Venturing the Medium Format world: The feeling of expansiveness, closeness and detail.

Seagull 4A TLR | 75mm ƒ3.5 | Fuji Pro 160S | Tok Jembal Beach, Terengganu, Malaysia

I’ve been craving for a medium format system and had done quite some research over the web for the said objective. Thus, over the last year or so I’ve tried (i.e. tested and borrowed) a few medium format bodies, namely RB67, Hasselblad 500 C/M and a Seagull 4A (TLR).

One thing that marks the medium format experience is the feeling of expansiveness, closeness and detail that is visible through the finder and the elegance of the shape relative to the angular, distant and cramped (my view) 35mm view. I get these things with 6×6 and 67.

Personally I don’t get this feeling with a 645 system results that I see on the web which I guess is another way of saying that it all looks too similar to 35mm for me. I hope I could have my hands on a 645 system so that I can really get a proper feel for the system.

That said there is certainly enough film size to produce great large prints. At the moment I am more inclined towards getting a camera with the largest negative that I could afford (i.e. 6X6 or 6X7)… Maybe a system with reputable lenses like Mamiya or Hassleblad. They are quite easily acquired from some good stores like KEH, some camera strores in Singapore or Evil Bay if my budget gets too tight.

The swampy lagoon in Kuala Marang

The swampy lagoon in Kuala Marang is probably at it’s most beautiful in the late evening just as the sun is setting and the creatures of the night begin to stir their shift.

Gears: Leica R6 and Leica Summicron 35mm F/2.0, on Fuji PRO 160S Location: Marang Fishing Village, Kuala Terengganu, Malaysia

In this post I’ll tell you how I discovered a beautiful swamp in Kuala Marang, about the crystal clear water that was full of real beauty, but the kind of beauty that you look at but don’t see unless you open your eyes and your heart.

Gears: Leica R6 and Leitz Leica Summicron-R 35/2.0 on Fujifilm Superia 100 Location: Marang swamp land, Terengganu, Malaysia

Much of the area is a mosaic of wetlands and mesic flatlands subject to seasonal flooding. Flood and small bushfires largely govern the composition and distribution of vegetation, creating a distinctive mosaic of natural communities. Flooding also limits intensive agriculture and large-scale development, resulting in one of Terengganu’s most significant natural areas.

This is what the camera sees, so it has to be there, and it is! But often we don’t see the beauty because we are “beauty blind”. People are always in a rush, always rushing about, I guess that comes naturally when you live in big cities. I am just as guilty sometimes but not very often now my eyes are open.

Do you remember when they say, “see it through the eyes of a child”. Full of excitement and desire to explore. I truly feel that is how we should view the world around us.

Gears: Leica R6 and Leica Summicron-R 2,0/35, on Kodak Gold 100 Location: Kuala Marang Fishing Village, Marang, Terengganu, Malaysia

Unfortunately often the case is the greed for land and money from the people of the past has endangered beautiful places like this. I often say “beauty is everywhere”, so try to see it and it will enhance your life like you would not believe. Just try it right now, look at something and try to see the details, the colors, the textures, the shapes see it differently than you did before.

Gears: Leica R6 and Leica Summicron 35mm F/2.0, on Fuji Velvia 100 (RVP100F) Location: Marang Fishing Village, Kuala Terengganu, Malaysia

The fools spent millions of dollars trying to built what they call progress and the damage they did may even now be irreversible. Thus beautiful swamps like this one we have here in Kuala Marang may be dying a slow death many and many species of plants, animals and birds are are on the endangered list they are disappearing at an alarming rate.

Interestingly, of course there are alligators in these swamps. I did not see any in the water but I was told by the old folks in Marang about the legend of the massive alligators. The alligators would certainly camouflaged very well and its hard to be see. The natural beauty of the area is beyond words.

If you get a chance to pass through Marang while you’re on your way to Kota Bharu to the North or going south to Kuala Lumpur, please take your time! Please go slow, please stop at overlooks, please take the time to hit a trail or two, it would be a real shame to drive by everything this awesome roadway has to offer.

Gears: Nikon D50 and Sigma 70-200mm f/2.8 EX DG HSM APO Location: Oyster farm, Marang Fishing Village, Terengganu, Malaysia

Everyone is talking about the Kodachrome 64, oh well…

Gears: Nikon FM2 and Sigma 70-200/2.8 lens on Fuji Velvia 100 (RVP100F) Location: Long Beach, Redang Island, Terengganu, Malaysia

June 22nd, 2009, 7 AM Eastern Standard time: Today, Eastman Kodak Corporation has officially announced the retirement of Kodachrome 64, the last remaining variation of legendary Kodachrome Color Film… bla, bla, bla..

Well I’m okay with it to be honest and if they (i.e. Kodak Inc.) are really serious about the development of film photography (as what Figital Revolution says), I therefore truly trust them with such a decision, it’s all for the best of the industry. For the time being I still have other Fuji and Kodak slides standing loyally.

Decadence

Gears: Leica R6 and Leitz Leica Summicron-R 35/2.0, on Fujichrome Velvia 50 (RVP50F) Location: Pulau Ketam overlooking Pulau Wan Man, Kuala Terengganu, Terengganu, Malaysia

It was a very fine morning, the river was so calm, soothing to my heart, so I decided have another shot at the Crystal Mosque coupled with the main landmark of the “city”, the Bukit Besar. The ruling government have been trying so hard to justify building such a monument for the people, well I guess this presentation wont help much.

A tribute to seafarers

Gears: Nikon D50 and Nikon 50mm F/1.8 AF-D Location: My brother's house, Kuala Lumpur, Malaysia

Seafarers can refer to ethnic groups living by the sea in Southeast Asia, and also other sea living ethnic groups in the world. The ethnic group name refers to a large distribution area along from the islands of Indonesia to Burma, which sometimes being group as Sea Gypsies.

In the South China Sea area, the ethnic group name is called as Orang Laut, which literally means the sea people in Malay. These malay peoples of Southeast Asia traced back the forefathers coming as far as Yunnan (now a province of China) some 5000-10000 years ago, they were seafarers that migrated along rivers such as Mekong and Irrawady to the Andaman Sea, South China Sea and various locations in the Malay archipelago. In the 15th century, large numbers of Malay Seafarers converted to Islam. You can read more from the source at Wikipedia

Southeast Asia and Australia give archaeologists some of the best evidence for ancient sea crossings, not just by Palaeolithic humans but also by Neolithic peoples and even spice traders contemporary with the Roman Empire. New discoveries, some controversial, are pushing back the dates of human colonization of this region and are expanding our knowledge of early island networks. These finds are also illuminating the first steps in some of the longest prehistoric open-sea voyages of colonization on record–from Southeast Asia to Polynesian islands such as Hawaii, Easter Island, and New Zealand, and perhaps also from Indonesia to Madagascar–during the first millennium A.D.

To understand the implications of these discoveries, one must be aware that the Indo-Malaysian Archipelago contains two very different biogeographical regions. The western islands on the Sunda Shelf–Sumatra, Java, Bali, and Borneo–were joined to each other and to the Asian mainland by landbridges during glacial periods of low sea level. Hence they supported rich Asian placental mammal faunas and were colonized by Homo erectus, perhaps as early as 1.8 million years ago. The eastern islands–Sulawesi, Lombok, Flores, Timor, the Moluccas, and the Philippines–have never been linked by landbridges to either the Sunda Shelf or Australia, or to each other. They had limited mammal faunas, chance arrivals from Asia and Australasia… (A publication of the Archaeological Institute of America)

Being a photographer is more like being a composer

Gears: Nikon D50, Vivitar 24mm f/2.0 Location: Chinatown (Kampung Cina), Kuala Terengganu, Malaysia

The Terengganu state government is going to turn Kuala Terengganu into a waterfront city soon. The master plan for the Shah Bandar area is being finalised and is likely to be shown to the public later this month. “The state government will then call all stakeholders to respond,” a conservationist, who declined to be named, said.

Under the plan, Masjid Putih (Zainal Abidin) will be rehabilitated and more public places and boardwalks culminating in Kampung Cina and Pasar Payang will be created, she said. While new public plazas will take on Islamic designs, the Chinese theme in Kampung Cina will be preserved, she said. “There are proposals to build shop houses on stilts or on some reclaimed land in Kampung Cina. These shop houses will be fronting the sea and will be similar in design to the old shop houses that have the back facing the sea,” said the source, adding that houses with illegal extensions will have to be demolished.

Points to ponder:
The “guitar:guitarist, hence, camera:photographer” metaphor is a bit off IMO. Being a photographer is actually more like being a composer. You create new works, rather than simply playing/interpreting works written by others.

A Life Shot In Black And White

Gears: Nikon FM2 and Nikon Nikkor 50mm f/1.4 AI lens on Kodak Tri-X 400 B&W Negative Film Location: Chendering Fisheries Garden, Kuala Terengganu, Terengganu, Malaysia

One of the best things about street photography is that it is like going on an unknown voyage. You just never know what you are going to find, or what shots you are going to make. Maybe a real nightmare for the average coordinator but such a treat for those who dislike any form of planning. And mind you, most other forms of photography demand heaps of preparation in advance. So there! A life shot in black and white.

Many people believe it is necessary to study arts and design in order to come up with a satisfactorily constructed picture.
But since photography is a tool for both documenting and self expression, the design of a photograph is inferior in importance.  The composition of a photograph should be spontaneous to the scene and employed by the photographer’s vision not by a set of rules for correct design.

Not that a basic understanding of composition and design could hurt anyone, but don’t let that bother you too much and definitely don’t let it be the main factor when making your choices.

Next I’d like to quote an article from a young photojournalist, Lizane Louw, where she described how her passion in photojournalism has affected her life very much. This is what she had to say,

Gears: Nikon FM2 and Tokina RMC 135mm f/2.8 lens on Kodak Tri-X 400 Film Location: Under Kuala Ibai bridge, Kuala Terengganu, Terengganu, Malaysia

“In my job I meet many influential people. Sometimes my road crosses with a person that inspires me on various different levels. I had the privilege to meet someone that changed the way I think, that changed my spiritual perceptions and that moved me and my thoughts very deeply.

Since meeting Hylton, I have been spending many days sitting and thinking about his story. In my heart and in my mind there are so many emotions that jump around if I think about our brief encounter. I struggle to find words to describe my gratitude and admiration. I thank the creator for choosing me to take these photographs and to let my path in life cross with his. It was a privilege to speak to him.” (Quote from Source: Lizane Louw)

Gears: Nikon D50 and Sigma 70-200mm f/2.8 EX DG HSM APO lens Location: SUKMA XII Swimming Competition, Batu Burok Swimming Complex, Terengganu, Malaysia.

However, one has to remember that in some unfriendly neighborhoods, shooting on the street can be extremely difficult and close to impossible. Any attempt to take pictures would inevitably lead to unwanted attention from the neighborhood drug dealers who populated the street corners and alleys. I personally do not believe in “assaulting” people with a camera. Don’t be surprised when most of the subjects that you approached may not be willing to be photographed. Should they be blamed?

There have been so many approaches to street photography, so far ranging in their unique style, that I believe the lack of exploitation and ability to contain meaning into the image which is technically competent are the big necessities in street photography or photo journalism.

Hydrocarbonic Sky

Gears: Leica R6 and Leitz Leica Summicron-R 35/2.0, on Fujifilm Superia 200 Location: Kerteh Oil and Gas Processing Plant, Kerteh, Terengganu, Malaysia

It is your employer’s duty to protect you from hazardous substances and hazardous situations whilst you are in work to minimise the risks of you developing an Industrial Illness or Industrial Disease.

For example, if your working environment is very noisy, it is your employer’s duty to reduce the noise to an acceptable level or, if this is not possible, to provide you with ear defenders to prevent Industrial Deafness or Noise Induced Hearing Loss. As long as your employer provides you with these ear defenders, it is your responsibility to wear them.

If your job brings you into contact with dangerous chemicals your employer should have already investigated the possibility of replacing the dangerous chemicals with less harmful ones and ensured that you have the minimal amount of contact with them as possible. If your employer has concluded that there is no way around you working with the dangerous chemicals, they should then provide you with protective clothing to wear. Again, it is your responsibility to wear the protective clothing once it has been provided.

Just a quote from a legendary art critique of our time for us to ponder for a bit:
"I know too that the powerful fear art, whatever its form, when it does this, and that amongst the people such art sometimes runs like a rumour and a legend because it makes sense of what life’s brutalities cannot, a sense that unites us, for it is inseparable from a justice at last. Art, when it functions like this, becomes a meeting-place of the invisible, the irreducible, the enduring, guts and honour." John Berger