Tag: Travel Photography

A Forest for the Trees

Fifteen years ago, traveling with an underwater camera meant carrying a dedicated camera system and housing along with all my scuba gear—two full suitcases and a carry-on bag. These days, the cost and aggravation of transporting that much equipment can pretty much ruin the idea of traveling at all.

Last year, I bought a DIVEVOLK SeaTouch 4 Max housing for my iPhone 15 Pro Max, along with a red filter and a few other little doohickeys I thought I might need. Compared with the cost of housing any of my APS-C, full-frame, or medium-format cameras, it was ridiculously inexpensive. So inexpensive that I reread the reviews to make sure the housing wasn’t made from Swiss cheese or cardboard.

Before 2023, I hadn’t been diving in eleven years. My dive gear—and I—were old, crusty, and out of practice. But getting back into the water with a camera was life-affirming and immediately comfortable, like getting back on a bicycle. By streamlining both my camera system and dive gear, I was also able to reduce the cost and stress of traveling to a single suitcase.

There was one problem.

It occurred to me that if the housing failed at depth, the phone inside it—my lifeline to the digital world and the place where I stored nearly everything I needed for the trip—would probably flood. Getting home could become interesting in all the wrong ways.

So I went to Back Market and bought a heavily used iPhone 14 Pro for about half the price of a new phone. That would become my underwater camera. If it didn’t work, I could still use the iPhone 15 and hope for the best.

Since buying the setup, I have photographed dives in the Florida caverns and on the reefs of Bonaire and Dominica, with no complaints whatsoever.

When I made this photograph, there was a fair amount of sargassum in the water, and visibility was cloudy. The original image was drained of color and predominantly blue. It was pleasing, but not quite the photograph I wanted.

The pilings already felt less like a human structure than an underwater forest, with the divers drifting between them like unfamiliar wildlife. I converted the photograph to black and white, then added a little clarity and contrast in Lightroom. The monochrome treatment separated the light, sediment, divers, and encrusted columns more clearly while preserving the murky atmosphere that first attracted me.

Although I had brought both a video light and a red filter, I found myself loving the black-and-white renderings from this location. Removing the color seemed to make the underwater world stranger, quieter, and somehow more timeless.

All in all, the DIVEVOLK housing—and my decision to trust an Apple phone as an underwater camera—has been one of my best photographic purchases in recent years. I love the results I am getting, and DIVEVOLK is firmly on my radar as I continue rebuilding my underwater photography system.

The Camera You Have With You #1 – FujiFilm X-E4

Recently, I traveled to Portugal with a medium format film camera – the classic Mamiya Six – arguably one of the best analog medium-format film cameras in existence. But because it is a fairly large, heavy camera, and it’s not weather resistant, there were times when I left it in my room and fell back to a ‘lesser’ camera – my backup on the trip – The FujiFilm X-E4.

I put the word ‘lesser’ in quotes because I don’t believe that the Fuji is lesser than the Mamiya, rather than just different – like Buddy Elf being ‘special.’ As it turns out, even if he was a lousy toymaker, Buddy was pretty awesome in his own right.

Yes, the Fuji is less expensive than the Mamiya, and it’s not up to the potential image quality of the Mamiya in optimal light, but it is still a competent and capable tool and preferable to the Mamiya in low light, for rapid shooting, in bad weather, and if you are already loaded with a lot of other heavy stuff to carry around. In this instance, I needed to pull off a quick photo before Mrs. Doubtfire, (seen in the upper right window), moved out of frame. If I was shooting the Mamiya, I wouldn’t have had enough time framing and focusing before she would be gone.

A lot of camera snobs might look down at the inexpensive and tiny-but-mighty X-E4 and the kit lens I had on it for this shot, but I couldn’t be happier with the photo, specs and price be damned. Use the right tool for the job, and remember that the right tool is the camera that you have with you, be it medium format, crop format, or even a phone camera.

About this Photo: Camera: Fujifilm X-E4, Lens: FujiFilm 18-55mm f/2.8–4.0 R LM OIS. Location: Lisbon, Portugal.

A Kinder, Gentler Age.

I like old cameras, I like old film, and I like old houses, so this image gave me a happy. I’m not so fond of the pickup truck, but you can’t always get everything that you want.
Cape May, New Jersey is the last town heading south on the Jersey shore. It’s a throwback in many ways – more civil – calmer – and less overtly obnoxious than the glitz and over-the-top ostentation of the New Jersey beaches to the north. It’s not like they don’t show off here, they’re just more subtle about it and adhere to community set standards. And what that creates is a beautiful town with grand old houses that make for wonderful photography.

About the Photo: This shot was made with a small, handy Ricoh AF-5 point-and-shoot camera – manufactured around 1983, and shot on long expired Kodak Gold 400 film, most probably from the 1990s. The house is at least 100 years older than either, and the truck, well who really cares?

The great thing about the Ricoh is that it’s cheap and small and has a great lens – a 38mm f/2.8. It produced such lovely colors and awesome grain, even with ancient film. On beach excursions with this camera, I usually bring a quart ziploc bag with me to keep it safe from water and to keep it free from sand. And then I slide it into my backpack pocket to have a great, light and compact film camera always ready to go. One that I don’t have to worry about.
Cheap film cameras (relatively cheap, anyway) are great. I purchased this one five years earlier for $20. I see they’re now going for $75-$100 on ebay. Retro fun doesn’t mean that you have to break the bank, but as these cameras start to disappear, it’s getting more expensive every day.

Salad Days: Storytelling With Fuji XT2 Color Rendition

Doing a photoshoot in a supermarket was never high on my list, but there I was on vacation, three thousand miles from home, with only a travel camera and a kit lens. Luckily the camera was a Fuji XT2, and lens was Fuji’s XF 18-55mm f/2.8-4, the most capable kit lens I’ve ever used.

 

I was walking by the vegetable section in the produce department of a Fred Meyer’s Market near Portland, Oregon, when I saw this explosion of color, and even under the horror of fluorescent supermarket lights, I knew I had to capture the color and symmetry that some anonymous produce department person – someone who obviously should be working in arts – had set up to delight and entice the ravenous soccer moms of the Pacific Northwest.

 

This should not have been an easy task but two factors worked to my favor. First, this supermarket periodically sprayed their produce with a fine mist of water, which kept the carrots and beets damp and vibrant. Second, the Fuji XT2 handles colors magnificently. These little crop format cameras have an uncanny ability to continuously knock me out of my shoes with how they render colors. In this case, the camera’s processor made mincemeat out of the bad fluorescent lighting and left me with very minimal post production tasks.

 

To me, the resulting photo captured all of the shades and promise of late summer – when the photo was taken – promising the bounty of the harvest time to come.

 

I have smaller cameras and I have bigger, more capable cameras, but to me, the Fuji XT-2 is the perfect travel camera, providing all of the features I need in order to hit any creative needs that might come up on location, thousands of miles from home.

Exotic Travel Photography at Home (?)

This image, and the associated gallery, detail how one can photograph an ethnic event in a large US city and leave little or now evidence that the photos were taken in the USA. The gallery in the link below was actually shot in Philadelphia, PA.

The key is to photograph as close in to your subject as possible.