Fadzly's blog on his photography

Posts tagged “Night

Hope, a fading glow

Gears: Leica R6 and Leitz Wetzlar Elmarit-R 90/2.8, on Kodak Gold 400
Location: Gas Processing Plant, Kerteh, Terengganu, Malaysia

The hotter temperatures make plants become net emitters of carbon dioxide instead of net absorbers of it. It seems that as temperatures get hotter plants risk losing water through evaporation and respiration. In order to prevent water loss they reduce the size of their pores, and that in turn reduces the amount of carbon dioxide that the plants may take up.

LESSON LEARNED HERE: If you underexpose print films, you will not get the necessary shadow details. But given the wide latitude of print films, you can overexpose print films by 2 stops and yet get great results.

This ability for color neg films to be over-exposed and still reproduce decent images also accounts for the ability of print films to record much more brightness range than slides.

We often refer to this as “dynamic range”. In a slide, highlight information is stored as clear parts of the film that at a point contains nothing more than blank film base. Color negs continue to stack up increasing density (highlight) information until the film simply can’t record any more information.

Overexposing color negative film also makes it easier for most labs to get decent prints or scans, because more info is recorded. How much exposure compensation is needed? This probably varies with film but start with +.3 to+.5. Some film, maybe even one full stop.

This latitude doesn’t mean you’ll get an optimal result. It just means that within these ranges you can get a useable (depending on your purpose) result. Over- and under- exposure are mistakes. Film latitude should not be relied upon to cover mistakes in exposure.

Many people will intentionally reduce exposure of slide film by between a 1/2 stop and a full stop to increase colour saturation, retain detail in highlight areas and reduce grain. Some will also intentionally increase exposure on negative film by 1 to 1 1/2 stops to increase colour saturation and preserve details in shadow areas as well as reduce grain (grain can become very noticeable in underexposed areas of print film).


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

Gears: Leica R6 | Summicron 35mm F/2.0 | 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 | Summicron-R 35/2.0 | Fuji 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.

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 | Summicron-R 2,0/35 | Kodak Gold 100
Location: Kuala Marang Fishing Village, Marang, 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.

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

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

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

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


My favourite spot under the bridge has never let me down (36850021)

Gears: Nikon FM2 with Nikon AFS Nikkor 50mm f/1.8 on Kodakcolor GOLD 400
Location: Under the bridge in Kuala Hiliran, Kuala Terengganu, Malaysia


Gears: Nikon FM2 with Nikon AFS Nikkor 50mm f/1.8 on Kodakcolor GOLD 400
Location: Under the bridge, Losong


Are you afraid of the dark? (DSC_3887)

Gears: Nikon D50 and Sigma 70-200/2.8
Location: Oyster farm, Kuala Marang, Marang, Terengganu, Malaysia

Gears: Nikon D50 and Sigma 70-200mm f/2.8 EX DG HSM APO
Location: Oyster breeding spot, Marang Fishing Village, Terengganu, Malaysia
Processing: White Balance, Contrast


Not much of a shed (36850012)

Gears: Leica R6 with Summicron-R 35/2.0
Location: The beach in Ladang, Kuala Terengganu, Malaysia

Though not much of a shed if you consider the scale of the monsoons we get annually, however it serves more as a half-done-garage for fishermen to hang their fish nets. Despite the humbleness of things that you can find by the beach, let us not forget that it is the sea which gives the fishermen life. Likewise, the sea gives new life to some of our depressed spirits.


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

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