, I find the Shapeshifter’s lean feature a very important asset to have. Last Saturday I brought it with me to cover an indoor business event (those photos will appear on the website soon). Everything I needed was in the Shapeshifter. I arrived early, took out the gear and minimized the bag. With the Shapeshifter on my back, it didn’t feel like an obstruction at all. Rather than leave the bag in an unprotected area and leave any accessories inaccessible, why not have it with you at all times?

Another small hurray — the Shapeshifter doesn’t look like a camera bag, and with its streamlined version, you can use it as a very general purpose backpack that can hold a laptop.

It’s absolutely wonderful that I finally get to own and use this bag, for it doesn’t come cheap. But I look forward to many more times of good use. If I have any more new observations or discoveries, I’ll be sure to be update it here!

“Highly doubtful” would be my response, in contrast to this blogger who believes iPad and photojournalism are synonymous. Now we all know the iPad isn’t out yet, but by looking at the specs, and by drawing some of my imagination and experience as a photojournalist, I’m hardly convinced anyone in this line of work would want to use the iPad in the field, transmitting images of breaking news. Here’s three reasons why:

1. BACKING UP. With only one 30-pin port available to convert to USB, how can photojournalists backup their work on external hard disks? 16GB and even 64 GB is too little to take to the field when they can be out for days at a time.
2. UPLOADING. Sending images to the newsroom needs to be in the field, not late at night at the comfort of your own home. Plus, 3G and wireless mean nothing to reporters and photojournalists who travel to areas without such coverage. Deserts, seas, mountains and even still-developing countries don’t have such luxuries. A satellite uplink is required, and while this could be possible for the iPad, netbooks and notebooks have already proven themselves in this aspect.
3. EDITING. Once again, editing needs to be done in the field, not on your sofa with a glass of iced tea. Some photo editing apps are out there, but I believe none of them can process RAW files and give the full flexibility of a dedicated RAW editor.

While the iPad is a gorgeous fit for showcasing your portfolio or crunching up in a Starbucks chair reading digital magazines, it’s not for me if I were a globe-trotting photojournalist. But there is hope for the future. Apple always improves its products over time. Who knows, there may be more USB ports in the future, and maybe the ability to run more complete programs (and not mere apps). In the meantime, I’ll stick to my notebook and smart phone.

Words fail me when describing the disappointment from developing prints at Arbor Photo Lab. Atrocious, ugly and incompetent are just a few that come to my mind. Never before have I come across such poor quality.

But it’s all my fault, I was too desperate to obtain prints to show a potential client, and couldn’t wait for shipping from tried-and-tested online print labs such as Mpix and American Color Imaging. To make things worse, Arbor Photo Lab was charging high rates ($4+ for a 8×12 print, more than Mpix and less than ACI). As a new establishment, its high prices are even more unjustified considering the quality. At least ACI does a good job.

Look at the comparison above. The colors are all muted, as though unsaturated. And the exposure has just gone to whack. There’s no way I can show this to clients. Mind you, this wasn’t the only print. There are about 4-5 others but this was the worst of them.

On the only bright note, my wasted $30 can serve as a red flag to all those thinking of going to Arbor Photo Lab for prints. Save yourself the trouble. Never will I step foot inside the store again.

Monday was quite a special day. My custom-made, flush-mount WillowBook Sequoia Album arrived through UPS. I’d spent almost a whole day designing the interiors and waited almost 2 weeks for it to be mounted and shipped. Although my experience with prints and albums are limited (only did Blurb once), I know a quality product when I see one. To say the least, I had nothing but love for this album!

All the photos in it revolve around Guo Lu, whom I did two portrait sessions with, one on her own and another with her house-mates. I ordered a 10×10 inch square album, with a burgundy leather cover. Unfortunately, WillowBook products are only available to Pictage members. Pictage is a print lab that caters to professional photographers.

What I’m most ecstatic about is the flush-mount itself. Because many of my photos are spread over 2 pages, the flush-mount makes sure the eye follows through from left to right. With traditional binding, a good middle part of your photo will get lost in the ‘gutter.’ Sure, there’s still a ‘slit’ running between both pages in a flush-mount album, but it’s still excellent for wide shots.

The other impressive point is how WillowBook used high-end materials to make the album. Everything looks, and feels, expensive. Of course, you get what you pay for. And these albums aren’t cheap, but when I opened the album the first time, what it cost almost didn’t seem what it’s worth.

An inside look of the WillowBook Sequoia Album. Notice the 'slit' at the center of the spread, but the albums opens up flat to get a great effect

So what’s wrong with it? Dare I say it.. nothing. The leather is crisp and fragrant. The photo window on the cover was correctly aligned. The color reproduction is excellent, exactly what I saw on my monitor (and I don’t even use a calibrated monitor, just a Apple MacBook Pro). Even though I have a habit of not sharpening my photos enough for print, the album came out surprisingly sharp.

I wouldn’t hesitate to order another Sequoia album, as long as the photos up top quality themselves and deserves such a kingly treatment. Show these to some prospective clients, and I’m sure they’ll go ga-ga over it too!