Merrill at Night

Before picking up a Sigma dp2 merrill, my online research indicated that it was pretty much unusable for colour above 400 iso but might be stretched to 1600 for black and white. A few experimental shots with the camera at 800 iso seemed to confirm the online consensus, so I set auto iso to cap at 400 and didn’t considered going beyond.

Sigma dp2 Merrill 800 iso

My most recent trip to Tokyo was in the fall and, anticipating very short days, with the sun setting around 4:30, I decided to revisit the camera’s higher isos while tinkering with the raw file processing. The resulting images were surprisingly decent. In fact, after using the camera in Japan with an 800 iso cap, I began to really enjoy the aesthetic produced by the low light image degradation.

Sigma dp2 Merrill 640 iso

The trick was to turn off the luminance noise reduction in Sigma’s raw processing software, Photo Pro. With the default noise reduction settings the images often looked horribly smeared, like old cell phone or point and shoot photos. But with it off, the foveon grain, a bit reminiscent of film, is revealed along with a surprising amount of detail. 800 iso and f2.8 is enough to shoot the relatively well lit streets of Tokyo, so I no longer have to leave the camera in the bag at night and actually look forward to seeing how it will interpret the dark scenes.

Sigma dp2 Merrill 640 iso

Sigma dp2 Merrill 800 iso

While I found higher than 800 iso generally undesirable for colour, I won’t rule it out until I’ve exhausted all post processing options. It is very likely that black and white can be pushed considerably further. Inspired by the results on the Sigma I’ve also begun turning off luminance noise reduction when processing images from my other digital cameras and, while the grain isn’t as pleasing as with the merrill, I am still preferring the noisier results.

Ricoh GR II 3200 iso

The Other Colours of Japan

Kodak Ektar 100

A red umbrella in the snow, frothy green tea next to peach daifuku, the indigo cloth of a noren obscuring the doorway of a dark wooden restaurant. Splashes of colour against monochrome, the Japanese flag. These are what come to mind when contemplating the traditional Japanese colour esthetic.

While such colour use is still common, there are many alternative examples to be found in modern cities. Aside from the lit signs and neon at night, Tokyo tones are largely subdued, but not without their own unique character. And there are many examples of bright, solid, and sometimes wild, colours standing out against the otherwise ubiquitous gray.

Fuji Velvia 100

Medium format film loaded into the Fuji ga645i seems to best suit this project. All shots in this post used this combination, apart from the last one, which was taken with the Sigma DP2 Merrill. Of the film photos the ones on Ektar tend to best reproduce the look I’m going for.

Kodak Ektar 100

Apart from the vending machine shot below, the photos may not obviously be from Japan. However, I think anyone who has spent time in Tokyo will find these scenes familiar.

Kodak Ektar 100

Fuji 400h

Sigma DP2 Merrill

I’ve been contemplating a project based on these alternate Tokyo colours, and have found that the photos taken towards this end have a certain similarity beyond the tones. Tokyo colour is a rather broad subject, so I am still struggling to precisely define the project but hope to someday turn it into a book or zine.

Tokyo Storefront Bikes

In recent years I’ve noticed many small Tokyo shops with stylish bicycles conspicuously parked in front of them. The prominent placement of these bikes and the frequency of their presence near shops, eventually led me to realize they were there by design and acted as part of the storefront decor.

The purpose of the bikes is pretty obvious in some cases, but I initially assumed they were left there by a customer and the style reflected the type of clientèle.

It wasn’t until I saw clear signage hanging from some that I clued in. (Or the even more obvious setup below)

Still, there are instances where it is difficult to determine if they are there by accident or by design. 

Regardless of the bikes’ intended purpose, they are a good subject for a small (ongoing) photo project.

Retroactive Photo Projects: Views of NTT

Sometimes it’s possible to create retroactive photo projects by going through old photos and looking for patterns. We’re all attracted to certain subjects and shooting styles, and will inevitably end up with sets of related shots that might be worthy of a project.

I’ve never found a complete work by doing this but have discovered ideas to expand upon. While going through photos from a recent trip to Tokyo I noticed a couple of shots of the NTT tower in Shinjuku and realized that I’ve taken a few over the years. There’s not nearly enough for a major project, but it’s a start, and something I’ll work on next time I visit Japan. In the meantime there’s enough for a small blog post!

 

NTT Tower

The NTT Tower is one of those buildings that everyone notices. It’s quite tall (240m) and isolated from the other towers of Shinjuku, and so is visible from a good distance from many angles. It also has distinctive art-deco like architecture, reminiscent of the Empire State building, and a large clock near the top.

 

Future

Now that I’ve identified this as a possible project, I definitely want to add more variety to the collection. Omissions that immediately come to mind include night shots and views from Shinjuku Gyoen. Given the tower’s relative isolation, there are a large number of other possible views to explore. Even the simplest of project ideas can be motivating!

Photogenic Tokyo – Omotesando & Tributaries

In recent years when heading out for a day of shooting in Tokyo, I’ve found myself frequently returning to the areas around Omotesando. Omotesando is a major street running through Shibuya that is lined with trees and flagship fashion stores. It is very crowded and while the architecture is varied and top-notch, it is the side streets that branch off into the most interesting areas. To the east lies Harajuku and Ura-Harajuku. To the west is Cat Street and eventually central Shibuya.

The Main Street
Omotesando-dori (street) is straight and wide and rises gradually on a slope as one heads north towards its termination at Yoyogi park. This is where famous international brands attempt to stand out using architecture.

I’ve been too intimidated to visit the interiors of the higher-end stores, but I’ve peeked into the entrances, which can be interesting in themselves.

Harajuku
Harajuku is now known worldwide as a spawning ground for cutting edge youth fashion. Most people associated Harajuku with the station of the same name and Takeshita-dori. This is evidenced by the mobs of people crowding the narrow passages of the old station and pouring down Takishita street while leaving the adjacent side streets relatively empty. However the side streets, sometimes referred to as ura-Harajuku, or ura-hara, are at least as interesting as the main drag and are very extensive.

Ura-Harajuku
I didn’t discover ura-hara until after several visits to Takeshita-dori. I’ve now wandered its narrow, odd-angled streets many times and yet somehow manage to discover new routes with each visit. The rules of spatial geometry seem to be different here. Somehow unfamiliar alleyways appear where they shouldn’t be able to fit. The area is filled with small boutique fashion shops, thrift stores, restaurants and cafes.

 

The West Side and Cat Street
Analogous to the Takeshita-dori ura-hara relationship, there are small streets branching out and running parallel to Omotesando that are more interesting than the main thoroughfare while being much less populated. The main Omotesando branch is Cat Street, which starts at Omotesando and ends near the edge of central Shibuya.

In recent years, Cat Street seems to be growing in popularity. While this has brought more brand stores to the area, there are still a healthy number of independent shops including an old style grocery store nestled amongst the cafes and boutique shops.

Worth Exploring
While the famous architecture on Omotesando is worth checking out, I find that the width and straightness of the main drag makes it difficult to get unique and interesting photos. However, the varied and twisty side streets provide an endless supply of unique opportunities. For photographers visiting Tokyo, the entire area is definitely worth exploring.

The Appeal of Film Grain

Since I prefer to shoot medium format film, grain is something I tend to minimize. However I also feel its appeal, and at times want to work with it. The mindset is different between these two styles of photography and I enjoy exploring both. This is an attempt to figure out what is appealing about film grain.

Nostalgia

Growing up in the pre-digital era I was surrounded by film images. Every photo in every magazine or book, and on every billboard or poster originated from celluloid. Also all movies and most television was shot on film. Being surrounded by such images during the most impressionable stages of life may have made nostalgia for grainy photos inevitable. While I sometimes experience longing for the familiar images of childhood I don’t feel this is one of the stronger factors. If anything, it is the tones that evoke nostalgia for me.

However, it is unlikely that the strength of such influence can be judged for oneself. Perhaps it is familiarity that makes grainy images seem more “natural”. A test for this would be to see if millennials find grain more natural. Judging from the number of young people shooting film and introducing noise to digital photos in post, there must be many that prefer grain; however, it is unclear why.

Room for Interpretation

Grain adds imperfection to images and leaves tiny gaps in the information a photo conveys. This allows the brain to interpret the missing bits. Perhaps the gaps filled in by our perception produce a more natural or pleasing result in our mind’s eye than a perfectly reproduced image can? Maybe the bit of unconscious thought required just feels better? These are wild guesses on my part, but I’d be curious if they ring true with others.

Mimics Natural Phenomenon

Unlike the perfectly arranged grid of pixels on a digital sensor, film grain is distributed randomly according to the same principles of other natural phenomenon.  Maybe this makes it more familiar and comfortable to look at in the same way that a landscape is generally more pleasing than a parking lot?

A Bit Different

Or maybe it’s simply that grainy photos have appeal because they are different than the majority of images that we are constantly bombarded with on the internet, in high definition video, and in print.

Shooting film in Tokyo Update (May 2017)

Fuji ga645i with 400h

The following is an update of the “Shooting Film in Tokyo” entry from 2016. The older post can be found here.

BIC Camera

During my spring 2017 trip to Tokyo I followed my preferred pattern of shooting film and developing it on location to avoid the stress of flying with unprocessed rolls. As with previous trips I intended to use BIC Camera in Shinjuku for processing but found that things had changed. BIC no longer offers the option for developing at Horiuchi Colour and the wait times were considerably longer than last year. Instead of only 2 or 3 days it would take about two weeks. The times were a bit shorter for Fuji’s films but the batch included a few rolls of Kodak Ektar which meant waiting a full two weeks for it all to be done. Fortunately the film would be ready a couple of days before I left but with these long processing times I would have to find a quicker alternative if I wanted to continue to shoot and develop film in the remaining two weeks of the trip. On top of the extended wait times there was a mix up and the Ektar was not ready before I had to leave. This would have been a disaster if I didn’t have a friend in Tokyo to pickup and mail the film to me.

Fuji ga645i with 400h

Shashin Kosha

There are probably many alternatives, including going to Horiuchi Colour directly, but I stumbled on a great place that is conveniently located close to where I usually stay in Tokyo. Shashin Kosha is about a 5 minute walk from Ginza station. They have an English language website (http://www.shashinkosha.co.jp/english/index.html) and will respond to questions in English via email (info@shashinkosha.co.jp). I emailed them and found that their turnaround time for colour negative film is typically 1 day, or a bit longer if there are many rolls.

Near the end of the trip I went to drop off 9 rolls, a mix of Fuji, Kodak 135 and 120 colour negative film. The building was easy to find but I had a bit of difficulty locating Shashin Kosha itself. There is a photography gallery on the ground floor so I poked my head in and asked “Shashin Kosha?”. The fellow went into the back and got a lady that spoke English. She walked me outside and to an entrance beside the gallery with an elevator just inside. She even went up with me to the second floor and stayed with me at the Shashin Kosha service desk to help translate.

If using Shashin Kosha without being able to speak Japanese I’d recommend writing down, or drawing, a simple diagram of how you want the film cut, since this is the one slightly complicated thing they will want to know for each film format type. In the end they were able to develop the 9 rolls in 2 days. Everything was ready as promised and the results were flawless. I’d definitely recommend giving them a try for Ginza area film processing.

 

Fuji ga645i with 400h

Price

Film prices continue to rise in Tokyo, which is the case everywhere, but Kodak film is considerably more expensive than in the U.S. (where I usually order my film from despite being in Canada). At the moment, a box of 5 120 rolls of Ektar is $US25 at B&H and it’s $US30 for a box of Portra 400. In Japan, at the major photographic chains, the US$ equivalent prices are $63 and $51 respectively! I still went for a box of Ektar, since there is nothing else like it. Fortunately Fuji’s offerings are more reasonable with a box of 400h being $37 and 160ns at $31.

 

Fuji ga645i with Kodak Ektar 100

Popeye Camera

In Tokyo, Popeye camera (http://www.popeye.jp) often has the best prices for Kodak film that I’m aware of. At the moment, a box of Portra 400 is about $US39 and slightly expired Ektar is being sold for $US28 a box. Apart from the deals, the store is worth a visit. There is an associated gallery in a separate building a short walk away. The store is located in Jiyugaoka near the station.

 

Fuji ga645i with Kodak Ektar 100

Despite the changes buying and processing film of all formats continues to be a viable option in Tokyo. In this regard I suspect the city will hold out longer than anywhere!

Ricoh GR ii in Tokyo

I first used the Ricoh GR in Tokyo during my spring of 2017 trip. I had only had the camera for a few months prior, and those being mostly winter months, the trip was also the first time I had shot it frequently and seriously.

My main reason for picking up the GR was for its pocket-ability and stealth. Despite having a full aps-c sized sensor, it is the size of, and looks like, a typical small point and shoot. The weight is negligible and so I don’t hesitate to throw it in the bag along with my “main” camera for the day. Since I’m rather self-conscious I also hoped I would be more comfortable using a small, discrete camera in busy public places. My only concern was the unfamiliar 28mm (equivalent) field of view. When stuck with only one focal length I prefer it be closer to 50mm.

I’m still not comfortable with the 28mm focal length. It’s probably not just due to preference, I think it is genuinely harder to use than 50mm. There is much more in the frame and shallow depth of field cannot be used to obscure distracting elements. It also requires one to get closer to subjects, which goes counter to my hope of being less self-conscious when shooting with it.

I shot everything in raw with the default colour preview but, after reviewing the photos on the computer, I ended up converting an unprecedented number of them to black and white. GR images often look better that way. Maybe it’s due to the tonality of the camera, but I think it’s also because the colour is occasionally a bit odd. White balance adjustments are not always enough to correct this and I haven’t looked into more sophisticated selective colour corrections. Sharpness is never an issue, at any aperture.

I do like the colour rendition for Tokyo night photos. Such images tend to look a bit surreal anyway, so “different” colour is hard to notice or might even amplify this effect.

The small size meant I had a camera with me on all occasions, even when just stepping out for dinner in the neighborhood. Also I felt relatively comfortable walking around and photographing the local residential streets at night, which would not have been the case with the d700.

After reviewing the photos for this article it is apparent that I need to learn to shoot the 28mm at closer distances to take advantage of the wider angle perspective warping. Due to the density, everything is closer in Tokyo anyway, so, apart from my own comfort, 28mm probably suits the city better than 50mm or even 35mm.

Overall I love the camera. If Ricoh came out with a version that was the same size and specs except with a focal length close to 50mm (and wider aperture if possible) I would snap it up immediately and bring them both on all future trips. The combo might be enough to leave the dslr behind.

Fujifilm GA645i

The quest for a medium format travel camera led me to pick up a Fujifilm ga645i and,  after a year and a half of use, including during two trips to Japan, I’ve remained very happy with the choice. The following is a record of my impressions.

Features

The ga645i is essentially a medium format point-and-shoot. It features autofocus, auto-exposure, auto film winding and a built in pop-up flash. When in ‘P’ mode the only necessary button to press is the shutter release.

The camera shoots a 645 frame, achieving 16 frames per roll (earlier iterations of the ga645 only had 15). There is an option to imprint the date-time and camera settings on the edge of the negative, outside of the frame (I’m not sure why this isn’t permanently on as it’s incredibly useful with no down side I can think of). Film loading and winding is all automatic. For Fuji branded films, the camera will automatically set the iso (a feature added for the ‘i’ versions).

The lens is fixed at 60mm (approximately 37mm equivalent in 35mm film terms) and opens up to f4. The maximum shutter speed varies with aperture. Wide open the max is only 1/400 but this speeds up to 1/700 at f11.

Image Quality

As this is a non-technical review, there isn’t much to say about the image quality. It’s fantastic. The photos are sharp and perhaps more contrasty than with most cameras. I don’t hesitate to shoot it wide open. I haven’t noticed any light falloff or flare under average shooting conditions. Colours tend to really pop.

Shot with the ga645i and Kodak Ektar 100

Due to the wide-ish nature of the lens and a maximum aperture of only F4, bokeh isn’t often dominant; however, despite the contrasty and sharp lens, it isn’t too fussy when it does appear.

A bit of bokeh when shot close and wide open with Fujifilm 400h

Usage

One of the unique and desirable things about the ga645i is that it is a medium format film camera that can be shot one handed. Mode changes and exposure compensation require a second hand but focusing, aperture or shutter speed changes, and shutter releasing can all be done with the right hand. While I prefer the tactile nature of fully manual cameras, the advantage of this auto setup comes into play when shooting in the rain since it can be used while holding an umbrella.

Autofocus is slow by today’s standards but not bothersome for static subjects. Accuracy is quite good but it is important to develop a habit of checking the focus distance (which is displayed in the viewfinder) to ensure that the camera is focused on the expected subject. The offset viewfinder is bright and large and easy to use with glasses. It also has parallax correction and the frame edges seem quite accurate.

Besides a quirk explained in the list of weaknesses, the ga645i is the easiest to load medium format film camera I’ve used. Small red buttons pop out the spools and the control dial advances the film in small controllable increments. Once the film is rolled a bit, closing the film door causes the camera to automatically wind the film to readiness.

ga645i loaded with Fujifilm 400h

Weaknesses

The ga645i has a few weaknesses. Some of these could have probably been easily avoided while others may be necessary compromises to keep the size and weight down. The following is a list of disadvantages the Fuji has when compared to other “typical” medium format cameras.

1. No AE lock.
   One metering technique I often use in tricky lighting situations is to point the camera towards an area I want to be medium gray, lock the exposure, and then recenter to lock the focus and then recompose to shoot the desired composition. Since the camera doesn’t have an AE lock this isn’t possible. There is an AF lock button, so one can focus on a subject and recompose and expose for the final framing.
2. Battery Requirement.
   Nothing on the camera works without a battery. Without power the film can’t even be wound, so the roll is stuck in the camera until power is re-established. Fortunately the cr123a batteries are reasonably easy to come by.
3. Digital only settings display.
   When the power is off, none of the settings are visible. To see how many shots were taken on a roll, or the current iso setting, the camera has be turned on. Since the lens extends every time the camera is turned on, I’m reluctant to induce the wear and tear just to check how many shots remain on a roll.
4. Poor manual focus.
   Manual focus is awkward and difficult to get right. Since it isn’t a SLR and doesn’t have a rangefinder patch, one has to use the distance reading to judge manual focus.
5. Fujifilm film loading issue.
   This last point is rather surprising and might be specific to my copy of the camera, but my Fuji ga645i has trouble winding Fuji branded film properly unless using a Fuji spool. With a non-Fuji spool, Fuji film sometimes comes out very loosely rolled, to the point where there are minor light-leaks on the edge of some frames. I haven’t experienced the problem when using Kodak or Ilford films. Fuji spools have a little knob that hooks on a hole at the start of a Fuji roll to ensure there is no slippage. I now bring extra Fuji spools with me so I don’t have to worry about switching film brands. None of my other medium format cameras have this restriction.

ga645i with Kodak Ektar 100

Conclusion

Despite the longish list of negatives, I really like this camera, and would not hesitate to recommend it to anyone looking for a lightweight medium format travel camera.

Joys of Cheap Film

Kodak Ultramax 400

Lomography is credited with much of film’s recent resurgence in popularity. The movement is largely based on the lo-fi, retro look that can sometimes be achieved with film. For me, this wasn’t the main attractor that brought me back to the medium, rather it was quite the opposite. I was more compelled by the quality of medium format film and its depth of field characteristics. Even with unlimited funds there is currently no way to replicate some of the attributes of the larger film formats. There is no full 6×7 digital sensor, let alone ones for large format (apart from rare scanning backs that cost tens of thousands and are unusable in most situations). Still, lo-fi film photography has its own appeal, and is something I often indulge in.

Kodak Ultramax 400

If lo-fi is shooting with a plastic lens holga with light leaks on improperly stored long expired film that is pushed and then cross-processed, it might be worth distinguishing a mid-fi category for this post. I’m interested in maintaining decent quality with touches of lo-fi character. Towards that end I really enjoy shooting cheap 35mm film in good cameras.

The cheap films I tend to use are Kodak Ultramax and Fuji Superia, both in 400 and 800, mostly because they are the most available. The appeal of both these films lies in their visible grain, high-contrast, and punchy colour.

Grain

Grain is one of the most frequently quoted reasons for preferring the look of film. Speculating as to why is probably worth a post on its own but can probably be summarized as looking more natural, or, even more vaguely, as being funky.

Kodak Ultramax 400

Colour

Even more than grain, I like using cheap film for its colour and high contrast.

Fuji Superia 400

To me, if one doesn’t think to much about it, the exaggerated colour and contrast still appears natural, unlike what often happens with boosted digital images. Perhaps this is due to a more “natural” tone curve, where the high-lights are eased to white rather than cut. Or perhaps it is due to a relatively high dynamic range being preserved despite the increase in contrast.

Fuji Superia 400

Whatever the reasons, lo-fi film adds yet one more dimension to the joys of shooting film in the digital age.