“Never go into a shoot with kit you don’t know inside out: it’s a recipe for disaster”. My ancient photography tutor’s voice from way back rang clear as our flight circled Belfast, descending through the mist to land. The only two people onboard choosing to wear shorts and running gear, on an early December Irish morning (it’s not known for warm winters…) wasn’t the only questionable decision that day: the X-Pro2 and lenses, wrapped in spare running socks & thermals between my feet, that had arrived by courier the afternoon before were completely alien to me.Continue reading “On the run with the FUJIFILM X-Pro2”
Part 2 – Tom Corban takes you on a rollercoaster ride adventure into North & Northwest India sharing his experiences, challenges and beauties discovered all whilst using the Fujifilm cameras and lenses.
This is a two part blog into the adventures of Tom Corban and his trip through North & Northwest India, if you missed the original post you can view it here.
As the trip went on and the temperature increased, I appreciated not having a rucksack covering my back. I began to realise that I was missing something. It was really brought home to me when we went north into the Himalayas to do some mountain biking. We were cycling downhill on a narrow bumpy mud track with a steep cliff face going up on one side and a sheer drop of over 1 kilometre on the other and I realised that there is only so much weight you want bouncing around on you, irrespective of how you are carrying it. I started fantasizing about my X-E2 with its kit lens, but more about that later.
One of the nice things about this trip was that it was a holiday. There was no pressure and no deadline for any images. This gave me the chance to experiment with the Fuji kit without worrying about making any errors. It may sound unprofessional to some people but I have been so impressed by the Fuji Jpegs that I now rarely shoot RAW files. I had not really explored the various film settings and tended to use the Standard and Velvia settings almost exclusively. Having now experimented with the film settings, I am developing a soft spot for the Black and white with a yellow (or in some instances red) filter and I have found that in the right setting the Chrome can be stunning. I had an almost childish delight in finding out what the camera could do.
We had decided to limit our travel to the north and north west of the country, travelling by train, bus and in the more remote areas, camel and 4 wheel drive. I was interested to see how the Fuji kit stood up to the rigour of travel and how it performed in some challenging environments. I was aware that my photography had already changed as a result of using Fuji cameras but it became much more noticeable on this trip. I made fewer images and I have become, on the whole, slower. This is not a bad thing as I find that I am getting the results I want with the Jpegs straight out of the camera.
Slower behind the camera and then less time in front of the computer suits me well. I have also found that I have fewer “technical” rejects. I find that the focusing on the X-T1 is not as fast as the Canon 5D mk 3 so in some circumstances I have more out of focus shots than I would expect. However, for me this is more than made up for by the fact that I have far fewer unsharp photographs caused by camera shake in low light settings because of the wider aperture of the Fuji lenses, the lack of a mirror and the vibration it causes and the ease of holding the camera steady.
Perhaps if I were doing a lot of fast action work I would be more tempted to use the full frame camera but as things stand the Fuji suits me fine.
In low light settings such as religious services in Varanasi, the Fuji kit showed its strengths. Wonderfully sharp lenses and a camera that I could hold in my hands at slow shutter speeds.
The weather sealing stood up well in some difficult situations with temperatures of over 50 C in the desert and below freezing in the Himalayas, as well as rain, sand and huge amounts of fine powder dye during the Holi celebrations in Jaipur. There was a little wear on the camera body and the rubber cover that protects the HDMI, remote release and USB sockets has become a little misshapen with the heat but it’s a solid body built to last.
Did I make the right decision to take the Fuji Kit with me on this trip?
Absolutely. It’s a joy to use. The full kit fitted into a small waist bag with the lens hoods still on the lenses, I had no difficulty keeping the sensor clean, the Jpegs were wonderful straight out of the camera and the film simulations are good (I mean really good). I can also hold it in my hands at low shutter speeds, the lenses are sharp and I had no trouble with chromatic aberrations.
With a kit that performed like that, what more could I possibly want?
Well my X-E2 with its kit lens really.
I said earlier that we had been lucky on this trip. Whilst that’s true, we did have some difficult times. We had a bag with my Fuji X-E2 and Jo’s phone in it stolen on a sleeper train from Varanasi to Agra. I had taken my X-E2 on a various trips around Europe during the past couple of years and was really fond of it. It was the sort of camera and lens combination that you could carry unobtrusively and I loved wandering around new cities with it. Heat, rain, fog – just tuck it under your jacket. As our India trip went on, I found myself wanting it as a second camera. I know that this sounds a bit excessive but the option of occasionally leaving the full kit in the hotel and just spending some time wandering around with a smaller, lighter camera and the kit lens was very appealing and certainly would have been useful when we were cycling.
It had never been an option before as there was never anywhere secure that was large enough to lock up my full frame camera and lenses and, as a result, I would carry everything with me all the time. You do get used to it but it’s an ongoing nuisance and wonderfully liberating when you get home and don’t have to carry a heavy bag everywhere. To my delight, I found that the small safes that hotels all over the world use was large enough to fit all my Fuji kit in and still leave room for a backup hard drive and a few other odds and ends.
It’s a real game changer as it gives me the option of going out with the full kit or just the X-E2. Well it would give me that option if someone had not stolen the X-E2! I will clearly have to replace it. Mind you I have not seen the X Pro2 yet but it certainly looks good on paper and the reviews are encouraging. Now, back in England, I find myself wondering if the X Pro2 will be the camera that finally makes me sell my Canon kit and move to Fuji completely.
2.3 billion people worldwide lack access to reliable electricity. In Nepal roughly 80% of the population live in rural mountainous regions that have little to no access to electricity. With the devastating earthquakes last year (April 25th and May 12th 2015) the citizens of Nepal were left with a broken country, 9,000 people killed, tens of thousands of people injured and over 2.5 million homeless.
In Nepal, rooftop solar panels are being used in households to provide power for daily electrical appliances and activities; at schools to power computers, laptops and cellphones; and at hospitals and health posts to power patient needs in the rural mountainous communities. Solar integration for agricultural purposes has recently been implemented throughout various parts of rural Nepal to aid in the irrigation and harvest of crops year round.
My goal with my photography is to raise awareness around humanitarian and environmental issues globally. I focus on documenting the candid and capturing moments that inspire a call-to-action. Through a partnership with Photographers Without Borders and SunFarmer, a non-profit organization focused on delivering solar power to developing countries, I returned to Nepal in October 2015 to capture the impact of solar technology and build awareness around the work of SunFarmer on local Nepali communities enduring the difficulties of life without electricity due to energy poverty.
The country continues to rebuild with the citizens of Nepal struggling to survive in the midst of the current political crisis that has left the country with a limited access to petrol, medicine, cooking gas and other essential supplies.
How did you get started as a photographer?
My inspiration for photography began in early childhood when I travelled with my family throughout Asia. I took my first film photography course in high school at the Hong Kong International School, while living and studying abroad in Hong Kong. But it wasn’t until years later after working in the financial services sector and living close to 10-years overseas, did I find my hand in photography. Over the years while living abroad, I’ve gained an understanding and deep appreciation and respect for diverse cultures and places.
In the pursuit of my passion, I’ve travelled extensively throughout South East Asia with my partner and with a camera always by my side ready to document my environment, culture and people that I encountered. With my photography, I seek out stories that raise awareness and address social, humanitarian, environmental and cultural issues to evoke positive change for the natural world and its inhabitants.
How did you get involved with the SunFarmer project in Nepal?
The SunFarmer project came about through a partnership with Photographer’s Without Borders (PWB), a non-profit collective of journalists, photographers, filmmakers and passionate storytellers with a mission to inform and inspire positive change by visually communicating the ways that grassroots initiatives are addressing problems in their communities. I was assigned to document solar energy solutions for SunFarmer in Nepal.
SunFarmer is a solar engineering non-profit that installs solar energy in hospitals, health clinics, schools and agricultural sites throughout the developing world. Nearly 1.3 billion people worldwide are without access to electricity. Without electricity, a modern quality of life is impossible and the growth and prosperity of a country is severely hindered. SunFarmer has a mission to reduce this figure by providing best in class solar at an affordable rate to schools, farms and health posts. The team’s goal is to provide electricity access to seven million people by 2020. In Nepal, SunFarmer has partnerships with various stakeholders that include private organizations, NGOs, government organizations, banks, bilateral organizations, and microfinance institutions. The basic criteria when choosing to work with these organizations are like-mindedness, a vision to provide access to reliable and affordable electricity over a long period of time and access to transmission lines in areas that are difficult to reach often due to rough geographical terrain in the rural parts of the countryside.
Since SunFarmer started in Nepal in 2014, the team has successfully implemented over 100 projects in the country. The value SunFarmer works with is to provide the best in class, affordable energy solutions to their clients. Many developing countries are facing similar situations to that of Nepal with regards to energy and electricity crisis and are equally as important to focus on next. The team is still weighing out the various different countries to focus on next and has made a global announcement on their commitment to rebuilding Nepal at the Clinton Global Initiative. Their commitment will bring 1.5 MW of solar powered electricity to at least 2 countries in the next 3 years.
How do you go about determining your focus for a project of this size?
My goal for partnering with SunFarmer was to capture the impact of solar technology as Nepal continues to rebuild after the earthquakes that hit the country earlier in the year.
The vision I had was to share a story that chronicles the lives of the Nepalese families and local community members that we visited throughout Nepal’s countryside and to show their shared hardships, stories and experiences. Through a series of photo essays, I illustrate the struggles faced by the citizens of Nepal as the country continues to rebuild and how solar energy is changing their lives.
I’ve lived in many of the world’s major cities and remote areas of Southeast Asia and it has been an invaluable experience that has become a strong influence in the way I shoot and go about determining my focus for long-term projects. Before I pick up the camera, I enjoy seeking out new places and diving into unfamiliar scenarios where I find my way by building strong relationships with the people I end up encountering.
Over the years, my curiosity to explore has taken me to the top of the world on a month-long expedition trek across the Everest Region, to the bottom of the Red Sea free diving in Egypt and on to studying meditation and traditional Muay Thai boxing in the mountains of northern Thailand.
My project with SunFarmer took me back to Nepal for a second time. The first time I visited was in April 2012. I landed in Kathmandu on my birthday. My partner and I stayed in Thamel where we purchased our gear and equipment for an expedition trek. It was an incredible, life changing experience. We started at the famous ‘world’s most dangerous airport’ in Lukla, acclimatized in Namche Bazaar Village, crossed the Chola Pass, summited Gokyo Ri and Island Peak and made our way to the Everest Base Camp and back to Kathmandu in one piece.
We ended up spending three months in Nepal and I had a genuine connection with the people, community and country. The Nepalese are a very special kind of people with a strong sense of dignity, compassion and unity.
What did you do to prepare yourself for the trip to Nepal?
Of critical importance to successful assignment photography is the research you do before you book that plane ticket. The more legwork and planning done upfront, the better your images will be when you land.
My first point of contact for the project was SunFarmer’s Director of Impact & Partnerships, who is based in New York. SunFarmer has operations in the US, Canada, and Nepal. Planning began with logistics and safety discussions in late February 2015. Over several months we coordinated the solar site visits at SunFarmer and with SunFarmer’s partner organizations throughout Nepal’s countryside.
There are several factors to consider when working on location and in a developing country. Not surprisingly, the first avenue of information is from the Internet. I have a quick look at tourist information and government sites, travel advisory boards, official country tourism boards, news outlets for the most updated look at the country’s political standing and issues, guide books such as the Lonely Planet Guide and Rough Guides for high level country profile information, sites to see and places to stay, and travel sites like WikiTravel, VirtualTourist and Trip Advisor. It is also extremely useful to take a good look at the best time of year to head over to your destination.
With this information, I also prepare a concept and shot list with details on the shoot objectives, location, setting and contact list. Purchasing a local map and marking off sites and locations of importance will be extremely helpful to ensure you get all the shots you need for the project and your creative curiosity.
What were some of the obstacles you had to overcome while planning the trip?
The biggest obstacle was looking at the best time of year to visit. In Nepal, there are two preferred times a year for travel. Peak season, particularly for trekking is from late September to early December when the air is crisp and fresh with clear skies for the best mountain views. From the end of February to mid-April, it is warm and dry; the rhododendrons are in flower and bloom. This season brings a second wave of visitors. The summer months of June to August are also the monsoon season in Nepal and not an ideal time to visit. The weather is hot and wet. It rains almost everyday with occasional thunderstorms in the evenings.
Another factor to consider is the festival season. Throughout the Nepalese annual calendar, there are several religious holidays. Dashain is a very popular festival in Nepal. It is the longest and most auspicious festival celebrated. In Nepal, it is a celebration of family. People return home from all over the world to spend time with their family and loved ones. All government offices, educational institutions and businesses remain closed during the festival period that falls in September or October and lasts for fifteen days. Making a visit during the festival season can be great for street and travel photography, but is not always the ideal time to visit while on assignment. Many of SunFarmer’s partner organizations remained closed during this time and we had to work around the festival schedule.
Travel and logistics are equally as important to work out long before the project starts. We had to secure well in advance a four-wheel drive vehicle and experienced driver to take us across Nepal’s countryside and up the mountainside to visit the agricultural solar sites and solar water pumps that lift water from the valley below to a tank above the community on a hill. Access to water from tap stands outside each house gives families back time they would otherwise use for collecting water and gives farmers water to irrigate their crops.
How are solar photovoltaic systems used and are they anymore beneficial than the more traditional energy gathering techniques such as hydro or wind for Nepal?
A solar photovoltaic system or PV system is a power system that harnesses the power of the sun which is composed of particles of energy called photons that is converted into electricity via solar panels to power electrical loads. Simply put, solar panels absorb and convert sunlight into usable electricity.
SunFarmer Nepal team has noted that Nepal has around 720-740 MW of hydro power plants installed in the country and import around 200MW of electricity from India. There is a large demand of around 1300 – 1400 MW of energy for consumption. The supply and demand clearly doesn’t match and there is a large energy deficit in the country. Nepal has not been able to upscale their hydropower installations to meet its citizen’s demands because the demand for energy grows roughly 10% every year. An additional problem is that currently there is only one hydro station that has storage capacity in the country. The remaining hydro plants are run-of-river power. So during the dry season Nepal only has 25% of energy generation leaving the population with around 12-16 hours of load shedding (scheduled blackouts) during the dry months that runs for more than six months. This is why it is important to have a healthy energy mix of renewable energy sources in the country to address the energy crisis, to be independent and to be climate resilient. With the earthquake, most of the hydro stations were damaged. Nepal lost around 150MW of power due to the earthquake.
What were some of the obstacles you had to overcome while filming in remote locations?
In Nepal, 80% of the population lack access to reliable electricity and live in the rural parts of the country. Naturally, the biggest challenge we were faced with was keeping our equipment charged and ready to shoot at all times. A few of the project sites we had on the agenda required a days worth of travel and off-road driving up Nepal’s countryside.
For the project, we had arranged in advance with community directors at each of SunFarmer’s partner locations to join us for the site visits. SunFarmer provided me with a translator and solar operations engineer to interview our subjects. Once on site, I setup my equipment for a series of interviews with the local community members and a series of portraits to follow.
We shot under all environmental conditions, rain or shine, indoors and outdoors. We were blessed with good weather during the tail end of the monsoon season with sunny skies and little rainfall. It became a bit of a challenge to work with the changing sunshine. While shooting outdoors and interviewing our subjects, we had to wait several times for the clouds to pass and the sun to shine to keep a consistent exposure. For portraits, we shot mostly indoors or in a shaded area outside with a 3” Octabox providing warm light to envelop the sitter in their natural environment.
How does travel affect what you bring to shoot?
I try to be a minimalist when it comes to things to carry while traveling on assignment. When I traveled throughout Asia for over 2 years, I had with me two camera bodies (one for backup or video), a laptop for quick edits and social media updates, a cobra flash, a 3’’ octabox, tripod, light stand, transmitter/receiver, extra camera batteries, CF cards, rechargeable AA batteries and a reflector. Today, I wouldn’t go without my Fujifilm X-T1 with X Mount lenses and Voltaic Systems 17-watt solar charging kit.
Traveling has taught me to shoot creatively in difficult situations, think on my feet and problem solve various scenarios that come up. Oftentimes, you will be uncomfortable, but as long as you keep your equipment close, stay safe and keep a flexible attitude and an open mind, travel is the best kind of education that will take you to some of the most intriguing and wonderful places the world has to offer.
What advice would you give to someone interested in documentary photography?
When you first arrive at your destination, begin to quickly familiarize yourself with the lay of the land. Don’t be afraid to walk around while always being cautious of your surrounds and self-aware. Look for interesting vantage points and characters, and keep in mind when the sun rises and sets to scope out areas the day before for where you will need to be during the ‘magic hour.’
Be present, shoot in the moment and become inspired by the rich, diverse cultures of the people that inhabit the world. Everyday we are faced with environmental and societal concerns that challenge us to look inward, encourage us to re-evaluate our actions towards one another and inspire us to look closely at the world we reside in. Be true to yourself and follow your curiosity and passion.
In Nepal, the streets are so full of life with people who are proud to share their stories and life experiences if approached. Their strength of character shines through and it was important to me to capture this in the best light possible. With every photo you take, try to find a way to create images that humanize various situations and cultures. With my photography, I hope to open avenues of understanding between people and cultures and inspire positive change out of difficult situations.
Developing countries must expand access to reliable and modern energy services if they are to reduce poverty and improve the health of their citizens. Nepal is currently facing a petrol crisis on top of their electricity crisis. As a landlocked country, Nepal depends heavily on India for the import of goods into the country. Nepal is facing a shortage in fuel stock with the continuous blockade of supply at the Indian border.
The sad reality I witnessed by working alongside SunFarmer is that the current petrol crisis is worse than the April 25th 7.8 magnitude earthquake that hit the country. Nepal received a lot of support globally with regards to earthquake relief. The earthquake has caused around USD $7 billion in damages, and it is estimated that the current cumulative loss from the blockage significantly exceeds that amount.
About Kristin Lau
All images in this photo series were shot on the Fujifilm X-T1. To view more of Kristin’s images from Nepal and project “Light for Life: Solar Energy in Nepal,” visit her website: www.kristinlau.com
Kristin Lau is an award-winning Toronto-based documentary photographer from Queens, New York. She’s focused on social documentary, portraiture, and underwater and aerial subjects. Kristin seeks out stories that raise awareness about the environment to evoke positive change for the natural world and its inhabitants.
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