It has been one heck of an exhausting fortnight and time has been limited and my motivation low. Apart from work and a possible change on that front, there have been some unexpected things to deal with that are proving tough to endure. So, instead of my usual ramblings, I’m just going to post photos of Dale Chihuly’s amazing sculptures – currently installed in our Botanic Gardens.
Sapphire Star, 2010 by Dale Chihuly – Nikon D40
It looks like glass but the sculptures are composed of a specially formulated polymer called Polyvitro. The material is robust enough to be outdoors in the weather and reflects the light beautifully. We thought it was glass at first!
Cattails and Copper Birch Reeds by Dale Chihuly, 2024 – Nikon D40Lime and Lava Red Tower by Dale Chihuly, 2021 – Nikon D40Blue Crystal Tower by Dale Chihuly, 2024 – Nikon D40
In my previous post, I went out with the Nikon D40 and made some street photos. Even though it’s an enjoyable experience, street photography can also be tiring if not in the right frame of mind. I find that placing too much pressure on myself to make good photos can take a lot away from the experience. And out in the street where you need to be alert to interesting scenes that may last mere moments, missing one can lead to frustration.
Gathering before busking – Nikon D40
As much as that experience can lead to moments of regret at having not been quick enough on the shutter button, going down that path simply leads to more frustration and lack of joy. There are so many moments on the street that it’s always possible to find another. In simple terms: don’t get stuck in a moment missed because you’ll have just missed another moment.
Fresh milk and soft toys – Nikon D40 with Tamron 17-50 2.8
What do we do as photographers?
A photographer collaborates with the world to make a photo of a moment that never repeats. As much as there’s pressure to record all of the moments that pass so quickly, the photographer also brings the attention of others to a framed moment in time. In doing so, the photographer creates an awareness in others of the larger world we inhabit. And how often do we inhabit it without much care for the present moment?
In this context, street photography is like being in a whirlpool of moments. That’s both exciting and potentially exhausting if the pangs of regret haunt us too easily when the camera and the moment don’t quite line up. In those cases, better to accept the passing moment and move into a new moment with open eyes and mind. And have we really missed a moment if we haven’t recorded it?
Celebration and relief after a street performance – Nikon D40
Having been very connected to my Olympus E-1 lately, I decided it was high time to take out another old digital camera in the Nikon D40. I don’t always get the chance to engage in street photography but when I do it can be a lot of fun. It does require a different approach though – being on the look-out for likely scenes and waiting for the right moment. The D40 isn’t exactly a classic street machine but it’s also small enough not to be much of a bother unless a big lens is attached, like the Tamron 17-50 2.8 I decided to go with!
Reaching for the stars – Nikon D40, ISO 200, F 2.8
I find that the D40 makes really nice photos, but the CCD sensor technology isn’t so great when you have to pull details out of heavy shadows during editing. The RAW files are flexible enough, but the heavy shadow areas can be a bit thin. These older sensors also aren’t so great at retaining highlights either, so you have to make the choice – expose for shadows or highlights when the lighting creates dynamic range that’s outside of the scope of the camera. This is similar to slide film.
Framed by yellow – Nikon D40
Even though there’s noise in shadow areas when you pull up the exposure during editing, the digital noise pattern isn’t objectionable. This is one area where CCD sensors had a clear advantage over their CMOS counterparts at the time – lower noise and a finer noise pattern. We seem to have come a long way since those early digital days, but cameras like the D40 still make perfectly excellent photos! How far have we really come, one might wonder?
Free hugs – Nikon D40
There’s also another nice advantage to using an old camera like this – 6 megapixels pairs really well even with a kit lens that doesn’t see a lot of love. The old 18-55mm Nikkor kit lens is much maligned but is nicely sharp on an old camera like this, since it out-resolves the 6 megapixel sensor. My Tamron looks even better and seems to pick up plenty of primary colours wide open. Still a perfectly excellent camera.
The clouds are slowly dissipating after months of grey days and this weekend provided an opportunity to drive around some of the vibrant towns of the Murray River. I packed my bag with the Olympus E-1, Nikon Z5, and the Sony RX100. I continue to be impressed with the output from the old E-1, but dynamic range is limited, and careful consideration of a scene is required before clicking the shutter button, I’ve discovered.
Shadows on emerald metal – Olympus E-1
Window of opportunity
Every digital sensor (and film, of course) has a limited window within which it can manage the dynamic range of a scene. If the dynamic range (brightest and darkest areas) of a scene exceed the window, then an exposure decision must be made: crush blacks or burn highlights? Modern sensors have a bigger window, so provide more latitude. The E-1, not so much.
Scenes with plenty of mid-tones and minimal strong highlights / deep shadows are good for this camera. Evenly lit scenes are great too. With excessive tonal ranges, I usually crush blacks because it’s less distracting for the eye, but it depends on how numerous the extreme tonal ranges are and the composition I’ve decided on.
Unused, catching dust and webs – Olympus E-1
The onboard tonal response of the Olympus is contrasty. Again, great for evenly lit scenes that could use a contrast bump, but not so great for extreme tonal ranges where pushing them further just causes distracting visual elements. The more I use this camera, the better I get at evaluating scenes in front of me before even picking the camera up. And if I can frame a scene and limit the extreme tonal ranges, I’ll do that. I also commonly dial in some negative Exposure Compensation to protect highlights but only when I want to preserve better gradation of tone over areas where distracting highlights could be a problem. Evenly lit scenes don’t need it unless that’s the look I’m going for.
Beneath the old machine – Olympus E-1
Calibrated for the old film pros?
It’s clear to me that the RAW files from the Olympus E-1 are different to the RAW files we get from modern cameras, but I don’t think this is a CMOS or CCD issue. The native tonal response of the E-1 produces files that are already contrasty and punchy. The images on this page are essentially the RAW output with barely any editing at all.
I know that some people will say I should use OM Workspace to get the colour goodness from this camera, but that software remains awful to use. And the few RAW files from the E-1 I’ve loaded into OM Workspace produce much the same initial result as the Adobe Standard profile in Lightroom, though my testing isn’t extensive enough to warrant strong views.
So, back to my speculation on the punchy files from the E-1. In 2003, when the camera was released, digital photography wasn’t mainstream. It’s entirely possible that early cameras like this were internally calibrated to produce images that were as close to certain film types as possible in terms of punchiness and also required less editing in software. Remember, there wasn’t a lot of RAW editing software around at the time.
None of that means these old cameras make filmic photos, but it may explain why there seem to be differences in output compared to our modern cameras. I think this is less about the inherent properties of a CCD sensor and more about what kinds of photos the film companies wanted us to see from their cameras via internal calibrations. Now that photo editing programs are numerous and commonplace, modern cameras are calibrated to output flat RAW files that can easily be edited. Just speculation, of course.
In my previous post, I spoke about the eerie ruins of the accommodation complex at Wycliffe Well. To the best of my knowledge, the large bush-fire in this area still rages uncontrolled. Such is the creation and destruction cycle of life in outback Australia. One day you’re listening to tourists recount stories about Min Min Lights and the next you’ve sold your long-term outback business and it now lies in ruins at the feet of new owners, unlikely to be repaired. Life moves on quickly and time is uncaring.
Anyone for the Ladies Toilets? – Nikon Z5
At this point in the road-trip, I was still getting used to the Nikon Z5. It’s a lovely camera, without doubt, but I need to get into the habit of choosing smaller F-stops to create a deeper depth of field when close to my subject. For many of these photos I used the excellent Nikkor 40mm F2 lens. I’m a sucker for prime lenses and this one is certainly good bang for the buck, despite the all-polycarbonate mount. It’s one sharp lens for sure!
House 2 – Nikon Z5
I also used the 52mm B+W Circular Polarising Filter. This helps to cut stray reflections and saturate the colours so editing isn’t so burdensome. But using the CPL is not for every occasion. It’s great for cutting reflections, deepening the colour of foliage, and good if you want to photograph water, but it does tend to make photos look a bit flat and unnatural at times. I find that I always need to add contrast during the editing process just to cut that flatness.
Your caravan awaits – Nikon Z5
As you can see, the skies also really come alive when using the CPL. Sometimes it’s a bit too much, honestly. One year, I remember using it extensively around Alice Springs and the skies looked so dark they were almost purple. Now, I twist the brass ring of the CPL until it hits maximum effect and then dial it back a little to add some natural reflection to the scene. I think I used it quite judiciously on this outback journey.
Welcome to the TV Room – Nikon Z5
The Z5 is very comfortable at ISO 6400 and I’m comfortable using it when required. I think I got away with ISO 3200 in the above photo and used Lightroom’s great AI-based noise reduction to smooth it all out. That’s a good use of AI technology, as far as I’m concerned. Really love that artwork too, though the TV has seen better days.
Sometimes, on those long and lonely roads through outback Australia, you come across things you don’t expect to see. Burned out cars flipped on the roadside are commonplace. So too are the broken bottles, campfire ashes, and plastic rubbish that litter desolate truck stops. What you don’t expect to see is an old campground and motel that lies in ruins, featuring an alien and UFO theme. This is Wycliffe Well – once known as Australia’s UFO sighting capital.
Attention Campers – Nikon Z5
In this ruined complex of dormitories, recreation rooms, and offices, we found the remains of glory days, when the site was home to a thriving community looking for their first UFO sighting. The signs are everywhere, including alien murals and painted UFO landings, as well as enigmatic depictions of Karlu Karlu (otherwise known as Devil’s Marbles), providing the geological majesty that perhaps fired the imaginations of UFO spotters who saw lights in the sky around here decades ago.
Welcome – Nikon Z5
The story of the site is a familiar one from a business perspective. It was owned for a long time by one family and managed by an ambitious man who drew upon the UFO mystery to market the facilities effectively to tourists. There were glory days, as the bar and large on-site restaurant provided rollicking evenings of food and music to guests. Finally, they decided to sell up and less enthusiastic owners took the reins whilst promising to repair and maintain the place. It now lies in ruins after flood waters ravaged the site. And there’s little doubt that tourism dried up in the wake of the Covid pandemic.
House 1 – Nikon Z5
It’s an eerie place to explore on the way to somewhere else. Though vandals have long since taken plenty of souvenirs, the site remains a strange and melancholy tribute to outback Australia’s tourist economy and the challenges of surviving in remote locations. Sadly, it’s now at risk of further damage, as huge uncontrolled bush-fires are currently sweeping through the area.
There’s no place quite like Coober Pedy. Long-known as one of the major opal capitals of the world, Coober is also a town where some people go to disappear from mainstream society. Others try their luck at opal mining, desperate to hit the jackpot and retire. Some do and the majority don’t. It’s tough work out there in the heat, underground, drilling into the sediments of an ancient seabed. There’s always someone to buy any opal finds at the end of the day and always someone who’s at the end of their luck.
Abandoned by the hole – Nikon Z5
The first time I visited Coober, I was 15 or 16 years old. I remember it being a pretty rough frontier-type settlement, with dust in the air and people living underground, away from the stifling heat of summer. I also remember walking around, unaware that I was trespassing on someone’s land, and a lady suddenly emerging from a hole in the ground with a shotgun in hand. She wasn’t too keen on opal thieves it turns out. Lucky for us, we were just clueless tourists.
Sunset scorch – Olympus EM5 Mark 2 with 16mm Zenitar Fisheye lens
Out around Coober Pedy, they recorded parts of the Mad Max films. If you’re familiar with those movies, you’ll appreciate that this ancient landscape provides the perfect post-apocalyptic backdrop. There’s an eerie beauty to the Australian outback and I love those places where there’s no-one for miles around.
Mechanical digger – Olympus EM5 Mark 2 with Zenitar 16mm Fisheye lens
For all of the great cameras and sharp glass on the shelves, it’s liberating to play around with low-tech options sometimes. Maybe there’s a scene in front of you with great lighting but a subject that has been overdone? Maybe you’re gear-fatigued and just want to try something else? Do you know what I do when I’m a bit exhausted with tech and sharp lenses? I put something cheap in front of the camera lens to see what happens…
Dreams of green cool – Nikon Z5 with cheap plastic
The time of day was right and the leaves were catching golden light but I was weary of the same tired approach. Sharpness is a state of mind! Great photos have been made with the most primitive film boxes. So, instead of doing the usual, I pulled out a flexible piece of clear plastic and stuck it in front of the sharp Z glass. As you can see, it pulls the light in different directions when moved about. After some Split Toning, Vibrance, and a decrease in Clarity, the photo has a nice dreamy look.
Dreams of a glassy sun – Nikon Z5 with Diffusion Filter and cheap plastic
Diffusion filters are a good idea when you want some highlight blooming and a softer tone to a photo. Though the TiffenBlack Mist Pro filter tends to be the top of the price and quality pile, my feeling is that dreaminess can be found in even cheaper materials. I purchased the K&F Concept Black Diffusion filter and it does just fine.
The sun photos were both made with the Black Diffusion filter in place. There’s some nice blooming around the sun, but that’s pretty much obscured by the use of the cheap plastic I used for the photo of the trees. Details are hidden, contrast is lowered, and only bright shapes remain.
A distant sun barely warms – Nikon Z5 with Black Diffusion Filter and cheap plastic
Hong Kong offers a feast of sights for those with camera in hand. Spending all day carrying the Nikon D7100 and an attached 55-300mm DX lens – since sold and replaced by the old 70-300mm ED VR lens – is not exactly the lightest task. As with most Nikon cameras, the D7100 is solid and conveys a sense of trust and comfort. Whilst not the best telephoto lens available, the 55-300mm is certainly one of the least heavy in this class, even though the image is prone to softness, especially at the long end below f8.
The old walls have a face in Hong Kong – Nikon D7100 and 55-300mm lens
Before I purchased the D7100, I was using the Nikon D5100 – a truly capable camera with the well-reviewed sensor found in the Nikon D7000, though much cheaper. I really liked the D5100 but moving to the D7100 felt as though I was really moving on up in terms of features and ergonomics. Just the external buttons alone gave me easy access to ISO and White Balance – two dedicated buttons the D5100 didn’t have.
As much as I was tempted to sell the D7100 when buying into the Z system with the Nikon Z5, I just couldn’t bring myself to do it. I do miss the old Nikkor 50mm f1.8 D lens though, as it’s so light, small, and sharp. It’s a reliable camera and mine has a lot of life left in it.
The old walls have personality in Hong Kong – Nikon D7100
Years of grime, torn stickers, puckered adhesive, PVC pipes, and crazy wires that lead to subterranean places adorn the walls in many parts of Hong Kong. I love the texture of the place, the hustle and bustle, and the sea of humanity. But I’m not unaware of the poverty and the cramped lives, struggling to get through each day in the wet heat. And here I am, a tourist with a big camera, framing it all up and editing in a quiet room…
In the days between film and the mainstream take-up of digital, traditional companies like Nikon were doing what they could to persuade people to finally make the jump to Digital SLRs. We’re now a long way from the days of the Nikon D40 – featuring 6.1 megapixels and an APS-C sized sensor – but it can still surprise with excellent image making. And after going out with a number of Finepix cameras recently, the D40 feels fantastically Nikonian, which is to say that the ergonomics are comfortable and familiar.
Dodge and polished chrome – Nikon D40
Note the lovely reds of the car body and the blue of the chrome preserved in the above photo. Plenty of detail with this old sensor too. I was using the 18-55mm 3.5-5.6 Nikkor kit lens, version 1. Plastic feel for sure, but decent optics, especially for a 6.1 megapixel sensor, where any shortcomings of the glass aren’t a deal-breaker. It turns out that the shutter mechanism isn’t faulty at all, as I thought last week, just my inability to note that the Exposure Compensation goes in reverse on these Nikons! That’s some good news at least, and rather makes up for the Finepix 602z I recently purchased, with a bent CF pin and non-working EVF. At least it was cheap!
Garden of colour – Nikon D40
I was fortunate to have some great sunlight late in the day. These old CCD cameras definitely love the light, and I’m looking forward to also receiving my Olympus E1, even if it does have some usability issues. I’d heard a lot about the colour of the D40 and it doesn’t disappoint in this kind of light. I won’t say there’s something magical about CCD colour, like others do, but these photos do make you wonder whether image making has really advanced as much as we’re told?
As the leaves catch last light – Nikon D40
My Nikon D40 settings: JPG Fine, base ISO of 200, Exposure Compensation often set to -0.3 or -0.7, and Vivid picture mode. There’s barely any noise at 200 ISO and reputation has it that noise is not much of an issue up to 800 anyway. Old forums also suggest that the D40 has a tendency to overexpose, so I did often dial in a touch of negative Exposure Compensation just to preserve highlights.
The above photo was one that I made in Nikon’s native NEF Raw format. The Raw files from the D40 definitely have more latitude than the JPGs and it’s easier to tame highlights and shadows, but there’s certainly less editing potential in these files compared to the NEF files from modern Nikons. Nevertheless, the photo is pleasant, and working with NEF does provide the option to use a different White Balance setting and fine tune any sharpening.
The D40 was one of Nikon’s most popular early consumer cameras and I can understand why. I like that it’s so small and fits easily in a smallish camera bag. I’ll have to seek out the G version of the 50mm 1.8 lens for it, as the D version requires a screw drive motor, and the D40 lacks this feature. Really, the D40 proves that picture quality wasn’t a problem for digital cameras even in 2006.
The Rusty Ruin Journal 