The Faroes consist of 18 islands, some small, some large, and only one uninhabited. The population spread is also far from equal: about two thirds of the population live in or near the capital. For 1200 years the only way to get around would’ve been by boat. We’re not talking large distances – the archipelago is only 100 miles across – but by land, because of the mountainous topology, most villages would be, by today’s standards, totally isolated. Settlements in the Faroes are invariably placed in bays and inlets with mountains reaching up behind them. These plains are also very small – there’s almost no naturally-flat land in the Faroes! – and as a result there’s only one big town: Torshavn (Thor’s Harbour – cool name, eh?)

Anyway, along came the automobile and roads between towns on the same island begun to be carved out of the vertical-cliffed basalt mountains; ferries were used to go between islands – and more recently, to replace the ferries, tunnels! Lots and lots of tunnels.

I’m not some master civil engineer. I don’t know a whole lot about tunnel making (except for the Eurotunnel because it was in the media for a decade…) What I do know is that cutting your way through dense, metamorphic rock isn’t easy. In fact, it’s more a case of blowing things up with explosives. In a controlled fashion of course.

And that’s where this story takes place: in a Faroese under-sea tunnel. Not a nice, new, two-way well-lit tunnel – no. This takes place in one of the original, single-lane, pray-you-don’t-meet-someone-coming-the-other-way tunnels. They’re not lit. These tunnels are pitch-black except for your car’s lights. Years and years of carbon emissions mean the walls are lined with thick, light-absorbent soot. The only saving grace are the reflectors that illuminate the scars left by the dynamite: deeply-pocked, dirty-black holes.

Except for getting from A to B in the quickest way possible, there’s only one other thing that these tunnels are good for: racing. On the Faroe Islands, a country with no apparent social structure and limited space to build big houses, there’s only one real way to show off your wealth: fast cars. Fancy cars. Cars with spoilers and sexy skirts.

And in the case of my host in the Faroe Islands: nitrous oxide injection. I won’t bore you with the details, but put simply: it makes a car go quick – spine-fusing and eyebrow-ripping fast.

(This was meant to be someone sitting in a car with g-force/wind making their cheeks wobble…
But this was all I could find on Google.)

I’ve completely lost my train of thought. Damn Asian baby. Ah yes… So they race along these tunnels. A bit like a low-tech version of The Fast and the Furious without the flashy lights or the  hot girls in skintight plasticky clothing. You start at one end and finish at the other — the highest max speed at the end of the night wins! Wins what? The multi-tiered, golden and invisible cup of Pride of course! I suppose when you’ve been at sea for nine months bragging rights are about as exciting as things get: “Pass me the knife, Bjorn.” “REMEMBER THAT TIME I BEAT YOU IN THE TUNNEL?!” “Yeah… now pass the damn knife.”

I should tell you now that I’m a bit of a speed freak. So of course, last week, I found myself sitting in a super-charged hod and staring into the murky abyss.

“What if there’s a car coming but its lights are broken?

“Well… let’s hope that doesn’t happen Seb.”

“What if we hit a rock and collide with the wall, smearing our faces into a millimeter-thick laminate?”

“There’s always a chance of that… but it’s been a long time since it last happened.”

And with a cheesy, over-confident grin from the driver — a grin that betrayed his true nervousness — and with the drop of the clutch and the bang of the exhaust we accelerated into the tunnel.

A few seconds later, fully blanketed in black, there’s a rumble loud enough to be heard over the frantically-whirring engine. It’s my turn to grin nervously. It’s my turn to look towards the car’s flimsy roof and perform in the fraction of a second some thoroughly pointless calculations.

Out of the corner of his mouth he whispers tersely.

“Seb.” A second desperate and creaking roar from the dark surround. “Brake… or accelerate?”

The Thing & Footsteps will guide you home

Seb: If you didn’t know already: it snowed in England this week! Not just a couple of centimetres either — PROPER snow. Like as much as TEN centimetres in some parts!

We only got about 5cm here, but in other parts of the country (Abi’s?) I think they had a lot more. Either way, more than 1cm of snow in England always immediately triggers two things a) the shutting down of all offices, schools and amenities — the entire country shuts down, basically — and b) it’s time to PLAY!

We Brits don’t play as much as other people. I don’t know why. I guess we’re a bit boring… But snow is one of the few universal times when almost everyone (other than the oldies) goes out to play.

Of course, me being me, I grabbed my camera and avoided the kiddies that might damage my lens.

What you see here is part of our garden, at around 1am. It’s pretty damn creepy. I’ll talk more about it tomorrow on my blog — it’s straight out of the camera, believe it or not.

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Abi: We never used to get snow at this time of year at all. I remember wishing for it year after year as a child but growing up by the sea, hard frost was as wintry as it got. I took this a day or two before I left my friend’s house, on the same day I took most of the other snow shots in my stream and found that this rather quiet image was by far my favourite. Snowfall exposes the paths we tread and I love seeing vast carpets of virgin snow over the fields. Even though it reminds me of that tragic scene at the end of The Snowman.

Incidentally Seb’s view on this one involved something poetic about my new start. He feels ‘the hopefulness of the footprints in week 17, representative of Neil Armstrong’s footsteps… represent the turning point…’ — he actually said that, I lifted it right out of the MSN chat window. I suppose when you look at it like that it’s kind of fitting.

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You can click either image to see what the lovely folks over on Flickr think of our photos.

The Lunatics of London & The greatest thing

Seb: We actually sent this out as a Christmas card this year.

We were kind of fed up with those happy-all-smiles Christmas cards that some families send out.

We like to keep it real, yo. We’re a true, tight-knit family, full of love and affection for each other.

(Thought I’d show you my pointy teeth that I’ve alluded to a few times, too… I told you they were scary.)

I’ll spend this week ‘reviewing’ the year of 2009, on my personal blog — and next week, week 19, will chime in 2010! Fireworks are called for…

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Abi: One thing I have learnt about Seb is that he hates lack of context. He demands context to what I say like a big, hairy demandy thing and gets rather upset if it is not supplied. If I am honest, half the time I simply am not capable of finding words to describe everything that is going on with me.

But I am learning, It’s not like one day I am going to turn around and announce “Seb, I bestow you the gift of CONTEXT” because you can’t change the way you are just like that.

I love being able to start again.
I love that we had snow this year.
I love my friends.
I love 2010 already, and I’m not even there yet.

I hope you had a good Christmas.

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Click either image for an extra dose of Christmas, festive cheer. Just kidding — it’ll just take you to our Flickr streams.

Out with the Old & Puddle of ink

Abi: I have to admit, the days immediately following New Year always make me laugh to myself. It never ceases to amuse me how suddenly, we are all expected to snap back into shape, like whippets after the festive season and then spend the rest of January feeling bad about it.

The New Year is also an opportunity to clear out, replace and take stock of the things that perhaps no longer feel right to us. Like Children, we outgrow our toys as our lives become busier and our worlds expand.

I saw this heap of bin bags outside the charity shop on my way into the city. By the looks of things, someone had had a damn good rummage through as they were all open like this when I found them. It made me a little sad to see that someone had so obviously outgrown the things that perhaps a year before had given them such joy only to be replaced by something better, newer, more expensive.

And if that is not a metaphor for life, I don’t know what is.

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Seb: You have to try and guess what it is!

So, a few days ago, on New Year’s Eve, it was a full moon. It was actually a blue moon — the second moon in a calendar month — AND… get this… there was also a partial lunar eclipse. If you’re a landscape photographer and itching to do more night-time photography, such conditions are more than enough to a photographer like me, er, aroused

… (if I didn’t think my sister could see this, I’d insert a whole paragraph about the physical excitement photography elicits in me) ..

But get this, the moon was TOO HIGH IN THE SKY. So it was basically impossible to do anything with. Bah.

This photo was taken about 3 minutes before Big Ben tolled in the new year. It’s more of a proof of concept than anything else. I took photos like this back at college, when I was 16. I want to do some more!

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Clicking either image will send you to Flickr, where comments, notes and tags abound.

The Uncomfortable Bedfellow & Footsie

Abi: Those of you who followed my 365 project will be no stranger to the “bed shot“. I basically took a bunch of photos like this, on my bed. Ludicrous narcissist I hear you cry? Actually no, the bed shots were an exercise in lighting, form and also self esteem. It was my aim to always improve upon the last picture in some way, in the hope that I would eventually be totally comfortable with myself. Perhaps 100% body confidence is a little way off for every woman (except Beyonce) and certainly I am not quite at my destination yet, but I chose this to be a part of my 52weeks project to show that practice can lead to improvement in all areas.

It is very easy to look at an image and assume the person depicted is comfortable with themselves, it is possible to make rash judgements about their motives. Every image is a mini struggle for me, particularly shots like this, but at the same time it is one tiny step nearer to feeling OK.

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Seb: Frickin’ beds. They’re all too small for me. Seriously: five-star hotel, you’d think they would have LONG beds… but no. True, the duvet felt like it was made from the skins of super-soft puppies, and the mattress itself was divine… but it’s hard to enjoy it when your feet hang off the end.

While I’m at it, most of this damn world is made for short people. Do you have any idea how hard it is to prepare food on a work surface that’s 6 inches too short? The kind of lower back pain that induces? Or how about shower heads that just don’t GO UP ENOUGH? Really, really clean nipples, but to wash my head I have to do the frickin’ limbo.

Then there’s cars… theatre seats (I simply don’t fit in old theatres)… girls — even girls aren’t made for men my size. Sucks to be me.

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Click either (or both) photos to find out what people think of our collective BED SHOTS.

Last week I said that if no one else wrote a review, I would — and as it turns out, there’s still just a bunch of previews but nothing substantive. Yes, it has 1080p HD video recording capabilities, yes it has a shiny-almost-Canon-7D-18-megapixel sensor… but no one’s commented on what it feels like. Specs are only a tiny portion of the story — so here’s a hands-on review of the new Canon 550D.

Note: Don’t expect a highly-technical review. No doubt professional sites like DPReview will get to that in due course. This is all subjective. There are no chromatic aberration graphs, or side-by-side comparisons. Just some test shots, some video, and my (fairly) expert opinion. I’ve also never done this before, so the format might be a bit weird. Stick with me though, I should cover most of the important stuff!

You can skip directly to the sample photos, if you want to see some evidence of the new CMOS sensor and metering system, or the gains in high-ISO performance.

Gear Used

Camera: Canon 550D (also known as the Digital Rebel T2i in America, or the Kiss X4 Digital in Japan). Costs about £700, body-only, or £800 with the kit lens. Due to imports/exchange rates, it’s a lot cheaper to buy in the US (about $800 for the body only).

Lenses: Sigma 50mm f1.4 (around £400), and the Sigma 10-20mm f4-5.6 (also around £400). I’m actually a bit of a prime lens snob, but I’m still waiting for an APS-C sensor 10mm prime lens… you hear me, Canon, Sigma? Anyway, both lenses are best-in-class… as long as you get a good sample (I’m not going to go into the variety of Sigma’s output here…)

Initial Impressions

Before the 550D, I used a 450D for my ‘every day’ and on-the-move photography (travel, mostly). The 550D is identical to the 450D — weight, shape, balance, etc. The body seems to have a slightly different finish, and the grip is a little ‘grippier’. In more detail:

(500D on the left, 550D on the right)

The trigger: The button itself is a little harder to depress; slightly more ‘clicky’. Not ‘hard’ to operate though, just a little more… affirmative.

The buttons in general: No doubt the change to the trigger is due to an overhaul of all the buttons on the camera. The buttons on the back of the camera are now flat, making them quite a lot easier to use (though they take some getting used to!) There’s also a new ‘record’ button up by the eyepiece, to go with the camera’s video capabilities. Personally I still have a few issues hitting the depth-of-field-test button, but I think that’s due to my huge hands.

Other bits: In all other ways, it’s identical to the 450D (and 500D, I believe). There’s a new HDMI output, below the USB output, and an audio input (mic) above — and also a microphone on the front; for the video capabilities. Oh, it uses a new kind of battery too, the LP-E8 — so you’ll need new batteries, and a new grip too (lame!)

Photos

[Sample images are at the end]

The most important bit! (Unless you’re buying it for the 1080p HD video thing, anyway — that’s a bit further down the page). Does the 550D take good photos? ‘Hell yes’ would be the easy answer, but let me break it down a bit.

Resolution: Yup, more megapixels — up to 18 million effective pixels now, or 5134 x 3456. The RAW files are about 25MB, so you might need to get a new memory card!

Image quality (IQ): Better than the 450D, but I can’t compare it to the ‘identical’ sensor of the 7D. There are reports of it producing very, very similar photos to the 7D, despite Canon saying that the sensor is ‘not the same’. Of course you don’t get the weather sealing, but at half the price and half the weight… who am I to complain. The 550D uses ‘gapless micro lenses’ infront of the CMOS sensor, increasing the quality and sensitivity of every pixel. This in turn opens up ‘extended ultra-high ISO’ settings (more on that in a second).

Shooting: Continuous frames-per-second seems about the same as the 450D, despite the new DIGIC 4 processor — the listed speed is 3.7FPS, but if you shoot in RAW-only mode it will reach 6FPS! There’s all the standard options — RAW, JPEG, RAW + JPEG, etc. — but there’s currently no RAW support for Adobe Lightroom/Photoshop. The Canon Digital Photo Professional RAW processing tools are OK, but lack the depth of Adobe’s Camera RAW.

Metering, auto focus, and exposure compensation & bracketing: While we still only get the 9-point auto-focus (damnit!), there is a new ‘iCFL’ metering system in use, inherited from the Canon 7D. Basically, each of the 9 focus points collect a lot more information that’s then used to more-accurately expose your photos. From my tests, it does seem to be better and more reliable  than the 450D — but it’s pretty hard to test empirically. The AEB (exposure compensation/bracketing) now lets you go from -5 to +5, in steps of 1/2 or 1/3 — pretty neat, if you shoot into bright lights a lot (stage/theatre photography, in my case).

Custom functions: Some of the juicy high-end custom functions make their Rebel debut:  ’ISO expansion’ and ‘noise reduction’. With more pixels rammed every closer together, noise increases and image quality generally degrades — enter TECHNOLOGY! How better to counter technology issues with yet more technology? First, there’s ‘ISO expansion’ that lets you shoot at up to 12800 ISO speed, i.e. almost complete darkness with a large-aperture prime. There’s also on-camera noise reduction that seems to perform a lot better than the on-computer equivalent — you can enable noise reduction for all high-ISO shots, or just for long exposures. If you’ve used a digital camera in the dark, you’ve probably noticed the noise that creeps in — these new functions go a long way to making digital cameras better for night-time photography.

THE DAMN SHUTTER: The shutter is still loud enough to scare children from 100 meters. It’s a bit quieter than the 450D but not by much. Why does Canon give us such a noisy mirror mechanism when they’re capable of so much better? Lame.

Video

No doubt you’ve heard about the Canon 550D’s video capabilities. It was only a matter of time before the functionality dripped down from the 5D, to the 7D, and ultimately the 550D — you can now get a full-HD 1080p digital camera for just £700… crazy! And it’s pretty damn good at it too. Check out this little video clip:

Excuse the bed hair, but still — did you try it at 1080p? Full screen? (If your computer will even render it…) Anyway, the video functionality, in more detail:

HD, 1080p, 720p, etc: You can shoot video in all sorts of ways, with the 550D. Canon have learnt their mistake from the earlier video-shooting SLRs and given the 550D a full array of options: 1080p at 24/25fps (NTSC/PAL), 720p at 50/60FPS, and even a ‘digital zoom’ 640×480 resolution (which is kinda fun). Video clips are capped at 29 minutes and 59 seconds, which is 4GB at full 1080p.

Video quality (VQ?): I’m nothing more than an avid, amateur film maker, but the reaction of those that have seen my test 550D videos have been universally great. It’s simply flawless, 1920 x 1080 video. Just like usual film-making, the lens matters a lot. I’m not sure how else I can rate the video quality… it does exactly what it says on the box; that’s it.

Audio quality: The 550D has a forward-facing monaural microphone. It’s surprisingly good, though I haven’t tried it ‘at a distance’ — I can’t imagine it’s particularly directional. You can also hear a lot of noise from the wind in one my other videos. It was really, really windy though. Anyway, it’s more than enough for indoors and self-documenting work. There’s also an input for an external microphone (3.5mm jack).

Other bits: Video recording on an SLR is definitely a two-person thing. There’s no auto-focus, you see — well, there is, before you start shooting, but not once you press ‘record’. So you need a tripod, and depending on how bright it is, you might be trying to stay in a very shallow focus plane (look at my other test video to see how shallow the f1.4 focus is!) By default video recording is in ‘full auto’ mode, which basically chooses the ISO/aperture to match your framerate (24, 25, 50 or 60 FPS). You can switch it to ‘manual’, if you need to force a particularly wide/shallow depth of field.

Everything Else (appendix)

There are a few things that don’t really impact your use of the camera but are still worth noting, if only for a sake of completeness.

There’s a new LCD screen: It’s very nice, with lots of pixels and less glare than the 450 or 500D. It’s also the first 3:2 screen — i.e. wide-screen — so your images aren’t shrunk-to-fit any more! The new LCD screen is a real joy.

The digital menus have been enhanced: You can now access more ‘buttons’ through software — hit the new ‘Q’ button and you can change things via the LCD screen. Overall the menus are unchanged (though very busy, with all of the new video recording options), but with the new screen there’s some more real estate that is well-utilized.

Embed copyright info into your images: One of the smaller features to find its way from the higher-end Canon cameras is the ability to add your name and a custom copyright notification/message to every image your camera produces. It’s stored in the EXIF data for each image. Pretty neat!

Sample Images

I’ve only had the camera for a few days, so I haven’t had a chance to try every kind of condition yet. I’ll try to add more to this little gallery over the next few days and weeks. The various improvements to the sensor and the addition of some custom functions to the 550D are generally tailored towards more extreme use — low-light, especially. There’s also ‘Highlight Tone Priority’ (another custom function), but I haven’t had a chance to play with it yet — 7D users are reporting great results though, especially for candid/external portrait photography (weddings), so the 550D is probably just as good in that regard.

These photos are all taken on either the Sigma 50mm f1.4, or 10-20mm f4-5.6 lenses, and are straight out of the camera. Click for larger versions.

(Simulated fire, 50mm @ f/1.4, ISO-6400. Close up on the right)

Wide-angle night-time, City of London (The Royal Exchange), 12mm @ f/5, ISO-1600.

Just standard overcast light, 50mm, ISO-100, large aperture. Metering looking good.

Photo on the left looks a bit bright (but it’s accurate). Metering on the right looks pretty spot on, with dark/bright elements!

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If you have any questions about the camera, feel free to leave a comment — I’ll reply.