Photography Etiquette

Just read a couple of articles regarding the infamous “Geisha paparazzi” in Kyoto. (original articles here on CNN and Petapixel).

It sounds sad, and, if I may also add, makes one look really desperate when trying to flock these ladies just to get a few snaps to share on your social media.

Looking at the video embedded in the Petapixel article, it just looks as though a group of photographers are waiting for a parade to pass by in a theme park. No, these are not cast characters - these are just regular people on their way to work, and should be given at least the decency of their own privacy and space.

You can argue that the streets are public and laws do allow general photography on public spaces. You can argue that as long as no trespassing of private properties or any physical contact is done there are no laws broken. You can argue that these ladies chose to walk the path of a Geisha and having their shots taken should not come as a surprise.

The arguments are definitely sound, but I just hope there is still some sense of etiquette, or at the very least, human decency, to not cause any distress to the ladies or commotion in the streets.

Just really disheartened to read about this news, and it would be unfortunate for everyone if new laws and rules were to be enacted that eradicated all forms of photography in that area.

While this is just one example, it seems like such behavior has become more rampant recently in various places.

I am not advocating everyone to stop shooting or dismiss street photography entirely, but just, please shoot while being considerate and respectful to your subjects and surroundings.

Nextorage NX-B2PRO CFexpress 4.0 Type-B Cards Announced

Just read that earlier today Nextorage has announced their CFexpress 4.0 Type-B cards, the NX-B2PRO.

According to the official page, the NX-B2PRO comes in 4 capacities, and while all of them are VPG400 certified, they do have slightly varying max speeds and sustained speeds:

• 165GB : Max Read 3,900 MB/s, Max Write 3,600 MB/s, Min Sustained Write 3,400 MB/s

• 330GB : Max Read 3,900 MB/s, Max Write 3,600 MB/s, Min Sustained Write 3,400 MB/s

• 660GB : Max Read 3,700 MB/s, Max Write 3,600 MB/s, Min Sustained Write 3,400 MB/s

• 1330GB : Max Read 3,700 MB/s, Max Write 3,600 MB/s, Min Sustained Write 3,200 MB/s

CFexpress 4.0 specifications doubles the theoretical bandwidth of current CFexpress 2.0 cards (actual press release of CFe 4.0 here; you can read my write-up on it here), and while none of the current camera bodies are capable of using CFe 4.0 speeds in them, the standard being backwards compatible means that it does make sense to purchase a CFe 4.0 card for future proofing.

I have had very good experience with Nextorage cards so far, and their customer support was efficient and helpful when I contacted them prior to my first purchase with them to learn more about the cards, so I definitely am glad that they are one of the first few to have CFe 4.0 cards ready and available.

With this release, they now have a simple to understand line-up for CFe-B cards:

• B1SE - Standard CFe cards with decent max speeds, but low minimum sustained write speeds (discontinued)

• B2SE - Successor to B1SE; standard CFe cards with improved max write speeds and minimum sustained write speeds

• B1PRO - High performance pSLC CFe 2.0 cards with high max speeds and high minimum sustained write speeds.

• B2PRO - High performance pSLC CFe 4.0 cards with high max speeds and high minimum sustained write speeds.

B2SE cards do offer a really good cost performance per GB if you do not require high speeds for video or high fps shooting, and definitely would recommend them (especially the 512GB version) for anyone looking for a high capacity card that is plenty fast.

The B1PRO is a great card to use with the Z8 (and I would assume the Z9 too), as even shooting in moderate bursts at high FPS in lossless compressed RAWs, the buffer does not stutter and remains responsive throughout its operations. It also remains relatively cool throughout - both during shooting and when offloading from the reader to the PC.

The B2PRO with higher speed ratings, almost double in fact, means that using them in current equipment now should make them run much cooler than the B1PRO since the speeds are way below their theoretical threshold.

Which brings me to wonder the following:

• Will there be a B3SE based on CFe 4.0 standards too? This could be a good way to get high speed high capacity cards with good cost/GB ratio.

• Will future Z cameras come with a CFe-B primary slot, and a SD+CFe-A hybrid secondary slot? If CFe-A slots run at CFe 4.0 specifications it would be performing at current CFe-B speeds now, so not much compromise on speeds need to be made.

Anyway definitely looking forward to reading B2PRO’s reviews, and keeping my eyes on it when it is time to replace or add more cards to my kit.

What Happened to Crumpler Products in Japan?

Just really curious about what happened to Crumpler products in Japan.

I own several Crumpler bags, from simple messenger bags that I used when I was in college, to camera bags and laptop bags that I still use now.

One of the ones that I still use frequently now is the Flying Duck Sling 4000 bag, as it is a very lightweight bag yet provides adequate protection, on top of being the perfect size for my kit when I need to go compact.

If I remembered correctly they used to have a flagship store here in Tokyo, but during COVID I guessed the dealership contract with the official distributor here in Japan ended and was not renewed, so the flagship store is gone and most, if not all, products have been pulled from shops and retailers.

It’s really quite disappointing as I do really like their products for their practicality and toughness, and their camera-oriented products have always been well-regarded and are reasonably priced as well.

I do sincerely hope their products will make their way back here again soon.

Opinions on Using AI Generative Content in Photos

Had a discussion with some friends a while back regarding the use of AI in photographs.

Image compositing is not a new technique, and has been used by digital artists for a long time now.

With the advent of AI and improved content generation algorithms, there are many software available now that use AI generative content to aid creating the image that you have in your mind and bringing it to life.

Examples include Photoshop’s content-aware fill and text-based generation, Luminar’s sky replacement tools, etc.

I personally think that these AI tools are definitely useful and make life easier for us, but the extent of usage would really depend on each individual, together with the notion of whether or not one is setting out to create a digital artwork or documenting a scene as true as possible.

I imagine the AI tools available now as just extensions of what are available to us now, and the extent of retouching/editing/postprocessing falls on what the photographer is set out to create - as long as one does not lie and try to pass off an image containing AI generated contents as “documented straight from the camera”, then there is no right and wrong here and up to one’s creative ambition.

Personally for me, I do not use AI generated contents and composites in my photos, just because I like to keep the images as true to life as possible. Granted that during the retouching process I might use clone/healing stamps to clean up the image a little, and apply AI denoising algorithms for shots taken in bad circumstances, but that is the extent of AI I would use in my photos and would not use compositing techniques in them and pass them off as “true photos”.

Though that being said, I do play around with AI generated content and images to create memes and stuff for fun, and I can definitely see the use cases whereby such tools would greatly benefit an artist’s creative vision. I guess just as long as you do not try to label such techniques as photography I’m totally cool with it.

Now back to the discussion with my friends, one mentioned that perhaps one day we would all do our shoots in front of a green screen and just change the background to whatever the client likes.

I do not deny that I see market potential in that, and I am pretty sure there are studios around which already offer such packages now. I can also imagine pre-wedding photoshoot clients wanting such an option in order to get that picture-perfect image.

But unless it is a commercial shoot or an artistic shoot, I for one would definitely not do that for my pre-wedding photoshoot clients.

In my opinion and experience, I feel that taking part in a shoot, especially in an outdoors location, part of the fun is visiting the location itself, part of the fun is exploring the location with the clients, and last but not least, a significant sense of satisfaction when we all work together to create an image by utilizing the location and surrounding environment.

The memories created by this is one that cannot be replicated simply by standing in front of a green screen and then swapping in a background of your liking - I just find that the fun factor is lacking too much for such a shoot.

(Well I do have to admit standing in front of a green screen might make you feel like a movie star or sorts, and that itself might be a good memory too if it is your cup of tea.)

To me, a photography session encompasses so much more than just pressing the shutter button and handing the photos over - the entire process from discussion and brainstorming, going through the shoot on the actual day with each other, and then receiving the photos at the end, is an experience that I would like my clients to enjoy and remember too.

So yeah, perhaps things might change in the future, but as for now, I would very much still prefer to put my boots on the ground and get my shots the old school style.

What If There Was a Unified Camera Mount?

I have been primarily a Nikon shooter in my photography journey so far ever since my first DSLR (the Nikon D40), and while I am happy with the performance of my gear and the technological advancements made by the company thus far, I cannot help but wonder what it would be like if all the camera mounts were unified and giving users more choices and freedom to mix and match the equipment to their liking.

In modern camera equipment, we first saw such an open system with the m43 mount where you could mix and match Olympus and Panasonic m43 gear without any major demerits. To me it was an interesting prospect, as Olympus had more stills-focused bodies and Panasonic had their video-oriented hybrids, and you could choose the body that fits your use case and choose the lenses from a wide array of available selection.

Next came the L-mount alliance spearheaded by Leica, Sigma and Panasonic. While one might argue that them being minor players it made more sense to move in this direction, it does not reduce the fact that the end-user were treated with a good selection of lenses and bodies available to them with this collaborative effort.

I started pondering over this issue since there are more players in the camera gear space now, but yet the market demand for camera equipment has been shrinking over the years, so having such collaborative efforts might create a better ecosystem and value for end-users.

I guess from the companies’ point of view perhaps it seem more lucrative to lock down the ecosystem, since unlike what you see from so-called influencers, most people who have acquired a decent amount of gear over the years would be unlikely to “switch from Brand X to Brand Y” just because of a body or lens from a competitor that performs better.

Well objectively speaking, if a body and/or lens from another ecosystem is unique enough, it is common to see people using gear from two ecosystems simultaneously, though it would be a nightmare to get your muscle memory to work with the different button allocations and stuff.

And back to the topic of a locked-down ecosystem, I think it also deprives others who are interested in a particular piece of equipment but are unable to use it with their current kit due to different mounts.

I know mount adapters exist, but how many are officially supported by the first-party manufacturers, and how many are able to operate with no compromises?

I find that a unified mount system would be immensely celebrated by end-users, since we would be able to freely mix and match out equipment without worries, and would also drive the manufacturers to provide better value for consumers since they would have to make sure their products are unique from their competitors.

Imagine being able to choose freely from the Sony 50mm f/1.2 GM if you want a smaller and lighter kit, or the Nikon 50mm f/1.2S if you want a lens with optical focus breathing compensation.

Or perhaps being able to mount the behemoth Canon 28-70mm f/2 L on a Nikon or Sony body you currently own.

We have seen this happen to memory cards before - how manufacturers finally moved on from Memory Sticks, xD cards, MMC cards, etc. and decided to use SD cards as the de facto standard.

We have also seen this with phone chargers - the first move from proprietary chargers to micro-USB, and the now with USB-C even tablets and laptops can also use the same charging protocols.

It might not be that far-fetched to imagine such a change, and I for one will be very glad to see such a collaborative effort between all camera manufacturers come to fruition.

CFexpress 4.0 Specifications Announced

Just last week CompactFlash Association (CFA) announced the new standards for next-generation CFexpress 4.0 cards.

The new specifications will double the speed of current CFe cards (known as CFe 2.0 specs; don’t ask me what happened to CFe 3.0 I guess they just wanted to line-in the card specs with the PCIe version specs lol).

Now why is this exciting?

Firstly nearly all high end cameras now use CFe cards, but specifically the Type-B cards since they provide the best cost-size-performance ratio.

However Type-B cards do have a downside - it requires a special slot by itself (which is usually back-compatible with XQD specifications unless you’re using a Canon), and the slot while not as humongous as the old CF slots, definitely take up real estate as heat dissipation is a big concern for fast cards.

Enter Type-A cards, which have similar physical dimensions to the normal SD cards. This allows a single SD-card slot to accept either a SD card when inserted one-way, or accept a CFe-Type A card when inserted the other way.

Sony’s one of the major manufacturers doing it this way, and while it’s really a good move to bring CFe speeds to a higher end body while maintaining backwards compatibility with SD cards if needed, the cost-performance ratio is really bad as there’s only 1 manufacturer using it for consumer products now - Type-A cards are shunned by the other manufacturers due to the lack of speed (it’s only half that of CFe-B).

However now with CFe 4.0 specs, the Type-A cards have a theoretical max speed on CFe 2.0 Type-B cards - meaning whatever applications that CFe 2.0 Type-B could handle before without issues, the CFe 4.0 Type-A should be able to handle it gracefully too.

So just to put some numbers in for easier understanding:

A typical 45MP RAW file (14-bit lossless compressed) is 50MB

A fast camera can shoot 20FPS at full resolution = 50MB * 20shots = 1GB/s of data moving through

Currently the cameras when paired with pSLC CFe-B cards with high minimum sustained write speeds (usually in 1.3-1.5GB/s range) can fire away at 20fps all day and the camera internal memory buffer won’t fill up at all as the shots are offloaded as fast as they’re taken.

However using a CFe-A card, which have typical max write of around 800MB/s and sustained write of around 500MB/s some stuttering might happen as the buffer starts filling up and you will lose the 20fps.

The even larger culprit is the SD cards - certain camera models have a SD card slot as a 2nd card slot, and when a SD card is placed inside, it bottlenecks the entire process (if you’re writing to two cards at the same time) as write speeds for SD cards max out at 95MB/s (UHS-I) or 280MB/s (UHS-II). And also not to mention the disgusting pricing strategy of UHS-II cards.

So now back to the topic, the reason I’m really excited about the new CFe standards is because now manufacturers can have more motivation to put a hybrid SD+CFe-A slot as their 2nd slot, to maintain backwards compatibility and ease of use with SD cards, and yet not sacrifice too much in performance and speeds when needed to do a 2-card simultaneous shoot by using the Gen 4 Type-A cards.

Of course one can always argue that no matter the generation, the Type-B cards will always be twice as fast as Type-A cards, and the new Type-B cards will just open up even higher FPS shooting modes. Which brings me to the point - would you rather have an inferior SD-only slot as your backup slot where you’re locked down at 5FPS or so, or a hybrid SD+TypeA slot backup which can still shoot at 20FPS RAW which is the gold standard right now?

tl;dr I find this exciting news as on occasions I spray at 10-20 fps at my cat lol

Enjoying the Nikon Z 40mm f/2

Back in late June when Nikon announced their cashback campaign, I decided to get the Nikon Z 40mm f/2 muffin-ish lens to couple with my ex-workhorse Z6 to make a compact lightweight set-up.

According to the reviews online, many mentioned that the sharpness of the lens is not exactly awe-inspiring, especially when you are used to the quality of the S-line lenses, so I went in with that expectations in mind.

I paired the lens with a Nikon HN-2 screw-in metal hood (on top of a Nikon NC filter) to be able to put it inside my bag without using a lens cap, and this combination still remains relatively compact and does not introduce any vignetting at all.

After using it for more than a month now, I’m honestly surprised that I’m enjoying the lens way more than I had expected. The lightweight and compact size does make me bring the camera out more often, and somehow using this set reminds me of the days where things were simpler and I just wanted to take shots of things for fun or anything that is of interest to me.

As per most reviews, the sharpness is not exactly the best as compared to the rest of the Z-lineup, and at close distances the resolution and sharpness do take an additional hit in their quality. However, that being said, it is still not in the realm of unusable bad quality - shots do maintain enough detail retention even when shot wide open, particularly in the center of the frame, and sharpness improves for shots done from 2m onwards. Stopping it down to f/2.8 does bring out more resolution and contrast across the frame, so I’m pretty much using it as a f/2.8 lens now that can also open up to f/2 when the situation calls for it.

So some of the things I’ve observed or experience from using this lens so far:

• The rendering is not like the typical Z S-line lenses due to the steep sharpness falloff out of the central region, which creates a more “vintage” look typical of the F-mount lenses

• At f/2 the sharpness falloff of the out of focus areas coupled with the slight glow from spherical aberrations do actually give images an interesting atmosphere and look

• Not the best in strong backlit situations - fringing rears its ugly face and further loss of contrast happens throughout the frame

• Using the lens at f/2.8 tames the lens quite a bit and it performs closer to the typical quality known of Z-lenses

• The lightweight and compactness is definitely something that one should not overlook - I have the 50mm 1.8 S as well, and while that lens is not a behemoth so to speak, the 40mm f/2 is just so much easier to carry around

Looking forward to creating more with this lens!