I'm a fourth generation New Yorker. I grew up going to Coney Island and am always drawn back there. For the past few years, I've been shooting the Mermaid Parade on film only. Something about the nostalgia, simplicity and economy of film that appeals to me for the look of that shoot.
I want to take in the sights and sounds. And I only want a handful of shots. My drive to capture this iconic gathering is personal. I'm not only looking to monetize or editorialize the images, I just want to document them for myself and by keeping the shots to film, I can have a consistent body of work that will span over the years.
My weapon of choice is my trusty Nikon F100 film camera and 35mm f/2. This is a really easy-to-handle system with a lot of flexibility.
This year, I shot Tri-X. Not my first choice for an incredibly brilliant sunny day, but it's what I had on hand. Sure, I could have been more pro-active and bought more film beforehand, but the Tri-X was a fine choice.
I love the look of Tri-X. At ISO 400, it's quite versatile, yet the grain structure is pretty tight. Yes, it's grainy, but not to the point of fuzz. The F100 has a max shutter of 1/8000 so it's possible to shoot wide open even with 400 film. (and maybe next year I'll bring an ND filter)
I love the look of a 35mm lens for documentary and street. It's wide enough to tell a story, yet has just enough throw to isolate subjects from the background.
This year, they did something a bit different and spread the backstage lineup across an additional city block. Doesn't sound like much, but the intensity of all of the participants crammed into 2 blocks was lost.
The staging area just didn't have the frenetic vibe and energy of past parades. The backstage lineup can be so intense and I love framing my shots against the undulating sea of people. It's easy to get caught up in the energy of the crowd which only feeds the creativity of the shots.
Although I wasn't able to get all of that wild energy this year, I committed to shooting my roll of Tri-X and got some decent shots. I like what I got, but am not in love with this year's batch as much as past years. No biggie. It's an evolution.
I sent my film to indiefilmlab.com. They do a great job of processing and offer excellent scanning. I highly recommend their services. They were founded by a collective of photographers looking for better processing and scanning in Alabama and ultimately realized they could offer the same high standards of service to others. Check them out.
One of the most compelling things about photography is that it's ever-changing. As much as it's good to pre-visualize and plan for a shoot, it's likely that things will be different and you'll have to improvise. I love that part of photography. Knowing that if there isn't a solution, there's got to be a workaround.
I also cannot stress how important it is to challenge yourself to shoot personal work and shoot in different formats. It's easy to shoot digital to an SD card. You can chimp and adjust your exposures. Shooting a roll of film makes you more selective. Slows you down. You take in a lot more of your surroundings. Slowing down is a good thing. I look forward to shooting the Mermaid Parade every year. And I love the anticipation from sending out my film to receiving the scans. Well worth the wait.
I just got back from a week in Cuba and wow, did it have a profound affect on me. It's going to take me a while to process everything, but I can say it's already changed the way I think about photography and how I'm going to approach my photography going forward.
The Cuban people are wonderful. Their lifestyle is so vastly different from ours. Makes me feel like a glutton by comparison. We have EVERYTHING at our fingertips. They get by with so much less, however they seem to be content. Now, this is by no means a political discussion and I don't want to go there, but I do want to talk about mentality.
There's something nice about slowing down. Not checking Email, FaceBook, Twitter and Instagram every 5 minutes. Taking time to soak in the sights and the people. Immersing oneself in another culture and embracing it. I geared up like a lot of my fellow photographers.
Brought the Fuji X100s along with my Nikon DSLR and a bunch of lenses and speedlites. Going forward, I would not bring a DSLR or speedlites. Nor would I have brought triggers or the gorilla pod, sync cables. In fact, next trip, I would bring Fuji mirrorless digital only. No speedlites. No triggers. No stands, no tripod etc.
The light in Cuba is amazing. It's hot. There's so much to see and you're always moving. Less is more. I found that when I slowed down and took my time to really see what was happening, I got some great shots. And keeping my gear uncomplicated was liberating.
This post is a collection of streetshots that I made on the last evening of our trip. I'll post quite a bit more, but for now, I wanted to share a slice of life on the streets of Havana.
Shooting the Fuji X100s was a dream. I developed a whole new love for the camera. There's something incredibly liberating about having a small stealthy camera with a fixed lens and nothing else. Keeping things simple. We seem to like to complicate things. Carry all our gear around as a crutch. But spending time in Cuba I found that less is more.
Going to Cuba has been a lifelong dream for me. Now that I've been there, I know I've got to go back. There's so much to see and do and impossible to cover it in a week, however I'm so grateful for the experience and look forward to the next one.
With Nikon's D800 at a whopping 36 megapixels, why on earth did I opt for a medium format digital camera? I've been a Nikon shooter for years and have a bunch of professional Nikon glass and speedlites so adding a D800 to the mix seems a no brainer - or is it? There are many reasons. Bigger chip, bigger sensor. More real estate and bigger pixels. Insanely shallow depth of field. Full 16-bit color depth. Insane dynamic range and detail. To name a few. Oh, and I'm not abandoning 35mm - I'm holding steady to my D3s for everything else I won't shoot on the Hassy.
I'd been on a medium format digital quest since last year and spent countless hours researching different camera systems. I looked at Phase One, Mamiya and Leaf even the Pentax, but the Hasselblad was always on the top of my list after I spent some time with one. Sure, I'd love a Phase One IQ system. But for the price of a new Mini Cooper, it's a bit too far out of reach.
I knew I'd be looking at used systems and kept one eye open at all times. In the meantime, I watched as the D4 came out and then the D800. As tempting as the D800 may seem, I wanted something more than just megapixels. Whenever I saw a medium format image that I loved, it was typically Hasselblad. For the Hassy, skin tones are king. And being that portraits are my thing, it's a great fit. Sure the Hassy system is way more locked down than that Phase One systems as those systems are more modular and have lots of interchangeable bits - from backs to lenses etc. But the handling of the Hassy body and the look and feel of the skin tones with the Hassy back sold me.
The Hasselblad has slowed me down. It takes more time to shoot. And I'm good with that. With just one focus point, there's less flexibility on the fly and it just takes more time to focus - or even manual focus to get the focus just right. Funny though, I rarely miss focus with the Hassy and can say the humungous bright viewfinder is fantastic.
I dig that Hasselblad's Phocus software is a free download. Sure it's proprietary, but it's free and has a very robust RAW converter. And there's a free mobile version which means I can hand my iPad to an Art Director to watch live captures, while I'm tethered to my MacBook Pro. Even better is that Hasselblad just released an Adobe Lightroom 4 plugin that allows you to tether your Hasselblad with Lightroom 4. All of the functionality including the mobile connections and all thru Lightroom! Hasselblad is apparently bundling Lightroom 4 with their new H5D in addition to Phocus.
The Hasselblad H3DII-31 is a beautiful piece of machinery. 31 massive megapixels attached to a beastly tank of a camera. The Viewfinder is simply insane - so massive and bright and the thunk of the shutter will give you goosebumps. Pair the 120mm f/4 on it and suddenly the D3s seems dinky. The handling of the H3D body is fantastic. The grip feels just right in the hand and I can't stress enough how amazing the viewfinder is. As much as I love the quality of the Phase One, I don't like the handling of the 645DF body. It feels huge and awkward. The grip is built on to the camera and I can't seem to find a way to handhold that camera comfortably. Interestingly, many pro photographers opt for renting Hasselblad H2D bodies with Phase One backs. The great handling and viewfinder of the Hasselblad, combined with Hassy's amazing glass going to a Phase body.
The Hassey offers a completely different kind of image and workflow. Lighting is key. As with most medium format cameras (and even with the D800), lower ISO is better. The Hassy is not meant for low-light conditions and again, when that need arises, the D3s is there to handle those situations. If you're primarily an available light shooter, then then medium format digital is not for you. And as a caveat, even if you want the very best quality files from the D800, you'll still want to be at ISO 100.
I've already synced my Nikon SB800 speedlites and Einstein strobes with the H3DII-31 with pocketwizards - both the FlexTT5's and PlusIII's. Couldn't be easier. It also helps that all the Hassy's leaf shutter lenses sync up to 1/800 sec allowing for far greater flexibility with strobes. And it's a bit of a must when you're relegated to shooting 100 - 200 ISO max. Sure the H3DII-31 is capable of ISO 1600, but the noise and loss of detail isn't worth it for me and I'd rather light the scene whenever possible to stay at low ISOs. Yes, the latest Phase IQ systems sync at 1600th sec, however to achieve that you'll need the latest Schneider digital leaf-shutter lenses to achieve this, and as appealing as that sounds, I'm perfectly fine at 1/800th sec. (The Nikon D800 as well as most pro DSLRs sync speed maxes out at 1/250th - 1/320th sec).
I've seen several photographers do comparison tests with medium format digital cameras and the D800. Unsurprisingly the Hasselblad produces better results with fine details and skin tones, however it's difficult to accurately compare two uniquely different systems. Sure Nikon has made some huge leaps in coming closer to medium format sensor quality, however you're still limited by the quality on Nikon glass vs Hasselblad glass, 14 bit vs 16 bit color depth, and shutter sync speed to name a few.
Having shot with a D800 and being a D3s owner, I can say that the difference for me in shooting the Hasselblad is stunning. I know that there are tons of folks that love to pixel peep but for me and other curious folks, the difference in shooting a D800 vs a Hasselblad is profound. Workflow, aesthetics, quality of glass all contribute to keeping the gap fairly wide. And then there's that scenario in showing up to a job with a D800 and having the art director say she just bought one for her husband at Best Buy ;) Frankly I don't give a shit what people think nor do I purchase gear to impress, but there is an air of professionalism that accompanies doing a job with a medium format digital system.
I have nothing against the D800 and may even add one to my arsenal, but for the time being, I love my Hasselblad H3DII-31. Let me repeat. I love the Hasselblad. For all of the continued amazement I've felt about the performance of my Nikon D3s, I don't think I can say I've ever loved it. I did feel stronger feelings toward it once I got the 85mm f/1.4 G, however that certain something was never there for me. It's always felt utilitarian - in a good way and I have a profound appreciation for it's capabilities.
So at the end of the day, what camera is best? Really there is no clear winner. If budget is a big factor and you need to shoot past ISO 100, then the Nikon is a clear choice. Otherwise, it's the Hasselblad all the way. At some point I could see getting rid of my 35mm Nikon gear to go fully medium format digital. Of course I would want to have my X100 or something similar in the arsenal. I wouldn't recommend medium format digital for everyone. In fact, I wouldn't recommend it for most photographers due to its limitations and workflow, however if you're into the look and feel of that format, you will love it.
Here's a glimpse of some candids I shot in Coney Island this weekend with my 1960's Polaroid 180 and some Fujifilm FP 100C film. I shot quite a bunch and have a lot of scanning to do but couldn't wait to share a preview.