Carl Zeiss 加持，口袋裡的二當家，Kyocera Contax T2

Contax T2用了快一年了，愛恨交織，但是幾乎每天帶著。 X100T在身邊的時候，T2使用的機率雖然大大減少了，但是想毫不在意地snap的時候還是會用用。

買T2的契機，其實是因為之前過手了幾台35mm畫幅的底片相機，包括Nikon FE2、F3HP甚至是自動化的F100，讓我覺得帶在身上挺重的，還不如帶我的X100T出門。所以去年年中左右物色了幾台自己想買的隨身相機。第一眼就看上了Ricoh GR1/S/V和Contax T2/3這兩個系列的相機。一點是因為焦距自己足夠喜歡，另一點就是覺得夠有個性、夠好玩。

1年下來拍的最多的底片是Portra 400還有Ultra Max，最近一個月才轉拍Fuji 400H跟Neopan 100 Acros。如果帶著120畫幅相機，就會拿T2跟120相機用一樣的底片（120 acros / 135 acros etc.）混著拍。不拍大家常用的Ilford卷或者Tri-X的原因是想和X-Pro2的Acros模式好好的比較。這個以後我也會另外寫點東西，對比真假Acros。 （Spoiler alert：Fuji真心不愧是做膠片的）

去中古店看的時候手裡把T2拿起來，其實覺得T2還蠻大的，直覺比以前用過的Fujifilm Klasse還大，但其實手感還蠻好的，並不算特別重，屬於能夠一隻手拿起來對焦拍照的相機。

我對握持感的要求也不低，T2算是剛剛好達到標準線吧。雖然沒有突出的手柄部分，但是整體的titanium外殼加上手柄部分的一點橡膠讓相機不會很滑手。本身重量的平衡感也很到位，算是可以隨拍的相機，在我心目中就大大地加分了。

手感、操作性

因為T3超出預算、Nikon的XXTi系列始終看不上眼、Ricoh的28m​​m視角還是不太習慣，就決定買了Contax T2，剛到手沒多久，我和朋友借了一台GR1V一起拍了一星期左右的時間。說實話，GR1V的手感實在是太舒服了。又輕又小，是真正的口袋機器，而T2大概屬於能勉強塞進牛仔褲的隨身相機。如果牛仔褲稍微緊身一點，還會讓人覺得奇葩，寬鬆一點又讓人覺得邋遢，所以我一般都把T2放到外套、夾克的口袋裡面。

The Beauty of Vintage, Or Why I Use Fuji X

Telling other photography enthusiasts that I use Fuji is sometimes a scary thing to do. You see, there are many other enthusiasts who believe that “Full Frame is the way to go” or that “Mirrorless cameras are for pussies”. Although I strongly disagree with these statements nowadays, I can see where they are coming from. Because being a FF-addict myself in the past, I can definitely remember my lust for ever-shallower DoP (BOKEHHHHHH!!!) and (on paper) amazing high ISO capabilities.

But everything got a bit bland for me once I dove into the the world of FF cameras. Nikon D810s of the world and Sony α series of cameras of the world just seemed too boring for me. Sure, DSLRs are great work horses, but I find them implausible to shoot streets with without intimidating one or two pedestrians; Sony FF cameras are IQ-beasts, but I found them ill-designed in the software department. Now, I realize that photography is not all about the looks, the style, and glitters and gold, but sometimes just a bit of ‘oomph’ to entice one’s photography zeal wouldn’t be so bad, right? That’s exactly why I started exploring Fuji-X and vintage lenses.

The new generation of APS-C sized sensors are really, really, really good, to my pleasant surprise. Recently updated models like Nikon’s D7200, Pentax’s K-3II, and Fuji’s 16 megapixel sensor cameras are all capable of squeezing out outstanding IQ in low light. In some cases these APS-C sensors, I found, are even outperforming certain FF cameras. (i.e. Sony’s original A7 and A7R)

And today, Sony has just announced three G Master branded lenses to expand their growing FE mount lineup of lenses. They look incredibly amazing from the specs, and I truly believe Sony has just brought another wave of image quality revolution. I have never been disappointed by Sony cameras’ and high-end lenses’ image quality.

「君の足跡」写真展 / Exhibition

Went to the 「君の足跡」exhibition hosted by YUKAI HANDS Gallery today. Mainly went there for Ikoma Rina (生駒里奈) though, but Aoyama (青山裕企), photographer of Ikoma first photo book 「君の足跡」, happens to be one of my favorite portrait photographers in Japan.

Aoyama’s style is one of which people might consider as “fetish photography”, which was made famous by his works such as 「SCHOOL GIRL COMPLEX」, 「絶対領域」, and 「思春期」. Needless to say, I find Aoyama inspirational to my photography. I am not in complete admiration of Aoyama’s work particularly in his obsessions with 絶対領域, but I often look to him when I seek special angles and thoughtful framing in my portrait work.

「君の足跡」seems a bit toned down in terms of Aoyama’s personal style, and I get it. Ikoma, since her very beginning journey as a member of the 乃木坂46, was always considered as a sister figure to Aoyama, and that basically sums up the story here. The photos are filled with liveliness, as Aoyama takes the audience on a journey with him and Ikoma, exploring Ikoma’s growth into adulthood. The photos are clean, the story straight forward, and the whole journey without pretentiousness.

I can recommend this photo book to all the 乃木坂46 fans like me out there. The exhibition will end in a few days, but luckily we can still catch more of Ikoma in 「君の足跡」.

Nostalgia | Shooting in Digital & Film

Danish photographer Thorsten von Overgaard once said in his video “A Life with Leica”, that “When I have something, where it’s timeless. It could be 1950, 1930, it could be 2004, and nobody can really tell, and it doesn’t really matter. That’s a good photograph.”

I believe there is always something that all of us can have a soft-spot for, in our nostalgic human nature. Whether it is a retro artifact or a treasured memory, something that is considered ‘old’ in today’s technological advancements can still be timeless to our hearts. And I believe this is exactly why many of us photo enthusiasts still dedicate ourselves to shooting film every now and then in this digital age.

I’m not a film-only shooter by any means, nor am I a film-centric shooter. I own a Nikon F3 and a Contax T2, and that’s about it for me. Every once a while I grab one of these cameras and load a roll of Ilford or Portra into them, but I do it for mostly the sake of enjoyment of slowing down my photography and not worrying about reviewing every shot after pressing the shutter button.

After a year into my Nikon F3 especially, I’ve found that not only have I learned to capture scenes with the atmosphere-exposure balance I have imagined, but I’ve also fell for the lure of the ‘fimilc look’: the natural grain, the controlled contrast, and the subtle fade. Now in my digital works I try to mimic the colors and tones of my film photographs. Not that I want to trick people to believe I don’t use digital, but I have a lust for that (not to sound too cliché here) timeless look.

X-Gene: A Love and Hate Story | Fujifilm X-PRO1 & X-T1

I am happily married to my Nikon gear.

But there’s always room for lovers. Right?

So before I tried out the Sony stuff, I’ve also found myself buying a X-Pro1 from Fuji. For about 4 months I used the Fuji for everyday snaps and of course occasional usage in portrait sessions; however, I have to say my experiences were… Let’s just say I was puzzled, and I’ll elaborate on that later. I ended up selling the X-Pro1 in mid-2015.

When I eventually sold the A7 II, I decided to give Fujifilm another chance. This time with their flagship X-T1. Two months into my purchase, all I have to say is: WOW.

I would like to share my thoughts on both the X-Pro1 and X-T1 with you. But first, let’s take a look at the size comparison of the X-T1 with my D800.

I understand it might not be fair to judge a 24-70mm f/2.8 lens on a DSLR with a crop-mirroless paired with a kit-prime, but hey, I dare you to try putting a 50-equiv. on the Nikon body and see for yourself. It’s pointless to compare, guys. Let’s just get over it.

Image Quality & Dynamic Range:

There isn’t a significant difference between in the IQ department between my X-T1 and the X-Pro1. Now, I do realize they use different sensors (yet both owning a X-Trans 16mp identity) and processors, with the X-T1 clearly being more advanced and matured. But both share perfectly acceptable high-iso capabilities and killer JPEG engines. What’s more on the X-T1, safe to say, is just better at high-iso, but only just a smidge.

I am NOT a JPEG guy when I can shoot in RAW. Typically because I do like to take time in post to adjust my pictures to my liking. With that being said, Fujifilm does offer a killer JPEG engine in these X-series cameras.

My Sony A7 II as back up for my Nikon D810… and why I sold it after all

Disclaimer: This A7 II impression was written prior to the announcement of the A7R II and A7S II. I have edited some content based on some of my experiences with the newer cameras, but please still keep in mind of this article’s time-frame.

I’ve been a Sony user from the start, ever since I first bought the RX1R about 2 years ago. I dove into the DSLR world on Nikon’s side when I purchased the Df and then the D810 last year. After selling my RX1R, I’ve always been thinking of buying a backup-cam for my everyday use (because let’s be honest, the D810 is a chunk of a camera).

That’s how it started.

It looked like it was a good timing for me to buy the A7 II after seeing mostly positive reviews online, and with me going more hands-on in camera shops, I decided, “Yeah, why not.” I was always jealous of the A7 II’s 5-axis IBIS and better ergonomics, coming from using the IMHO ergonomically-poor RX1R. The auto-focus was for me, apparently faster and more accurate than both the RX1R and the A7/R/S even in single point AF. Therefore, in the end, it was the A7 II for me.

Thoughts on the A7 II:

There is quite a design change ergonomically for the A7 II compared to the A7R. Although it’s not a whole overhaul of the body design, it is pretty apparent once one grabs onto the grip on both cameras. The plastic dials are easier to turn IMO, and my middle finger finally has a comfortable place to rest on the grip. Overall, I enjoyed the ergonomics of the A7 II more than the A7R.

As for the lens, there was no other choice for me at the time than starting out with the Zeiss Sonnar T* 55mm F1.8 ZA (keep in mind this was pre-Distagon 35mm F1.4 announcement). This also deterred me from buying the Sigma 50mm F1.4 Art for my D810, with the Sony-Zeiss being smaller, demonically sharp wide-open, and free from needing focus micro-adjustments at all times.