For years, I have been a proponent of “the camera doesn’t matter” philosophy, engaging in multiple and sometimes fiery online debates on the subject. In my core I still believe it but my views on the subject have altered drastically over the last two years. The revisions didn’t happen overnight but were formed through a slow and gruelling process of observation and honest self-assessment. They are side-effects in my search for new seeing, propensity for visual risk-taking and for meaning in my work. They are not the final answer but rather a snapshot of my photographic state of mind at this moment.
It was 2012 when I first bought the Fujifilm original X100. In fact, this small camera was a Fujifilm entrance into the digital camera business after a brief absence. It was the beginning of the X-series APS-C sensor-sized, mirrorless cameras. At the time, I was shooting with the Nikon SLR as were most of my friends. Even though the X100 was slow and quirky it totally altered the way I shot. Its small size, portability, electronic viewfinder, physical knobs and the fusion of old-fashioned design with the latest technology made me go out and experiment – photography became fun again.
Over the years, the small X100/S/T/F became my camera of choice along with the Fujifilm X-Pro2 paired with a few other lenses. During this period, I moved through several transformations as a photographer: from landscape to travel, from classical street to visual experimentations, which are difficult to box into one genre. I became expert in going out, observing, experimenting and creating unique visuals. I gained traction and a large following.
There was one thing that always rattled me for some reason – a thought that kept coming back to me like a boomerang. Given my dedication to seeing and the craft of photography regardless of the gear involved, these medium format thoughts were strange indeed. Each time I saw an image taken with medium format I somehow paused and pondered over it. Whether it was a portrait or a photo of a simple chair, the images had a depth and richness that pulled me in like a magnet.
Over time my obsession became a dream to shoot with medium format one day. It was a very distant dream, indeed. There were rumours about new, upcoming cameras but the only reasonable choice back then was Pentax, priced near $10,000 with one lens.
Then the GFX50S came on the horizon, a camera which I had an opportunity to test not long after its release. Finally, I had a digital medium format camera in my hands. During this time, I had the chance to go with the GFX 50S on several trips as well as shoot some urban photography here in Vancouver.
The files I was getting from the medium format were astounding but it wasn’t my biggest surprise. It was the way I had to alter my shooting to accommodate a much larger and more demanding tool. Along with my fascination for what my new companion could do came the feeling of confusion and evaluation. Why, after years of having the freedom of a small, playful tool which had helped me to produce so many great images, would I go back to a large, heavy camera like that? Aren’t you Olaf, the street photographer? After all, medium format doesn’t belong there.
Those initial thoughts led to more questions and mental tribulation. Who are you as a photographer? Is your seeing articulate? Where are you heading? What are you trying to say with your photography? Strangely enough, the camera I didn’t even own knocked me out of my comfortable warm photographic equilibrium. As much as I tried to push back with “the camera doesn’t matter” mantra I had been preaching for so long, I couldn’t stop this whirlwind from gaining strength. And it was of my own making!
Despite some concerns I soldiered on! My process of seeing and crafting images slowed down even more. I no longer felt the need to run around town or after my subject. I started observing more and more without pointing my camera. My thought process went from slow to snail-like to the point that on occasions I missed my small camera companion. I felt I had committed treason abandoning everything I believed in.
For weeks, I was experimenting and shooting with medium format. Over time, the storm clouds inside my head started to dissipate. No, it wasn’t all clear and sunny right away but it became way more welcoming. I started to focus on the long-term projects and pulled away from the constant temptation of creating something new. It is not that I abandoned the idea. Quite the opposite! Now this new thing had to be articulate. I knew that I had to say something important with my photography. At that moment, the pieces started falling into place. This medium format camera I had been dreaming about for such a long time stopped being just an itch, but started becoming my seeing machine which aligned with my current visual aspirations and plans.
It happened as I started work on my Renatus Project. This project of a lifetime – which I have been dreaming about for years – has finally started taking shape and since its start, I knew that it had to be shot with medium format. After all, I was dealing with remarkable human stories of people who had been through unimaginable drama but found redemption and kindness. These stories carry so much emotional and narrative weight that they must be matched with equally powerful visuals.
At that moment, my seeing, my photography, my future and medium format came together as one. This was the point of no return. Of course, such deliberations are often met with the cruel reality of life and financing the medium format camera became a major issue for me. One evening, one of my students who had become a friend, called me with a proposition which absolutely stunned me. He said, “I would like to purchase the medium camera for you” adding “please let me do it and this way I could photograph with you.” Despite some initial objections, I humbly and gratefully accepted his generous gift and promised to make great use of it.
Since then, I have worked almost exclusively with medium format and finally understood what Vincent Lions meant when he wrote “loss of interest in other platforms may occur” in his excellent piece, “Five unexpected side effects of medium format photography.” It was just the beginning. Who knew that my new tool would take my photography to unexpected but familiar places.
For years, everyone agreed that medium format has no place on the street. After all, the camera of choice for street photographers must be small with fast autofocus. Regardless, I started photographing urban areas with medium format. And more self-discoveries occurred. I lost interest in traditional street photography and started creating visuals which could not be easily defined.
Whether it is the first light hitting my hotel room or the mosaic of light inside the diner, I have been slowly and deliberately working to turn those temptations of light into my own imagery. What has become really appealing are the transitions of light occurring within the frame, which in medium format are gentle and borderless. I have learnt to use them as my painting tool over the canvas of my own imagination. Indeed, my medium format camera has become my new, irresistible brush.
In sum, I still believe in the truism that “the camera doesn’t matter” but based on my experience, a new tool might play an important role in the fascinating journey of self-discovery and seeing.
We would love to hear your stories. My team and I will be happy to choose the most interesting and publish them in the next issues of the Medium Format Magazine and/or on this website.
An excerpt from the PDF Exclusive “20 Stories” by Ming Thein.
I am used to having two kinds of clients: the first type wants things that have already been done before. They don’t want to take risks because previous photographers might have over-promised and under-delivered, or they lack the imagination to see something that hasn’t been done before. Or they simply are unwilling to pay for creativity over duplication. These are the kind of shoots that never go into your portfolio because it’s not the kind of work you want to be known for, but we pros have to do them because they put food on the table and keep us in business, hopefully long enough to get the chance to work on a project when we have full creative control and feel the pressure of our own limitations. It’s the kind of project where the client is willing to seriously consider your crazy ideas and trust in your ability to deliver them.
My introduction to Koenigsegg came through Hasselblad and DJI. I suggested to Christian (von Koenigsegg) that we combine a bit of everybody’s technology: long exposures on a moving car to show dynamism and suggest a journey; high speed flash to freeze the car to make it distinct; very large prints and expansive compositions to fully use the camera’s resolution, and then top it off with an aerial perspective by putting the H6D on DJI’s largest aircraft. Execution would be tricky as there were a lot of moving pieces to coordinate and a very small window in which ambient daylight would be sufficient to see the surroundings, but not so much as to overpower the car’s lights. It would require a long exposure and a stable aerial platform. Hon- estly, I wasn’t 100% sure we could pull it off. And there was a backup documentary shoot in the factory to detail the construction process for the times of day when ambient light wasn’t suitable for the outdoor car sequences.
In the end, the shoot only produced five images, each one requiring a couple of hours of set- up, test positioning for car, lighting and aircraft. We had to have a coordinator in touch with air traffic control and override codes from DJI HQ to allow us to fly as the Koenigsegg test track was on the edge of a live airfield. In the end I landed up triggering the lights manually with the trigger in one hand, a radio in my ear to direct the driver, and an iPad with the camera gimbal controls in the other, with the pilot next to me. The only time I’d had to multitask more inten- sively was during another automotive shoot—a TV commercial where we added a crane car and crane operator to the mix.
I always feel mentally fried at the end of these shoots but in a good kind of way when you know you’ve pushed your limits, the team’s limits, the hardware’s limits, and come out with something pretty special. I’m just grateful there are still clients like this giving us photographers the chance to keep pushing.
PDF Exclusives is a series of highly informative ebooks in which great medium format photographers share their knowledge of the craft with special emphasis on medium format. So far, we have released PDF Exclusives from Vincent Lions, Patrick La Roque , Lloyd Chambers and Ewan Dunsmuir. We have three more in the works including some about medium format film photography.The best news? These exclusive publications are included in the price of the Medium Format Magazine!
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Medium format photography has never been so alive and well. This is apparent in the stunning work you will find in the February issue of the Medium Format Magazine.
A fascinating interview with Damien Lovegrove begins the issue. This must-read conversation with one of the most accomplished and celebrated photographers is an account of a remarkable journey of visual and business mastery in today’s difficult world of professional photography.
In the next article, Alex Tseli takes his brand-new Hasselblad X1D on a photographic trip to a colourful and visually-rich Morocco. His honest and well-written account of the trip and his experience of using the X1D makes this piece an intriguing read.
Don Craig, a professional photographer from Victoria, works for the government of British Columbia as a designer and photographer. He shares with us his experience of using the medium format Fujifilm GFX system in his work settings. I am confident many of you will find his article useful and thought-provoking.
This month, Ming Thein tackles the issue of art and photography. Those of you who have been following Ming Thein and his “In Pursuit of Transparency” know what to expect – deep, thoughtful writing. Make sure to turn off all distractions.
As you turn the page, you will encounter a trip to an unexpected but fascinating place. Michael Zahra takes us into the strictly controlled area around Chernobyl, site of one of the largest nuclear disasters in the modern era. When reading his account, vivid memories of my childhood in communist Poland, just across the border from Ukraine, came back to me. I well remember the time when the first news about the disaster hit the airwaves and the government started distributing the Potassium Iodide solution to me and my schoolmates. Make sure to read Michael’s fascinating account of this trip and see the stunning imagery captured with his medium format camera.
Lloyd Chambers continues his insightful series about maximizing image quality with shot discipline. This time Lloyd tackles the issue of optimal exposure. As usual, in his no-nonsense, to-the-point piece, Lloyd educates us on how to reap the full benefit of our medium format gear.
This month Ibarionex Perello in his “Beyond Medium Format” column talks about “Feeling What You Are seeing.” He takes us inside a famous recording studio and shares his experience of shooting a recording session with great musicians. It is not only about the images!
Holger Nitschke shares his stunning portraiture work and asks a series of important questions about medium format and photography in general. His way of working with models and capturing unique portraits is something to admire and learn from.
Finally, Alex Burke, our new columnist, introduces himself and writes about his large format photography. As we work to expand medium format film photography coverage, I am very pleased to have Alex with us and I’m looking forward to his series about film photography.
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The Medium Format Magazine is not the only publication available to our members. We also publish the PDF Exclusives – high-quality, in-house designed educational and inspirational pieces on a variety of subjects related to medium format film and digital photography. Our subscribers have already downloaded and enjoyed a number of such exclusive publications. Vincent Lions authored one about still life photography and Lloyd Chambers about the technical aspects of shooting digital medium format. The latest production was from Patrick La Roque – the master storyteller and visual virtuoso. In his “9 Frames – On Being Moved and Why” Patrick deciphers nine images and shares his mechanics of seeing and capturing them. It is a revealing and fascinating read. Here is one of the images with accompanying text by Patrick La Roque.
For years, I’ve worked with an architecture and design firm that creates stunning spaces. I have a shed load of images from these projects that I’m extremely proud of and could have included here. But I keep coming back to this rather muted image. When I shoot spaces I’m always looking for small vignettes that tell a story beyond any grandeur. Sure, I’ll capture the spectacular super wide frames as part of the job, but I also try to find innocuous views, the kind you’d vaguely notice from a bed or a sofa while reading a book on a lazy afternoon. Because these, to me, feel like life as opposed to stagecraft. And this is one such image: I love the light, the angles, the tones and the leaves on the outside porch. It seems unintentional and real.
A small aside about general technique: 99% of my interior work is shot in available light as in whatever-light-is-part-of-the-space, natural or otherwise. In high-end designs, lighting isn’t random: every lamp, spot and window is intentional. Capturing this intent is something I consider important because it’s part of the initial vision. The trick is to remember that timeis also part of our gear because with a still subject and a tripod, the camera shutter can remain open for as long as it takes. So I keep my ISO low and set the camera to aperture-priority, turning the exposure compensation dial until I get an exposure that provides the look I’m trying to achieve. I use the built-in timer to delay the shutter (to avoid any sort of shake) and click away.
Unless we want to re-lighta space, there’s no need to overcomplicate matters in this type of situation. I do bring a small flash with me just in case and I’ve used it to create different moods. But as I said, this is the exception rather than the rule.
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Working on an interview with Nina Gorfer and Sarah Cooper, known as Cooper and Gorfer was a truly amazing experience. The imagery is absolutely beautiful, rich in colour and texture but most importantly so abundant in meaning. Sally Jennings, who worked with me on this interview writes in the introduction: “These people were real. I felt that this was how we should live. This was who we really were. Instead, we impose on ourselves a world that’s pragmatic and disciplined and mechanical and we ignore the sweeps of our giddy brain. I want to leave my world and enter theirs.” I couldn’t have said it better myself. The body of work produced by Nina and Sarah is remarkable not only in its artistry but also in its intellectual richness. Below please find an excerpt from this interview.
Who are Cooper and Gorfer in their own words?
Two women searching and changing, and communicating this through art.
How did you meet, get together?
We met in grad school and over several beers decided to create a book together. This became our first body of work. The rest, of course, is history.
Nina – what is so special about Sarah that you decided to work so closely with her?
Sarah and I share a lot of inspiration and often have the same visions. Sarah is a doer. I like her forward energy and drive; she has an ability to make things happen almost effortlessly; it seems to be part of her DNA. She is an incredible artist and creative thinker and one of the best people I know to brainstorm with. She is also one of the most compassionate and positive people I know. We are very similar in many respects, but we also complement each other really well. Most importantly, after 13 years of intense collaboration, we are still best friends.
Sarah – what is so special about Nina that you decided to work so closely with her?
This is an important question to reflect on after over a decade of working together. I’ve joked in the past that Nina is the Mother Ship. And I suppose we have both been each other’s lifeline over the years. But through Nina, I’ve been able to achieve a level of creativity, performance and confidence that I’ve seldom encountered on my own. She has the ability to create an overview of clarity on many of the things we do artistically and strategically. Nina is a person that searches for change, inspiration and knowledge. She pushes you to be your best and, in turn, she gives you her best. I always look forward to our brainstorming sessions or just free-flowing conversations over a long meal. She is fearless with humble vulnerability which is mirrored in my own actions and way of being. She is my friend.
What are the difficult, surprising or rewarding aspects of your collaboration?
It’s important to keep the friendship alive and remember why you think the other one is so damn cool. The path to success is a tough one and if you aren’t having fun, it can be daunting and simply unbearable. We’ve noticed that the most rewarding aspect of our collaboration is probably this sharing of ideas and the braiding of ambition and competition. But ironically enough, considering that we work so much with issues of identity, it is just this shared identity that can also make things so difficult, where you can almost feel lost. So, as much as we love the joint “No Ownership” aspect of our work, it’s important to regroup and celebrate the individual, our own selves. You have more to give to the pot of ideas, if you have more to give.
What inspires you? How do you translate that inspiration into your visuals?
This can be different between us. Inspiration comes through learning and reacting to what excites you. At times, it can be more existential and/or personal questions about life, or a fascination with a person’s biography or the arc and energy of a place. Sometimes it is just innocent curiosity about the mundane moment. It can be a great book, a work of art, some fantastic music, or a ridiculous experience. We are collectors.
When we’ve decided a certain theme will be the foundation of our next artwork, we use a rather journalistic research method, including interviews and the gathering and creation of imagery. We create an inspiration pool, a collection which we react to and then execute our artwork.
What visual storytelling techniques do you use as part of your process?
Our books are the brainchild and thesis behind our work. This is where we are able to present the perfect symbiosis of text, research, biography, imagery and flow. For our physical artworks we have used everything from the cinematic progressions of imagery to the compositional iconography of symbols within the work to tell the story.
On your website, you said: “We re-imagine the tradition of portraiture by visually examining and deconstructing the narrative of those you portray.” Could you please expand on that?
Our work is inherently traditional, in that we are portraitists. We are not the first and we won’t be the last. But what we can add is our personal encounter with those we portray. Our images are always based on an interview process where we seek to define a narrative of that person based on their own words or the circumstances that surround them. What we ask and then choose to focus on is subjective and what is shared and remembered by our subject is selective. In the end, it can create multiple ways of defining that narrative and the arc of one’s life. Time is also a factor and as we are dealing with stationary imagery, the artwork is always a collapsing of these many layers in time, and how we choose to see and understand this is also selective. We are inspired by the act of portraying something that is real, but the way in which you define that collection is sensitive to the non-linear memes of memory.
Could you please expand on your idea of hybrid portraits?
We have always felt that our artworks are on the edge of photography and, as a result, have never thought of ourselves as photographers in the traditional sense of the word. Our work is more about enabling the image that we are striving to create to come forward, and we use any means to achieve that. The hybrid refers to this blend. It can be purely technique, the collaborative effort of the portrayed and the portrayer, and the duality of our collaboration as artists.
There is no question that your imagery is grounded in strong research and close cooperation with your subjects. Having said that, there is also a very strong “visual deconstruction” process where your imagination (or may we call it visual intervention) enriches the final imagery. How far are you willing to go with this intervention? Is there a balance between staying close to the story and enriching it through creative means?
Yes, there is definitely a balance. Because our projects involve so many lives, quite literally, there is a struggle to honour the truth. But in the end, it is about giving back a sense of empowerment to those we portray, and a sense of personal wonder or perplexing contemplation for those who encounter our artwork, not a transcript. Our images are about the play between the reliability and unreliability of memory. A visual intervention can sometimes be about destroying the image or distorting the way in which one views the subject and or artwork.
What idea have you tried that you thought would work but, in the end, you decided not to pursue it?
We don’t want to burn any “ideas” at this moment as we are in the middle of a project. We’d say it is more that you put ideas on the shelf. Save them for that day when you feel you have the lust, time and or right circumstances to do it well. Sometimes the idea is good but the subject matter doesn’t suit the technique or vice versa. We always do continuous small experiments. Often, they remain in the understory of a final body of work.
What advice would you give to those who are seeing their own visual voice?
You have to really want it, as it takes a ton of dedication. But try and enjoy the path. It can be interesting to map your goals and pinpoint and envision how you should feel in these goals. Sometimes you won’t always believe in the work or yourself, for that matter, but it’s important to move ahead as if you have blinders on. Our studio tends to be our cave for creation.
Your images are very sensual in a symbolic way, but how do you avoid generic over sensual imagery?
We have alarm bells or one of us will zoom out and remind the other that “that thing you have been working on for the past two weeks, it just isn’t working.” But we try to not think about this too much. We’ve noticed that so long as we as artist or the artwork and/or the process is always grounded in something we are generally interested in (whether subject matter or composition) it leads to some exceptional work. Not everything we do is perfect, and sometimes the artwork is terrible. Creating art is emotional and it’s hard to know how to edit the ideas of your mind, and if you even should.
How do you see women in art and why your imagery is different?
Women in portraiture are in a continually vulnerable state of being looked upon. Our images are about the weakness and wonder humanity has for that which is beautiful, and using it as a tool to attract the viewer. We are women who are artists, portraying other women, and we are constantly subjected to the dilemma of how we choose to see ourselves or others. This is the result of centuries of definition fiascos, instigated by both sexes, ending unfortunately in the marginalization and objectification of women. Our images are often attraction masks for the complexity of what lies beneath. These are not sexualized women, they are empowered, staring back or hovering in a moment of sensitivity. We choose to depict women in the way in which we hope to see ourselves.
You chose a medium format camera to shoot your recent project. Why?
We need quality and Hasselblad completely delivers for our work.
You print large and present your work in print, and then embellish it. Is this where you find the strength of medium format?
Yes. Our work is often oversized and towering. We need a camera that can give us a filmic colour range with high resolution grain. This enables us to create more embroidered imagery without the distraction of digitalness.
Where can we see your exhibitions?
We will be premiering the full body of work that we are presently working on (Utopia or the Mistake of the Intellect) with Fotografiska at one of their international venues in early 2020.
Interruptions will be shown in Sweden in the autumn of 2019 at Lidköpings Konsthall from19 October to 31 December 2019.
The full The Weather Diaries exhibition (toured by The Nordic House Iceland) will be touring the Baltics throughout 2019 beginning with the Latvian Museum of Art, continuing to the Lithuania Art Museum, and lastly the Estonian Museum of Applied Art and Design.
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Wayne Gretzky once said, “You miss 100% of the shots you don’t take.” Although he was talking about hockey, that is basically my approach in photography.
As a camera user and industrial designer, I use many camera systems with different formats but still experience the same curiosity whenever a new camera is brought out. My primary medium format systems in these digital days are Phase One IQ backs on Hasselblad H camera and Alpa12 and Phase One’s own XF100 for studio work. When Hasselblad X1D was introduced in 2016 I immediately bought one to use as a portable solution medium format digital system. I prefer it over Fujifilm GFX50S which I found had rather a dated concept although I do not question its capability and image quality. When the 50R model was released I thought it would be a good bet as a street camera with its zoom lens so I got one, along with 45mm, 110mm and 32-64mm zoom lenses.
A couple of days later I met Gao Ming Ming, a young Chinese woman from Wenzhou, Zhejiang Province who was travelling backpack-style in Bangkok, Thailand. I noticed her not just because of her pretty face but her calm and confident manner which I found intriguing, so I started talking to her.
I found Gao was 23 years old and speaks only Chinese. She was on her third day in Thailand. We exchanged names and where we came from and then I asked her why she was in Thailand. I learned that she had been travelling alone in northern India for two months and then in Bangladesh for two weeks before landing in Thailand. She did her travel basically with a smartphone as her travel translator, guidebook and payment system (Chinese WeChat Pay and Alipay) with a 65L backpack and travelled by local bus or train, often on overnight buses between cities. She described them as: “That kind of bus that has endured a war and where every part shakes when it runs and when it is not running all one can smell is the fumes.” She stayed at budget hostels everywhere. I know it is not easy for a woman to travel alone in India and it’s probably tougher in Bangladesh, especially because of the way she travels, so that ignited my interest. I started to think about taking some portraits of her to test my new camera so I asked whether she would be interested in having her photo taken. I told her I am an industrial designer and a photographer and showed her the kind of pictures I would like to take on my smartphone while offering to buy her another cup of coffee. She declined the coffee but accepted my invitation for portraiture.
The pictures I showed her were those I shot at Bangkok Railway Station so I asked her whether it would be okay to meet at the train station at 7:15 am the next morning for coffee. I explained that I wanted to start shooting early because the light would be better and it wouldn’t be as hot then. She took a few seconds to say yes because she probably doesn’t get up that early!
I told her ahead of time that in some situations I might touch her hand or part of her body to adjust her pose to get particular angles and she shouldn’t take it as anything else. Then I asked what she would wear and advised her that anything pastel or with a print doesn’t shoot so well. She told me that she had some dresses from her trip to India and she would pick one in a darker tone. Finally, we exchanged our WeChat ID on the phone and she asked me to send her the location information before I left.
Kaisern Chen Image Works http://www.kaisernchen.com/blog/
I woke up early the next morning to go to the train station to get some morning shots of travellers. Around 7:05 am my WeChat received a message from Gao saying she was already at the station, so we went to have a coffee before the shoot.
Over coffee, I told her what Wayne Gretzky once said: “You miss 100% of the shots you don’t take.” I said I had expected her to say no to my invitation to shoot her because it is the answer I would expect my daughter to make to a stranger. I said I wouldn’t be upset if someone declined my invitation and would only regret not asking at all. And the rest are the pictures.
The shoot in the train station lasted over an hour then we went back to the coffee shop and chatted about her interesting travels and my travels, and then I learned she only chooses to work part-time so she can leave a job easily to go travelling. She works as a delivery girl for an online food platform “Meituan” in the northern region of Inner Mongolia during the winter to earn money to travel. I told her about Russia, a country I very much enjoy visiting and showed her the pictures I took in Russia before I returned in early November. She said that she once worked on the Chinese/Russian border where the village scenery looked exactly the same and showed me the pictures on her smartphone, including those from northern Inner Mongolia.
Sometimes we are skeptical about strangers at first and I must admit I am too, particularly regarding such an independent young lady. When she showed me the pictures of where she had been and I saw the travel blog on her WeChat, Gao Ming Ming is even more amazing than she appears in the pictures.
Kaisern Chen Image Works http://www.kaisernchen.com/blog/
Using Fuji GFX50R for these portrait shots ended up being a good decision not only because I wanted to try the new camera but I found the medium format camera to be more methodological to operate, which slows me down. That helps to tackle the fact that not only is Gao Ming Ming not a professional model, but in fact has no experience at all, while her tough independence gained from all her travels gives her the easiness and calmness to help my shoot.
The image quality from Fuji GFX50R is quite good, as expected, and the RAF format supported by Capture One makes editing easy. As a Leica M camera user, I will not say the GFX50R experience is rangefinder-like, in fact far from it. Fuji is a capable company with brilliant engineers and will not produce a flawed camera but it is a camera with compromises to meet various goals and I have no doubt we will see improvements in future generations of cameras. Until then I am sure I will get used to the camera in my hand even it is not perfect, because no camera is.
Kaisern Chen Image Works http://www.kaisernchen.com/blog/
Kaisern Chen Image Works http://www.kaisernchen.com/blog/
Kaisern Chen Image Works http://www.kaisernchen.com/blog/
Kaisern Chen Image Works http://www.kaisernchen.com/blog/
Kaisern Chen Image Works http://www.kaisernchen.com/blog/