In all of 2023 I think Nadia and I went out to brunch maybe just three or four times. The last time we went, I took a couple of photos :)
Saturday brunch selfie
Reading the menu
Noticing that I just took her photo
Here’s to more bunches in 2024!
Random tangent (blog)
Ameel Khan's personal blog. This is a blog about life, technology, the internet, science, skepticism, feminism, books, film, music, and whatever other random stuff I come across or happen to be interested in today.
In all of 2023 I think Nadia and I went out to brunch maybe just three or four times. The last time we went, I took a couple of photos :)
Here’s to more bunches in 2024!
This week I concluded my ‘one focal length at a time’ exercise with a repeat of shooting at only 40mm (which is 26mm on my mirrorless, APS-C camera).
I can now confirm that the first pancake prime lens I will get for myself will indeed be a 40mm one. When I’ll actually go out and get this, I don’t know. But at least I know where I’m going to start :)
Here are the photos I took during my last photo walk of 2023.
This was the first time I’d walked down Lonsdale Street in the CBD to take photos. By restricting myself to shoot at only 40mm I was immediately frustrated by not being able to take good architecture photos, and I take a lot of those types of photos. I guess what I’m saying is that the second prime lens I’ll get will likely be the 27mm pancake prime :) Hopefully I’ll be able to get both in 2024. I guess we’ll see!
I wasn’t able to go on a photo walk this week, so here are some photos I took on my way to various places in the city.
I also didn’t get the chance to shoot at a focal length of only 40mm this week. I’ll try to do that next week.
This is my second week of shooting at only 85mm (which is 55mm on my mirrorless, APS-C camera). It was super hot (approaching 32 degrees) when I went out to take these photos, which is why I took a handful.
This was the last formal step in my two-and-a-half-month long ‘one focal length at a time’ exercise. Woohoo!
Next week I’ll repeat shooting at only 40mm. If I’m still happy with that focal length, then the first pancake prime lens I get will be a 40mm one. This’ll be great for street, travel, and everyday photography. Especially since it’ll make my camera kit small enough to carry around with me pretty much everywhere I go.
And then I sit and wait till I get a get a good deal on a new (or used) Fujifilm XF 27mm F2.8 R WR lens. Or I just get the TTArtisan AF 27mm F2.8 third-party lens for my Fujifilm camera. I guess we’ll see how things go.
You’re probably amused by how excited I am about finally being able to use Chaparral on this website (the typeface, not the California shrubland ecoregion the typeface is named after).
I get it. Most people aren’t typeface nerds.
So I thought I’d explain how, ever since I stopped using ‘web safe’ typefaces when I moved to the Squarespace platform in 2013, I’ve been wanting to use Chaparral for this website’s body text.
But then I realised that, instead of telling you, I could show you.
Here are all the site-header images I’ve created for insanityworks.org since I migrated it to Squarespace. Even the first header image I created was an attempt to use the closest alternative to Chaparral available at the time.
Basically, this whole decade has been a journey to Chaparral. And after ten years of wanting to do something, I am finally able to do it. That is why I am so excited to be where we are now :)
The last twenty-four hours have been very exciting for me. At least in terms of typography.
That’s because, years and years after falling in love with the Chaparral typeface, I finally get to use it on my website! That and Myriad, which is the typeface I’m now using for the headings and navigation.
Before today I was using the excellent Merriweather for this website’s body text and Oswald for the headings and navigation.
Both those typefaces are free and open-source, and both are available through Google Fonts – which is the font collection you could pick from when building a site on Squarespace (the platform this website is running on).
I’d always thought about updating the typefaces on this site, but (a) I love Merriweather and (b) I didn’t want to go through the hassle of trying to see if there was anything better than Merriweather on Google Fonts.
Then last night I discovered that Squarespace now offers the full suite of Adobe Fonts to choose a typeface from, and so here we are :)
The decision about which typeface to use for headings and navigation was pretty easy too. I had a bunch of good options to choose from, like Proxima Nova, League Gothic, Brandon Grotesque, and Alternative Gothic (which both Oswald and League Gothic are reworkings of, by the way).
I ended up going with Myriad because (a) it’s a gorgeous typeface (basically a copy of Frutiger) and (b) both Myriad and Chaparral were created by Carol Twombly (in 1992 and 2000, respectively) when she was a type designer at Adobe. As you can see from the graphic above and, indeed from this website, the two pair really well.
This change in typeface is noteworthy because the only reason I started using Merriweather in the first place was because it is the closest free, high-quality alternative to Chaparral that was available on Google Fonts all those years ago. But now I get to use the typeface I wanted to use all along!
I am particularly pleased that, with just this small change, the vibe of this site has gone from “modern and sturdy, but also warm and readable” to “subtly classy, but also friendly, lively, and readable”.
Yay!
When we adopted Maggie in 2016 we were told she was probably two-and-a-half to three years old. And since we needed to nominate a date of birth for her registration, we ended up picking 5 December 2013.
So, at least according to that guesstimate, our now-not-so-little Maggie is ten years old today. Happy birthday!
Here she is making the most of her middle-agedness:
Red heelers like Maggie tend to have a 12-15 year lifespan, though healthy, well cared for, non-working heelers can easily live for 18-20 years. So we have many, many years with her yet.
That said, here’s a side-by-side comparison of how much greyer her muzzle has gotten over the years. ❤️
Nadia and I have gotten greyer over the last decade too, of course, so we’re all a happily middle aged family now :)
We’re on the final stage of my ‘one focal length at a time’ exercise. That means this fortnight I am shooting only at 85mm (which is 55mm on my mirrorless, APS-C camera).
I like shooting at 85mm because part of what I enjoy doing is capturing specific aspects of the world around me, and this focal length lets me zoom in to isolate the thing I want to highlight.
In this particular photo walk I focused on both people and a building details. The advantage of this focal length, of course, is that you can take photos of people from further away without ‘bruising the scene’ (ie without them noticing you and stopping doing whatever interesting thing they were doing that made you want to take their photo in the first place). Is taking photos like this somewhat voyeuristic? Yes, it is. But as long as you’re not being a creep or an asshole about it, I think it’s okay. I, for example, only take photos of people doing things that I wouldn’t mind being photographed doing myself. Most of the time this is just standing around in a public place.
Here are the photos I took.
Next week I’ll continue shooting at 85mm, and after that I’ll probably repeat a couple of earlier focal lengths.
Since I’m doing all this to potentially buy myself a compact prime lens in this year’s Boxing Day sales, I think I’ll spend the last two weeks before Christmas back at 27mm and 40mm. Those are the two focal lengths at which Fujifilm sells compact primes.
Happily, I really enjoyed shooting at those focal lengths. So if I am going to buy one of those lenses this year – assuming the sale price is good enough or I can get them second-hand – then I should repeat those two to see which one I should go for first.
Having talked about my favourite typefaces, I figured I’d also talk about how I pair those typefaces when using them in various projects.
Here I’m talking mostly about pairing body text and heading typefaces for reading (like on websites or in PDFs) and for writing (like when writing blog posts like these in Microsoft Word).
Select your body text typeface and then for the heading typeface choose between harmony and contrast…
Use the same typeface and maybe pick one with a different weight (eg Regular for the body text and Extra Bold for the headings).
Pick a typeface from the same superfamily (eg body text in Source Sans and headings in Source Serif), though this isn’t guaranteed to be the best option in every scenario.
Stick to the same broad design classification, ie organic (friendly, warm, human) or mechanical (geometric, stiff, regular). Contemporary typefaces sometimes mix features so this works best with older typefaces.
Pick a typeface from the same type designer or type foundry. This doesn’t always work with large foundries like Linotype and Monotype, but works with smaller ones like Hoefler&Co.
Pick a typeface with the same mood, vibe, or feel.
Pick a typeface from a different category, ie serifs with sans serif (or semi-serif).
Pick a neutral typeface that doesn’t change the vibe of the body text but still provides a visual difference.
Pick a typeface that maintains or enhances the vibe of the body text. If your body text is sharp and angular pick something equally (or even more) sharp and angular. This works best if your body text typeface has a distinct or strong character.
Pick a typeface that creates its own vibe if the body text you’re using is somewhat neutral, meaning it doesn’t have a distinct or strong character.
Pick a typeface that creates design tension. Don’t change the vibe (unless you really know what you’re doing), but you can change the feel. To use an analogy: don’t change cuisines in the middle of your meal, but you can pair something soft with something crunchy.
Whatever you do, do not pick typefaces that are only slightly different from each other. This ends up looking wrong.
(FYI, the Font Matrix is an incredibly useful concept when it comes to pairing typefaces.)
I’ve included links to all the typefaces mentioned below in case you want to purchase them or download the free ones:
Paid typefaces are in orange with a dollar sign next to them.
Default or free typefaces are in blue with a Windows, Mac, or download icon next to them.
And, in case you’re wondering, the text I’m showing in the graphics below is from an anecdote I shared about a work trip to the Gold Coast ten years ago.
TT Jenevers is one of my favourite typefaces. It works great in text but also works as a display typeface, so I usually pair it with its own Extra Bold weight. If I want an interesting contrast, I’ll pair it with Fact (a modern remake of Frutiger). But if I want something neutral, I’ll pair it with Helvetica.
Mercury is designed by Hoefler&Co and I pair it with another one of their typefaces, usually in this order: Whitney (vibe = elegant, modern), Ideal Sans (vibe = warm, human), or Verlag (vibe = classic, art deco).
Stempel Garamond is one of my favourite Garamonds and I usually pair it with Fact (a modern remake of Frutiger). If I want something more friendly, I’ll pair it with Gill Sans Nova (a modern remake of Gill Sans). But if I want something fancy, I’ll pair it with Jost* (a modern remake of Futura).
For Charter (which also has an ITC version) I tend to stay neutral and solid, and so I usually pair it with the Extra Bold weight of Public Sans (or Libre Franklin). If I want to be even more neutral, I go with Neue Haas Unica. Or sometimes I go with Inter (which is a remake of Roboto that’s optimised for user interfaces).
Vollkorn is a down-to-earth typeface, so I don’t pair anything fancy with it – that’s why I usually go with Inter (a modern remake of Roboto) or sometimes Roboto itself. Though if I want a more lively vibe, I go for Neue Haas Unica (a friendlier version of Helvetica).
Crimson Pro is a contemporary, Garamond-inspired typeface and so I tend to match it with Fact, a contemporary Frutiger-inspired typeface. If I want something more neutral and geometric, I go with Inter (a remake of Roboto). If I want something lively, I go with Neue Haas Unica (a friendlier version of Helvetica).
Source Serif is inspired by typefaces like Fournier and I almost never pair it with anything other than Source Sans, which is its equivalent in the Source superfamily. If I had to pair it with something else, I’d go with something neutral like Helvetica or Roboto.
Ideal Sans is one of my all-time favourite typefaces. It’s from Hoefler&Co and I pair it with another one of their typefaces, usually in this order: Sentinel (vibe = classic + contemporary), Whitney (vibe = elegant, modern), or Verlag (vibe = classic, art deco).
Whitney is also one of my all-time favourite typefaces. It too is from Hoefler&Co and so I pair it with another one of their typefaces, usually in this order: Mercury (vibe = friendly, compact), Verlag (vibe = classic, art deco), or Whitney Narrow (vibe = elegant, modern).
Fact is a contemporary Frutiger-inspired typeface that I like to pair with TT Jenevers (Extra Bold). If I want something more straightforward I pair it with its own Extra Bold weight. If I want something classic, I pair it with Crimson Pro, a contemporary, Garamond-inspired typeface.
Fira Sans is a “wider, calmer” (and free) version of FF Meta, at least according to Erik Spiekermann who created both those typefaces. I like to pair it with TT Jenevers, a Dutch-style serif due to its asymmetrical shapes and ovals that don’t have a uniform slant angle. You’d think this pairing wouldn’t work because they both have their own strong personalities, but the modern Fira Sans works nicely with the classical TT Jenevers. If I don’t want that modern/classical contrast, then I use Merriweather instead – another modern, legible, web-first typeface with its own character. But if I want to go a little more neutral, but still highly legible, I go with General Sans (which I now use wherever I would have otherwise used Montserrat all those years ago).
Source Sans is inspired by typefaces like Franklin Gothic (Linotype have their own version of this, which they named Trade Gothic). I almost never pair it with anything other than Source Serif, which is its equivalent in the Source superfamily. If I had do pair it with something else, I’d go with a modern serif like Merriweather or Noto Serif.
General Sans is a compact (but still readable) geometric typeface that isn’t spiky and expressive like Futura but also isn’t neutral and boring like Roboto. That said, I usually pair it with Jost*, which is a modern remake of Futura. If I want contrast, I go with the matching bigness and orderliness of Noto Serif. But if I want a more interesting contrast, I go with Gill Sans Nova, which is an old-style/geometric hybrid that’s full of character.
Avenir Next LT is a more versatile and fleshed-out version of the original Avenir; while Avenir itself is a more humanist take on the geometric typefaces Futura and Erbar. (I use Avenir Next LT when I want a more geometric version of Whitney but I don’t want something as sharp as Jost*.) I usually pair Avenir Next LT it with Zilla Slab, which brings a nicely contrasting futuristic vibe. If I want something more grounded, then I pair it with Sentinel. Though sometimes I find the best pairing is with Avenir Next LT itself.
I don’t use slab serif typefaces enough to have a favourites list, but these are the three I use most often:
Zilla Slab, an open-source typeface from Mozilla and the one I’ve used in the headings of all the graphics above.
Roboto Slab, an open-source typeface from Google that I don’t use often, but is good to have when I need it.
Sentinel, which I’ve mentioned above but am including here for completeness’ sake.
I hope the three of you who made it all the way to the end of this post found it interesting and maybe even useful :)
Since you did make it here, please comment below and tell me what your favourite typeface pairings are and what you use them for. I’d love to know.
FYI, I usually write my blog posts in Microsoft Word with body text in Ideal Sans and headings in Sentinel. But this one I wrote with body text in TT Jenevers and headings in TT Jenevers Extra Bold.
Note: The Windows, Office, and Mac icons used in the graphics above are by ‘Pixel perfect’, ‘Pixel perfect’ and ‘Freepik’, respectively. Also, if you’re interested, these are the typefaces that come preinstalled with Microsoft Windows and Apple macOS.
4 Jan 2024 update: In the ‘Charter’ section (and the ‘Pairing serif #4: Charter’ graphic) I swapped Trade Gothic (a paid typeface that is, however, downloadable for free on Windows) with Public Sans (a free and open-source typeface).
14 Mar 2024 update: I only recently realised that Avenir Next LT has been included in Microsoft Office since 2019, so I’ve now added my favourite pairings for this typeface as well.
26 Mar 2024 update: Since I added Avernir Next LT as the seventh sans serif typeface on this list, to balance things out I added Source Serif as the seventh serif.
I have used and played around with many, many typefaces (and their fonts) over the years. These are my current favourites.
I started, like almost everyone does, by using the default typefaces that come with operating systems and word processors.
Not long after, however, I got into typography in a big way. I bought books, did a lot of online learning, and played around with dozens of typefaces and fonts. I used to build and manage websites for a living, so this was partly professionally motivated.
Over time I upgraded to the more interesting, versatile, and practical typefaces listed above. I thought I’d take this opportunity to share some of the mini typographical journeys I took along the way.
Before we continue, there is one thing I should clarify:
Typeface = the design of the letterforms and accessories (ie numbers, punctuation)
Font = the actual item that produces the letterform, meaning everything from the 12-point piece of metal that gets inked and punched into a piece of paper all the way to the digital file that contains the code for, say, ‘Helvetica Neue Italic’.
To use a book analogy: This Is How You Lose the Time War is the typeface while its hardcover, paperback, EPUB, and PDF versions are its fonts.
Most people’s introduction to typefaces is via the fonts installed on their computer though, so non-design folks tend to use the two words interchangeably. I will not.
TOP LEFT: Arial is a well-designed and incredibly useful typeface, and I still use it every day at work (though not by choice). It is, however, a boring default that it is now considered the most neutral of typefaces.
TOP RIGHT: Once I became aware of other, more interesting typefaces, I immediately gravitated towards Avenir as the typeface I’d much rather use instead. Unfortunately, Avenir costs several hundred dollars. Fortunately, Avenir Next has been included as part of Microsoft Office since 2019 and so I now have access to a really good version of this typeface.
BOTTOM RIGHT: Not long after I fell in love with Avenir, I discovered Whitney and fell in love with that even more. Whitney is more practical and versatile than Avenir (at least for my purposes) and is also conveniently packaged for office applications (eg Word and PowerPoint). It costs a lot less than Avenir but is still a decently priced typeface. So yay for getting a bonus at work and treating myself to something nice :)
BOTTOM LEFT: More recently I came across the free and open-source typeface Inter, which is an excellent, more interesting alternative to Arial. (Inter is a version of Roboto that’s been optimised for interfaces, by the way. So a good alternative to this would be Roboto itself.)
TOP LEFT: Helvetica, the digitised and slightly upgraded version of Neue Haas Grotesk, is another excellent typeface. But, like Arial, it is now an overused default. (FYI Arial and Helvetica are not the same typeface. [1])
TOP RIGHT: Helvetica is used frequently for signage, but for that purpose I much prefer Frutiger. Frutiger, however, is expensive. Also, its has different revisions and interpretations, each with its own strengths and weaknesses.
BOTTOM RIGHT: Fact is an excellent typeface inspired by Frutiger that costs a lot less and is much more versatile (it has 96 styles and supports 100 languages). It is also on sale these days in case you are interested.
BOTTOM LEFT: Inter (a version of Roboto that’s been optimised for user interfaces) is a great alternative to both Helvetica and Frutiger, and it is also completely free.
TOP LEFT: With Arial and Helvetica out of the way, let’s talk about my favourite default typeface: Trebuchet MS [2]. This is a friendly sans serif font that I love to use when writing, and for the longest time it was my default email typeface. Trebuchet MS is also a “web safe font”, meaning it is universally installed across all browsers and devices. Unfortunately, it had its heyday on the web in 2009 and it is quite limited by modern font standards (its bold isn’t particularly bold, for example).
BOTTOM LEFT: Enter Fira Sans, a lovely, comprehensive, well-designed typeface that is much better than Trebuchet MS in all ways. This is my current typeface of choice when using Google Docs.
BOTTOM RIGHT: Lovely as Fira Sans is, I think Whitney Narrow is nicer. When I’m not using Google Docs, I use Whitney Narrow instead of Fira Sans.
TOP RIGHT: The one downside to Whitney Narrow is that it isn’t as rounded and friendly as Trebuchet MS, which brings us to the typeface I use most often these days: Ideal Sans. In fact, I’m writing this post in Microsoft Word using Ideal Sans right now.
TOP LEFT: Back in the 1990s when I used Trebuchet MS for all my creative work, I used Tahoma for all my professional work. (Tahoma is basically a narrower, more tightly spaced version of Verdana.)
BOTTOM LEFT: But this too I replaced with the more friendly and full-featured Fira Sans.
BOTTOM RIGHT: In some situations, though, I use DIN. Originally created for road signage, it actually works well in text-dense designs and infographics. In fact, my resume is in DIN.
TOP LEFT: Like Trebuchet MS and Tahoma, Verdana was designed as a typeface to be used on computer screens. And, like those two, it is also a core font for the web. I like Verdana. It isn’t particularly friendly or elegant, but it is my typeface of choice for email.
BOTTOM LEFT: Verdana might have been incredibly popular on the web in the 1990s and 2000s, but in the 2010s that crown was taken by the more elegant Open Sans. I like Open Sans too, but OMG is it overused.
TOP RIGHT: If I do need to use a typeface like Verdana or the excellent Montserrat – both of which are a little overused – more often than not I’ll reach for General Sans. Where Verdana is big, with perhaps an overwhelming focus on legibility, General Sans is compact and geometric, but somehow doesn’t look condensed, which I think is cool.
TOP LEFT: In 2007 Calibri replaced Times New Roman as the default typeface in Microsoft Word. I used Calibri for a while, but I never fell in love with it. After all, its defining character trait is ‘friendly neutral’. By the way, starting in 2024, Aptos will by the new default typeface in Word.
BOTTOM LEFT: Almost immediately after Source Sans was released in 2012, I started using that instead of Calibri. Source Sans is a free, high-quality typeface from Adobe.
BOTTOM RIGHT: And once I’d bought Whitney Narrow, that took over from Source Sans in most situations.
LEFT: I’ve used Times New Roman a lot over the years and let me tell you that I do not like it very much. Sure it has its uses, but I’ve never been a fan.
RIGHT: As soon as I got my hands on Source Serif, it was all over for Times New Roman.
LEFT: I love the Garamond typeface, but the Garamond font that comes with Word is terrible.
RIGHT: The Linotype foundry has an excellent version of Garamond created originally by the Stempel Type Foundry in the 1920s. I snapped up Stempel Garamond LT when it was on sale once and I’ve never looked back.
TOP LEFT: I like Georgia. It’s not particularly elegant or refined. But like Verdana, with its focus on legibility, it gets the job done. For years my personal website used Georgia for its body text typeface.
BOTTOM LEFT: I love Merriweather. Ever since Google Fonts came on to the scene, I’ve used Merriweather for my website’s body text typeface. Indeed, that’s the typeface you’re reading this in now. [UPDATE: This is no longer true.]
TOP RIGHT: When not publishing online, I will sometimes use Charter as my Georgia replacement. Charter is older than Georgia, and it was designed by Matthew Carter, the same type designer who created both Georgia and Verdana.
BOTTOM RIGHT: When I do need a truly excellent, versatile, and highly legible serif typeface, most of the time I’ll turn to Mercury.
I haven’t talked about monospace or slab serif typefaces; this post is long enough as it is. But a couple of quick shout-outs.
LEFT: Zilla Slab is a free and open-source slab serif typeface created by the Mozilla Foundation. All the headings in the graphics used in this post are set in Zilla Slab.
RIGHT: JetBrains Mono is my coding typeface of choice. I blogged about this a couple of years ago.
LEFT: Joplin and Notepad++ are, respectively, my note-taking and text-editing apps of choice. I use monospace typefaces in both. Berkeley Mono is gorgeous and joy to work in. It is a paid typeface, but it’s worth it (I got it on sale when it first launched). JetBrains Mono I’ve already talked about above. It is a free typeface.
RIGHT: Literata is a free and open-source typeface commissioned by Google for its Google Play Books app. Bookerly is a proprietary typeface (though available for download) commissioned by Amazon for its Amazon Kindle e-reader devices and apps.
LEFT: Neue Haas Unica is an elegant hybrid of Helvetica, Univers, and Akzidenz Grotesk. I don’t use this style of typeface very often, which is why it hasn’t come up before, but I do really like this interpretation. Also if you don’t get it as part of a bundle like I did several years ago, Neue Haas Unica is pretty expensive. Which is why it’s much easier to recommend Inter or Roboto everyone. (They’re both free!)
RIGHT: I’m not a big user of old style, Clarendon-esque typefaces, but I do like Sentinel. If nothing else, it pairs brilliantly with Ideal Sans.
So there you have it. More than you probably wanted or needed to know about why I use the typefaces I do. I don’t know if you had fun reading it, but I enjoyed living it and then telling the mini stories about it. And, of course, I enjoyed creating all those typography graphics since, frankly, that’s half the fun of writing posts like this :)
One last thing I should mention is that, when I bought Whitney a long time ago, I discovered that Hoefler&Co is my favourite type foundry. The folks there created Whitney, Whitney Narrow, Ideal Sans, Sentinel, and Mercury – all of which I’ve bought over the years. I’m pretty sure I’m going to buy more of their typefaces in the future. It’s nice when you find a bunch of designers who really float your boat.
May you find the type foundries, type designers, or even just a bunch of typefaces that bring you joy.
[1] Many people think that Arial is a copy of Helvetica. It is not. Arial is designed to be a drop-in replacement for Helvetica, yes, but it is technically a copy of the older-than-both Akzidenz Grotesk. When Helvetica was created, the designers hoped it would be as popular as Akzidenz Grotesk. More on all that here, if you’re interested.
[2] Trebuchet MS was also inspired by Akzidenz Grotesk.
We’re still on step four my ‘one focal length at a time’ exercise because I didn’t take any photos last week. That means I’m still at 55mm (which is 35mm on my mirrorless, APS-C camera).
Since I know I’m not going to buy a new 55mm prime lens any time soon (I already own one), I figured I’d repeat the photo walk I started this whole exercise with so I could do a bit of a direct comparison.
I took three matching(ish) photos to see/demonstrate the difference between 27mm and 55mm.
The weather and, therefore, the light was different when I took these photos, so you’ll notice that I edited them differently.
I don’t have anything to say about these photos, by the way, I just wanted to do the comparison!
I don’t have any strong feelings about 55mm.
I enjoyed being zoomed-in a little more and I enjoyed being able to isolate my subjects from their surroundings a little more than usual.
But I also struggled with not being able to capture the surrounding context that I enjoy showing in my photographs.
I know I’ll get comfortable with 55mm if I stick with it for a while, but honestly, 40mm focal length was much more my jam :)
For now I think I’ll stick with 55mm for portraits and the like.
Next week I move on to shooting at only 85mm. I’m looking forward to that, since 85mm was my most frequently used focal length over the last year.
We’re on step four of my ‘one focal length at a time’ exercise, which means this fortnight I’m shooting at only 55mm (which is 35mm on my mirrorless APS-C camera).
I could have skipped this step because I already have a 55mm prime lens, so it’s not like I’ll buy another one if I fall in love with this focal length. But then I’m not doing this exercise just to figure out which prime lens to buy, I’m also doing it for creative-constraint reasons. And that aspect of this was fun.
I didn’t have a very long photo walk, though, so I didn’t get as much time with this focal length as I would have liked. But I do like how I can use it to focus on just one subject in a somewhat crowded location.
When I go out next week I’ll play around with using a shallower depth of field to further isolate my subject from their surroundings. The lens I’m using can go down to f/2, and I’m looking forward to seeing what I can achieve with that. (Given the type of photography I do, and the limitations of my existing lenses, I typically spend most of my time between f/4 and f/5.6.)
I had some time, so I did a quick photo walk in and around the University of Melbourne. This was on a Saturday afternoon during semester break so the campus was pretty empty.
It’s been years since I’ve spent any time on campus so it was nice to be back, if only for a little while.
Here’s part three of my recent Lygon Street walk.
Conclusions about this stage of the exercise are at the end.
I find that I’m so comfortable with shooting at 40mm that there’s no point in sticking to just this focal length for another week. So I’m now going to move straight to 55mm.
Why am I going with 55mm instead of the more standard, ‘nifty fifty’ 50mm focal length? Well, technically, I’m going with neither :) I’ll be shooting at 54mm.
The sensor on my Fujifilm S-X10 mirrorless APS-C camera has a 1.53 crop factor. Meaning if I wanted to shoot at a 50mm full-frame equivalent, I’d need to shoot with a 33mm lens (because 33 × 1.53 = 50mm).
Fujifilm does make 33mm prime lenses, but I already own a 35mm prime lens (the cheap and cheerful Fujifilm XC 35mm F2) so I might as well use that for this part of the exercise. And since 35 × 1.53 =54mm that’s the focal length I’ll actually be shooting at.
It’s easier still to refer to this as 55mm, and so that’s what I’ll continue to say going forward.
I might try shooting at 50mm in the future (now that I’ve sped up this exercise by shooting at 40mm for one week instead of two) but for now let’s go with 55mm and see how I do there.
Here’s part two of my recent Lygon Street photo walk.
I know some of this has to do with the location, the time of day, and how much energy I had at the time, but I found it much easier to take photos at only 40mm (which is 26mm on my mirrorless APS-C camera) than at only 35mm (which I’d been doing for the last two weeks).
In case this is the first time you’re reading about this, I’m in the middle of conducting a creative exercise: for a fortnight at a time, when I go on my photo walks, I’m taking photos at only the 27mm, 35mm, 40mm, 55mm, and 85mm focal lengths.
Aside for the creative challenge of shooting at just one focal length at a time — which I am really enjoying and also learning a lot from — by the end of this exercise I should have a decent idea about which prime lens I’m going to buy next.
I managed to take a bunch of decent photos at 40mm on my last photo walk, and so I’ve split this into three posts. Here’s part 1.
Recently I’ve seen people in various online platforms insist that what Israel has been doing in Palestine isn’t apartheid and that what they’re doing now isn’t genocide.
My initial reaction was to think, “how fortunate you are that you can discuss semantics like this from a distance”.
But mostly it reminded me of when the American media refused to name domestic terrorism as ‘terrorism’. Or when they called terrorism that happened in their country ‘terror’ instead.
What they were really saying, of course, is that terrorism is what non-white people do in foreign countries. Stuff like that isn’t done by white people, and it’s certainly not done in our country.
It also reminded me of when people say things like, “Oh he can’t be the one who committed the sexually assault. He’s a victim of sexual assault; he would never do that to anyone else.”
They’re clinging so hard to their beliefs that they have to fall back to semantics to defend their positions.
At no time can they see the reality that:
Some white people can and do commit terrorism.
There is terrorism in countries with predominantly white populations.
Some sexual assault survivors can and do commit sexual assault.
Some Jews can and do commit genocide.
The reason they dig their heels in is pretty obvious. It’s the same reason people insist on sayings things like “not all men”.
Because if they acknowledge that, yes, all men do benefit from patriarchal set-ups, then they might actually have to do something about it.
Or, more likely, they’ll lose the moral wiggle room to do nothing (or the bare minimum) about it. When they’re one of the good guys – one of the #NotAllMen – then they don’t have to do anything more, right?
Similarly, if these people are forced to acknowledge that Israel is an apartheid state that currently is committing genocide against the Palestinians, then they lose the ability to say things like, “what Israel is doing is horrible, of course, but they do have the right to defend themselves.”
Because right now what they’re really saying is, “I can excuse the mass casualties of civilians, but I draw the line at genocide.”
Which then reminds me of one of the theories about why Hamas attacked Israel in the way that they did.
You know when a child keeps needling their sibling till the sibling overreacts? And how parents often shout at the sibling for the overreaction and not at the first child for the initial provocation? That’s possibly one of the reasons Hamas carried out their most recent attacks.
The theory is that they wanted Israel to overreact to such an extent that the world had no choice but to acknowledge Israel’s ongoing, escalating war crimes (along with their continued crimes against humanity).
Of course Hamas did this without the consent of the people of Gaza and at the cost of thousands of Palestinian civilians, many of them children…but that’s a whole other issue.
To leave on a lighter note, because I live on the internet, when I see someone digging their heels in about not using the words ‘apartheid’ or ‘genocide’, this meme is the first thing that comes to mind :)
It’s only apartheid if it’s from the Apartheid region of South Africa, otherwise it’s sparkling institutionalised (racial) segregation.
It’s only genocide if it’s from the Genocide region of Poland, otherwise it’s sparkling intentional destruction of a people (in whole or in part).
It is week two of shooting at only 35mm (23mm on my mirrorless APS-C camera) and I did not have a very successful photo walk.
There just weren’t as many people walking along the stretch of Bourke Street where I was – the bit that goes from Southern Cross station to Swanston Street. There was a good crowd of people from Elizabeth Street onwards, but by then I was tired and in a bit of hurry to go home so I only got a couple of decent people shots before I caught the train from Melbourne Central.
Oh well.
Next week I’ll make my way quickly to Swanston Street (which is always full of people) and then spend a good amount of time taking photos along there.
Will I stick to 35mm for a third week though? Probably not.
I know I haven’t spend enough time at 35mm to get a good feel for this focal length, but I also want to keep moving through the exercise so that I’m done by the time we get to Boxing Day and the lenses I want to buy go on sale.
So next week I’ll move to 40mm. That way I’ll cover 40mm and 55mm in November, and then 85mm in the first half of December. That’ll leave me with enough time to repeat a focal length or two before Boxing Day comes around and I need to make my decision.
Also, I want to spend more time at 40mm than 35mm because my preference is to get a pancake lens and Fujifilm only offers those at 27mm (18mm in the APS-C system) and 40mm (27mm) for their X System cameras.
I already find 35mm a little awkward to shoot at (mostly due to lack of experience) so I’m dying to see how comfortable (or not) I feel at 40mm!
Maggie takes an afternoon nap in the retreat that’s between my study and Nadia’s study – where we each work from home – so she can keep an ear on both of us.
This is personal website of Nadia Niaz and Ameel Zia Khan. Here we document our lives in Melbourne, Australia.
Melbourne, Victoria, Australia