Sigma quattro sd-h

Taking The Long Way To The Main Range Track, Kosciusko National Park

Earlier this year myself and my friend headed the long way down to Jindabyne via Tumut to tackle the Main Range Track. The Main Range is a 21km-odd track within the Kosciusko National Park taking in everything from glacial lakes to dramatic alpine tors. It had been a while since I had travelled, or hiked, since COVID, so expectations were high.

We found this abandoned service station in Marulan, a former highway town. I love places like this which sum up the Australian roadtrip experience.

We found this abandoned service station in Marulan, a former highway town. I love places like this which sum up the Australian roadtrip experience.

We headed off the main highway through some of the smaller towns the highway has forgot, such as Marulan. As always, I’m a sucker for anything abandoned and old, retro and interesting. I was also quite fond of the mix between old and new in Goulburn. I still enjoy this type of photography, seeking out the mundane. When I’m looking for things to photograph, I don’t consider the subject at all, but instead look at things only in terms of shape, line and colour. I have found it helps if whatever I’m shooting is also in direct sunlight.

I became obsessed with signage during this trip, trying to lend a bit of space to my compositions far more than I normally would and ‘group’ elements together.

I became obsessed with signage during this trip, trying to lend a bit of space to my compositions far more than I normally would and ‘group’ elements together.

Here is another example. Once I would have taken out the power lines and additional light in the bottom right, but I think they all work together, almost like a compositional jigsaw puzzle.

Here is another example. Once I would have taken out the power lines and additional light in the bottom right, but I think they all work together, almost like a compositional jigsaw puzzle.

Once we reached Jindabyne, to be met with double rainbow over the lake, the forecast was not good for our hike the following morning—torrential rain and thunderstorms. Alas, we woke and the conditions were near perfect heading up to Charlotte’s Pass.

After a close call crossing the river, we headed up to some of the best light I’ve seen in quite a while. My friend and I had been meant to hike New Zealand’s Tongariro Crossing last year, so this hike was to essentially make up for that. I must say, the Main Range Track/Walk was far more scenic than I thought it would be, especially once you got up to Blue Lake and onwards.

The early morning light was fantastic on the Main Range, the cloud sweeping in and out of the landscape.

The early morning light was fantastic on the Main Range, the cloud sweeping in and out of the landscape.

I struggled with this image for a long time until I realised a low-key black-and-white look would suit it well.

I struggled with this image for a long time until I realised a low-key black-and-white look would suit it well.

Apparently Blue Lake is 28 metres deep and boasts the freshest water in mainland Australia due to its low salt content. We took the detour down to the water’s edge. It was certainly clear and inviting, but one finger dip into the water told me I’d come out an iceblock if I ventured in for a swim.

Blue Lake had exactly the kind of scenery I was after. The light coming from the right was perfection—It felt like nature’s own softbox. As for swimming, though…

Blue Lake had exactly the kind of scenery I was after. The light coming from the right was perfection—It felt like nature’s own softbox. As for swimming, though…

The weather changed quite dramatically the higher we got. We moved into the clouds and the views vanished along with visibility. This made for some of my favourite shots. When shooting traditional landscapes like this, I prefer adverse weather, silently cursing whenever there’s a blue sky. That’s quite the opposite from what I look for with my ‘mundane’ photos, so it’s nice to have both worlds.

This is one of my favourite images from the trip. There is a danger when you open Levels for an image like this and see how dark it is to bring up the whites, but I think it works far better remaining dark and moody. It adds mystery and is far more …

This is one of my favourite images from the trip. There is a danger when you open Levels for an image like this and see how dark it is to bring up the whites, but I think it works far better remaining dark and moody. It adds mystery and is far more faithful to the actual conditions.

We hit Mount Kosciusko mid-morning and from there the track improves. There were quite few people heading up the summit, including a few in wheelchairs and even a guy in thongs. It’s not exactly a killer climb. From Australia’s highest toilets and it’s then a looooooong fire trail back to Charlotte’s Pass. At times it seems never-ending, but we made it and headed back to Jindabyne Brewery for a well-deserved drink.

Finally, we wrapped our trip up at Bermagui on NSW’s South Coast. I had seen this spot below on a few social media feeds and had to check it out. At first we could not figure out how to get down to the rock shelf, but perseverance over the headland got it done. It ended up being far easier than we expected. It’s been a very long time since I shot a traditional seascape like this. I got a bit frustrated with the processing. It’s been a while!

This is spot is a photographer’s favourite on the NSW South Coast. As far as seascapes go, it would be hard to find better. In fact, the whole coast around Bermagui is full of dramatic rock formations like this.

This is spot is a photographer’s favourite on the NSW South Coast. As far as seascapes go, it would be hard to find better. In fact, the whole coast around Bermagui is full of dramatic rock formations like this.

Yet again I used the Sigma SD-H for this trip and the Sigma 50mm f1.4 ART for most of the shots, pulling out the 24mm f1.4  on occasion when I needed a wider angle. I was really hoping to see Sigma’s full-frame Foveon camera this year, but I do respect Sigma for holding back on a product they are not completely behind. I have been eyeing off the GFX50R again, so we’ll see if I make the jump.

If you can make it out to the Main Range Track, Kosciusko or any of the smaller towns listed, it’s well worth it. Australia needs the tourism dollar more than ever. Head here to check out the full gallery of images from the trip.

ICM Photography Part II

It’s been a while since I updated everyone on how my ICM (Intentional Camera Movement) is coming along, so here we go. It’s slow going. I’ll take a hundred shots and not use a single one. Sometimes processing with take ten minutes, sometimes ten hours. But it is nothing if not rewarding.

I had been envisioning this image for quite a while, but it took me two or three trips to get just right. This is looking towards the Harbour Bridge in Sydney from the Circular Quay Ferry Terminal. You can see the red and white pylon marker on the l…

I had been envisioning this image for quite a while, but it took me two or three trips to get just right. This is looking towards the Harbour Bridge in Sydney from the Circular Quay Ferry Terminal. You can see the red and white pylon marker on the left, the iconic yellow and green of the ferry to the upper right. What I like most is the texture, which comes across as a mix between pencil and watercolour.

All of my ICM images to date have featured Sydney. I’ve tried not to rush it and focus on the really iconic parts of the harbour city. It really is a trial and error process, and I’ve come to learn there is actually a lot of technique to the initial capture. It is all about the movement of your wrist motion—the speed, amount of push and pull, spin… It’s not just shaking your camera around in the air, though that can also lead to a good result from time to time. Experimentation is key.

A GIF showing the build-up of this image in post-processing. It’s quite layer intensive, as you can see.

A GIF showing the build-up of this image in post-processing. It’s quite layer intensive, as you can see.

The other important element to making ICM work is to have a defined idea of not only what you want to shoot, but some idea of the composition. I find if I show up somewhere without having thought it through it leads to a scattered approach that doesn’t have a strong sense of composition, which is everything with images like this. At the least, you need a vague idea of where major focal points will be placed in the image before you ‘shoot’.

The Queen Victoria Building in Sydney. You can see the façade of the building in the back, the statue of Queen Victoria to the left and one of Sydney’s new trams moving through the bottom of the image.

The Queen Victoria Building in Sydney. You can see the façade of the building in the back, the statue of Queen Victoria to the left and one of Sydney’s new trams moving through the bottom of the image.

I feel like I’m starting to get my own feel as far as ICM images go. Something that has started to change is my use of colour. I’m pushing saturated colour far more than my original images, as you can see in the image of the QVB building above. I’m a big fan of paintings featured strong, vibrant colours, so I expect to see that filter through to my ICM photography as I start to improve and get more confident.

The famous Coca Cola sign at Kings Cross, Sydney. This one took a long time to put together over several weeks and was originally different colours completely, though I felt they made it hard to gauge the subject matter.

The famous Coca Cola sign at Kings Cross, Sydney. This one took a long time to put together over several weeks and was originally different colours completely, though I felt they made it hard to gauge the subject matter.

Things don’t always go to plan. I had this image in my head of looking up the road towards the Coca Cola sign at Kings Cross, now something of a historic monument, but when I got there I found there were too many trees and clutter obstructing the view, so I had to get much closer than planned. In the end it worked out, as above, but it was certainly frustrating at the time.

Hours and hours spent in Photoshop were required to get this particular image working. Sometimes when you’re not feeling something the best thing to do is simply walk away, which I did… several times over several weeks.

Hours and hours spent in Photoshop were required to get this particular image working. Sometimes when you’re not feeling something the best thing to do is simply walk away, which I did… several times over several weeks.

One final piece of advice, for the love of god make sure you correct for dust on the base image before duplicating it and playing around. I often get too excited and forget this basic first step. It means I end up with twenty layers in twenty different orientations and two specks of dust turning into two-hundred. Don’t be like me. Make sure you have a clean file to begin with.

I understand these images are not for everyone. They border on the truly abstract and venture far from traditional photography, but I’m enjoying myself, happy with the results and that should really be all that matters.

Regional NSW With the Sigma SD-H

Coming into the end of 2019 I realised I hadn’t had any photo trips per se. So, commitments aside, we headed off on a weekend road trip to regional NSW moving through Lithgow, Bathurst and Parkes.

This is the Bilpin Fruit Bowl, a spot I remember from many childhood mountain travels. I’d envisioned this shot for a long time but only now have got around to it. Sadly, two weeks later the fruit bowl was mostly destroyed by bushfire.

This is the Bilpin Fruit Bowl, a spot I remember from many childhood mountain travels. I’d envisioned this shot for a long time but only now have got around to it. Sadly, two weeks later the fruit bowl was mostly destroyed by bushfire.

The initial thing that struck me was just how dry it is out there in the country thanks to one of the worst droughts in Australian history. Many locals we spoke to indeed said it was the worst they had experienced. The rivers, dams and creeks were all bone dry, the land scorched and barren. This created constant dust and haze in the sky, which did make keeping the sensor clean (or not, rather, given how much the clone tool got a workout) interesting.

We pulled into our hotel at Parkes just as a dust storm engulfed the town. I ran across the road and was subsequently sand-blasted taking this shot.

We pulled into our hotel at Parkes just as a dust storm engulfed the town. I ran across the road and was subsequently sand-blasted taking this shot.

I especially like the banality of these country towns and the unique compositions they offer. We swung by the Parkes Historical Aviation Restoration Museum, which was especially photo-friendly. The texture and details in the planes was exquisite and could have kept me there for hours. Also worth a look was the State Mine Heritage Park in Lithgow, a real hidden gem I personally had never been to before.

The Chinese restaurant is a real country town staple in Australia. I have a particular fascination for them.

The Chinese restaurant is a real country town staple in Australia. I have a particular fascination for them.

I changed my processing a little for these images, using new LUTs I have created, though I can’t say I’m completely satisfied with the consistency between them all. This was made especially hard with the constantly changing sky and light conditions owing to the dust, plus ash and smoke from the NSW bushfires further afield.

The Historic Aviation Restoration Museum (HARS) in Parkes is a must-visit for photographers

The Historic Aviation Restoration Museum (HARS) in Parkes is a must-visit for photographers

As always, I was impressed with the detail picked up by the Sigma SD-H, especially in the textural abstracts I was taking. It’s almost ridiculous how much it soaks in. I did find myself jumping a lot between the 50mm 1.4 and 24mm 1.4 this time, which probably tells me I should be looking into the L-alliance 24-70mm Sigma has just released. I will also be extremely interested to see Sigma’s full-frame Foveon offering in 2020 and what advantages it provides over the SD-H. Increased dynamic range would be most welcome.

Having visited the region many times, I was surprised by how dry the drought has made it

Having visited the region many times, I was surprised by how dry the drought has made it

In 2020 I’m hoping to step up my landscape photography and get out to some new places, hopefully international. I still don’t think I have a signature style as such yet, and that’s what I’m hoping to explore, as well as constantly refining and minimalizing my compositions in the vein of excellent photographers like Bruce Percy and David Ward. Here’s to a new decade and new possibilities (and hopefully some rain for this sun-burnt land). See the full set of images by clicking here.

As we were coming home multiple bushfire fronts had sprung up, including this blaze near the Three Sisters at Katoomba. Since then the fires have spread in what has been one of the worst fire seasons on record so far. You can see one of the choppers…

As we were coming home multiple bushfire fronts had sprung up, including this blaze near the Three Sisters at Katoomba. Since then the fires have spread in what has been one of the worst fire seasons on record so far. You can see one of the choppers at work in the middle there.

A Guide To ICM Photography

I have been getting quite experimental with my photography this year and recently stumbled upon ICM, or Intentional Camera Movement photography. I fell into the work of photographer Andy Gray and was immediately blown away by the painterly feel of his images.

An ICM photo of Hornby Lighthouse in Sydney, Australia, my first attempt at the technique.

An ICM photo of Hornby Lighthouse in Sydney, Australia, my first attempt at the technique.

Thankfully, Andy has a wonderful YouTube channel where he breaks down step-by-step his entire process, from capture to post-processing. I definitely recommend checking it out to see just how much work goes into each image.

An ICM photo of the Sydney Opera House. Another ICM image of poppies from the Botanic Gardens has been used as a second exposure layered over the first.

An ICM photo of the Sydney Opera House. Another ICM image of poppies from the Botanic Gardens has been used as a second exposure layered over the first.

What’s required? Well, a camera, though megapixels don’t really matter given the abstract nature of the finished product, and also an ND filter. It seems something between a 6-stop and a 10-stop is what work’s best, allowing exposures within the 0.5-1.5sec  range during the middle of the day. If you wanted to skip the filter, I suppose you could shoot closer to sundown and sunrise where the exposures would be longer handheld. Like everything with this technique, however, there are no hard and fast rules. It is all about experimentation.

I opted for a 6-stop in 77mm to suit my Sigma 50mm f1.4 and also 24mm 1.4, a wider lens being the preferred option. At around $100 AUD, it’s not a terribly expensive way to get into ICM, plus you can use the filter for more traditional purposes.

The Sigma SD-H itself probably isn’t the best choice of camera. It buffers slowly and the RAW files are tedious to process when you get back home, requiring you to be somewhat picky when it comes to post-processing. Expect to take a lot of photos.

Another ICM image of Hornby Lighthouse. This one reminds of the famous aerial shots of Shark Bay in Western Australia

Another ICM image of Hornby Lighthouse. This one reminds of the famous aerial shots of Shark Bay in Western Australia

As for the process, if you watch Andy’s videos you’ll get an idea of the movement required. I set f11 and around 0.5sec, starting with a shaking motion and then a longer, whipping motion. I slowly worked up to longer exposures, trying to follow lines within the scene. It’s very much like painting… with a very expensive brush.

If there are people around, note this: You are going to look like an absolute idiot. One guy suggested ‘I don’t think that’s how you use a camera, mate’. I simply smiled back, not able to dial up a suitable comeback in time. I found the best results were when I really got into it, almost violent in the movement in able to create the required textural effect.

It’s also important you start with a regular composition in mind, just as you would if you were taking a traditional landscape. You need a prominent feature or point of interest the abstraction works around. So, frame up the scene as would normally and then go to town. I don’t have any castles or ruins nearby like Andy, but I do have Sydney Harbour and its many wonderful icons.

Another important point is to beware of highlights. It was an extremely bright day when I first tried this. Any small highlight source within the frame can easily ruin a shot by basically slicing it up with pure white. It’s a little hard to explain, but if you think you see specular highlights that are going to be blown out, avoid them in your movement.

This animation shows how the image at the top of this post was created using layers within Photoshop.

This animation shows how the image at the top of this post was created using layers within Photoshop.

Into post-processing and I simply looked for frames that stood out where the movement seem right and balanced, or the texture was right. From there it’s into Photoshop, stacking up the layers and running through masks and blend modes to find an initial base to work from.

Once the initial image has started to come together, it’s into Analog Efex Pro 2. Here, Andy uses a variety of tools to help further abstract and shape the image, but notably vignette, double exposure (inverting the image) and film effects. I found it also helped scrolling through the factory camera presets within Analog Pro 2 to see if anything worked, especially the ‘Motion’ cameras. Andy also uses Vivuza for spot adjustments, but I didn’t feel the need myself. As they say, there are lots of ways to skin the cat in Photoshop.

I think of post-processing in two parts: Colour and contrast, effectively leaving colour until last. I tried a curves layer first, adjusting RGB channels individually, but I couldn’t seem to make it work. Instead, I loaded up a LUT adjustment layer and simply scrolled through all the LUTs I have on file (which is quite a few) until I found something I liked and adjusted opacity from there. The Selective Color and Hue/Adjustment layers were good for fine-tuning.

Finally, I let the images sit there for days at a time, slowly tweaking until I thought they were good enough. It’s very easy to get stuck in a kind of ‘post-processing loop’ with these sorts of images, constantly adding and removing adjustment layers and masks, tweaking and tweaking and circling back on yourself. When I found myself doing this, I would turn off all layers except for the base exposure and add them back one by one adjusting as I went.

The above images show the interesting detail when seen at 100%.

Overall, I think I’m pleased with the results, though they are not what I expected at all. That’s the beauty of a style like this: You don’t know what you’re going to get. I’d love to make some prints and really study them.

I will say it was extremely frustrating at times. The images took a lot longer to process than usual largely in part because so much trial and error is required. It is rewarding, though, when you finally have something on screen that doesn’t look like a dog’s breakfast.

If you’d like to support Andy and his channel, you can do so here. Look out for more ICM work in the future.

An abstract view of Sydney Harbour created using the Intentional Camera Movement technique. Note what happened with the specular highlights on the water in the bottom right, but in this case I think it works.

An abstract view of Sydney Harbour created using the Intentional Camera Movement technique. Note what happened with the specular highlights on the water in the bottom right, but in this case I think it works.

Rattle & Hum Car Show With The Sigma SD-H

Many moons ago I was a car magazine editor. As such, you might say I have a certain appreciation for a fine automobile, plenty of which could be found at the 2019 Rattle & Hum car show at Castle Hill RSL. I decided to go along with the Sigma SD-H and 50mm 1.4 to see if I could hunt down some abstracts. The results came up nicely. Can you guess what models of car these are?

As this was an Australian vintage car show, you might not be familiar with some of these models, but there was plenty of American muscle on hand as well. I’ve found with this style high key-like photography I’m into these days that direct sun on your subject works best when it comes time to process. A subject in shadow can prove difficult to get the effect right on.

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This is something I’ve be keen on shooting for quite a while, so I’m thinking about expanding it out to air and truck shows when I get a chance. If nothing else, it’s a great way to get the kids out exploring what everyone got around in back in the ‘olden days’.

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Here’s the full gallery:

Tin City, Stockton Beach With The Sigma SD-H

I have many fond memories of the Stockton Beach growing up. Located about an hour-and-a-half from Sydney, access is 4WD only. It’s one of the few beaches along the coast where you can drive along the sand and, to a smaller extent these days, the dunes.

Amongst the dunes is a strange settlement of ramshackle structures known as Tin City. At first, rising from the sand, you expect to see a Stormtrooper and a droid, perhaps an Interceptor, but it’s actually the last legal squatters settlement in Australia.

The ‘city’ started in the early 1900s as tin shacks for shipwreck survivors. In the 1930s it grew out to around 36 huts, around 11 of which stand today, and yes, people were here the day I visited. As I understand it, the huts cannot be sold, but are sort of passed down from generation to generation. Since my last visit 20 years ago, many had been repaired and added upon, some looked pretty well sorted! Fishing seems to be the predominant pastime.

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It didn’t stop raining all day, which meant we did have the beach to ourselves, but it did make photography difficult. I was initially disappointed, hoping for blue skies and strong light for the high  key style I use these days, but on reflection I like the way the rain added an ethereal mood to the images. It actually gels very well with the subject matter—lone buildings left out in the elements.

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I also shot some of the dunes, focussing on some timber fencing that had fallen (read: been run) over. I like the minimalist feel of these images and hope to return to take more. Of course, the famous wreck was another shoot hot spot but it was, drum roll, underwater when we arrived. Next time.

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Check out the full gallery:

New Zealand With The Sigma SD-H

I’ve decided to title this latest series Long White (all images here), not after New Zealand itself, but the cruiseliner we travelled on. I was born in Auckland, have returned many times over the years, but I found travelling this way offered a new and unique perspective. It also provided the opportunity to visit many ports and cities I otherwise would never have seen, such as Port Chalmers, Dunedin, Picton, Akaroa and so on.

Milford Sound offered mood in spades. It’s a South Island must-see.

Milford Sound offered mood in spades. It’s a South Island must-see.

Once more I aimed to look for the unique in the ordinary and seemingly banal. I’m constantly trying to refine my compositions down, to really simplify them to their most essential elements. It was an interesting journey. In fact, I found a lot of material in the ports themselves, the higher vantage point offered by our balcony provided a sort of aerial view.

There was plenty of visual interest in the ports, the cruiseliner we sailed on offering a high perspective.

There was plenty of visual interest in the ports, the cruiseliner we sailed on offering a high perspective.

Of course, a cruise is also the perfect way to see the sounds of the South Island. We travelled through Milford, Dusky and Doubtful. They are, as you would expect, extremely scenic, especially layered in mist and cloud, the sun breaking through sporadically. If you have never been to New Zealand, and especially the South Island, do make it a priority. There’s endless photographic material.

Finding a way to show the scale of Milford Sound and its towering peaks can be difficult.

Finding a way to show the scale of Milford Sound and its towering peaks can be difficult.

Many would say light is the most important element of photography, but I disagree. For me, composition trumps all else, and while great light is nice, it’s not essential to making an interesting photograph. Unfortunately, composition is one of those elements of photography that’s hard to learn, hard to teach and ultimately in the eye of the beholder. I don’t think even in the space of a lifetime you could master it.

My favourite image of the trip, taken in Dunedin. The city itself was full of art and life.

My favourite image of the trip, taken in Dunedin. The city itself was full of art and life.

In terms of equipment, I took the Sigma SD-H with the 50mm f1.4 ART and left the 24mm at home. I didn’t find I had need for a wider focal length, so I think the ‘one body, one lens’ idea will carry through from now on. I prefer it this way, getting used to the one focal length and not having to change lenses, to remove one more barrier or choice, of thinking, during a composition. The more I can minimise my gear and photography to its most essential elements, the better.

As usual, the Sigma performed extremely well. The weather sealing on the SD came in useful. For the first time I had to raise ISO during our trip through the sounds owing to the dark, wet, and windy conditions. It was a real test for both photographer and camera.

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A tight crop of the image above showing the impressive detail the Sigma SD-H is able to capture.

A tight crop of the image above showing the impressive detail the Sigma SD-H is able to capture.

I also find myself watching a lot of film channels, such as William Verbeeck’s, Negative Feedback and so on, and idolising many film photographers as well. I’m still tugged towards film from time to time, the tones and feel, so perhaps the next trip I will take both the Mamiya RB67 and the Sigma SD-H, to compare and try to settle this once and for all.

The colours here really say New Zealand to me, the green and black and white. I think the fact this crop means the word parlour has a sense of ambiguity about it.

The colours here really say New Zealand to me, the green and black and white. I think the fact this crop means the word parlour has a sense of ambiguity about it.

Am I happy with this series? Yes and no. With Broken there was only ever one type of weather: real damn hot and bright as can be. In New Zealand, you could have four or five different weather systems in the space of an hour, the darker and moodier of which don’t work well with the usual post-processing treatment for these images. As such, I worked on the more traditional landscapes as if they were just that.

I guess cohesion is the issue. I wanted a cohesive look to the images, but they seem to be in two camps: modern minimal and LOTR eat-your-heart-out. Still, I’m happy with many of the final compositions. This observational style of photography has really opened up a world of possibility for me, because you don’t need to chase light, so to speak, nor seek out grand landscapes. You’re simply looking for anything of visual interest.

Where to next? I have no immediate plans, but stay tuned. You never know where I’m likely to pop up.

There were plenty of compositions to be found on the ship itself.

There were plenty of compositions to be found on the ship itself.

These striped pedestrian crossing poles are unique to New Zealand (I think), but it took me a while to find a suitable background for one.

These striped pedestrian crossing poles are unique to New Zealand (I think), but it took me a while to find a suitable background for one.

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Outback NSW With The Sigma SD-H

A few weeks I flew out to Broken Hill, driving back through White Cliffs and Cobar. It was clear to see the effect the drought is having on both the land and the people. It’s an extremely unforgiving environment, and I’ve tried to impart that in this series of photos I’ve titled ‘Broken’. It’s also uncompromisingly Australian, and again, I hope that cultural quirkiness shines through.

The lunar landscape that is White Cliffs, NSW.

The lunar landscape that is White Cliffs, NSW.

This also marks a new direction in my landscape photography, one more aligned with why I was drawn to the medium in the first place. It places emphasis on composition and minimalism, influenced by photographers like Christian Fletcher and artists such as Jeffrey Smart. It’s a far more observational sort of photography, turning the trip into a sort of photographic treasure hunt. There’s no more getting up at the crack of dawn or using a tripod. In fact, these kinds of photos work best in the glaring right on the midday sun. It’s almost the complete opposite of traditional landscape photography.

Old tanks at the Junction Mine in Broken Hill. The texture the SD-H picked up is incredible.

Old tanks at the Junction Mine in Broken Hill. The texture the SD-H picked up is incredible.

And I loved it. Every. Moment.

This is the first trip I’ve taken with the Sigma SD-H after my DP1 gave up the ghost. I took the Sigma 50mm f1.4 ART and also the Sigma 24mm f1.4 ART, though I only used the 24mm for a few shots. Both lenses are excellent, as is to be expected, but I did find the 50mm length (which is slightly tele on the cropped SD-H sensor) was better suited to this work and probably all I need.

I haven’t had this much enjoyment from photography in a long time. It’s definitely a move in the right direction.

I haven’t had this much enjoyment from photography in a long time. It’s definitely a move in the right direction.

The 50 1.4, as great as it is, though, is HEAVY. The biggest benefit of the DP Quattros was their small form factor. They are so light and transportable, but the 50/SD-H combo is much more in line with a DSLR. Coming from a Phase One, even the RB67, however, it felt like a feather!

Few things weather well in the Australian outback. This was a disused fuel tank.

Few things weather well in the Australian outback. This was a disused fuel tank.

I was really impressed with the SD-H. It improves on the Quattros in many important areas, notably AF, dynamic range, focus peaking, EVF etc. It’s still a niche product that won’t be useful to 90% of photographers, but for this kind of work it’s almost unbeatable at this price point. It’s not ‘medium format in your pocket’ any more, but it does provide medium format-like results at a fraction of the cost—the detail and tones are just that good.

My main focus these days is minimalism. It’s harder than you would imagine to find clean, uncluttered compositions.

My main focus these days is minimalism. It’s harder than you would imagine to find clean, uncluttered compositions.

Yes, the software still sucks, and yes, it’s slow, but it’s always worthwhile when you open up the files and see all that juicy information on offer. Scrolling around the images at 100% I was amazed how much I’d missed taking the shot in the first place-a treasure hunt within the treasure hunt, so to speak.

The side of a charity clothing bin—Not your usual subject fodder

The side of a charity clothing bin—Not your usual subject fodder

I did start to get overheating warnings with the SD-H, though it was around 38 degrees Celsius in the sun, nor did it probably help I’d left my camera back in the back of a cooking car for a few hours. I haven’t had the same issue since.

Trip-wise, I’d never been to the outback before, so this was a real eye-opener. The textures and colours on offer were wonderful. Even the most banal and mundane subjects provided unique photographic opportunity, and I’m certainly looking forward to finding more in 2019.

See the full gallery HERE.

There were some impressive murals spotted during our road trip. There’s a lot of artistic talent in the outback.

There were some impressive murals spotted during our road trip. There’s a lot of artistic talent in the outback.

This brickwork has such a distinctly Australian feel to it. It’s a common sight around the country.

This brickwork has such a distinctly Australian feel to it. It’s a common sight around the country.

Simple, as they say, is often best.

Simple, as they say, is often best.

White Cliffs offers up an alien landscape perfectly suited to this kind of photography.

White Cliffs offers up an alien landscape perfectly suited to this kind of photography.

This solar farm was once at the cutting edge of solar technology.

This solar farm was once at the cutting edge of solar technology.