Review: Haida M10 Filter Holder System by Dub Sonata

Haida’s M10 system on a telephoto lens.

Haida’s M10 system on a telephoto lens.

Haida Filters recently sent me their new M10 Filter Holder System — released in January, 2019 — for a field-test analysis. Since receiving it, I've had a number of opportunities to use the M10 in varying conditions. After testing their previous filter holder system, the 100-Pro, I’m pleased to see that some of my criticisms were taken into high consideration and greatly improved upon in the M10.

The M10 system includes the filter holder itself, a CPL (circular polarizer filter), and a “light sealing ring,” which I'll discuss below. It attaches to your lens with an adapter ring, available in sizes ranging from 52mm-82mm (each system comes with one — your choice of size). It arrives in a protective shell case, the inside of which is lined with a soft velvet material, molded to fit the entire system perfectly. There's a small pocket for your adapter ring(s)/CPL/light sealing ring. The case has a carabiner attached — a nice touch for accessibility in the field. While this case serves its purpose well, some extra room for an additional filter or two should be considered for future designs.

Made with Haida’s M10 system + 10-stop ND drop-in filter

Made with Haida’s M10 system + 10-stop ND drop-in filter

To setup the M10, twist the appropriate size adapter ring onto your lens thread. Then simply open the filter holder lever, affix it to the ring and close it once securely attached. This process takes seconds and is the greatest improvement from their last system, which required the user to screw on the filter holder to the filter ring. I'm impressed, since my main criticism of the M10's predecessor was the inability to setup as quickly as I'd like. This clip-on mechanism allows for genuinely quick and easy attachment — crucial when conditions are changing dramatically and there's no time to spare. The locking mechanism is indeed sturdy and trustworthy — although I've noticed that some of their adapter rings do feel rather tight upon one's first twist while screwing onto a lens thread, creating the false assumption that it is securely affixed when it is not. The M10 is almost entirely made of lightweight “aviation grade aluminum.”

Once you've attached the M10 to your camera lens, you're ready to insert your choice of filter(s). This system is designed for use with 100mm x 100mm or 100mm x 150mm filters (standard 2mm thick). There’s slots for two of these filters but included is a hardware expansion for those who need the ability to stack up to three. New to this design is a separate drop-in filter slot that most landscape photographers will consider a dedicated CPL holder. This component rotates independently from the rest of the setup, allowing for variable polarization, without simultaneously spinning your other filters. This convenient drop-in feature sits closer to the lens and is meant to be used in tandem with one or more 100mm filters.  A variety of other drop-in filters are available besides Haida's CPL and can be easily dropped in and out by pinching their red plastic release buttons. I've used the drop-in 10-stop ND and performed A/B tests with a 100mm square NanoPro 10-stop ND; the results were identical with no noticeable difference in image integrity whatsoever. The CPL also yields sharp and overall excellent images. Admittedly, I'm not an everyday CPL user, yet I find myself using them more often with the M10, clearly the result of an intuitive design.

Haida’s M10 with a drop-in ND filter inserted.

Haida’s M10 with a drop-in ND filter inserted.

If you choose, for whatever reason, not to use a drop-in CPL/ND, but still wish to use a 100mm filter — you must use Haida’s “light sealing ring” instead (included in the kit), which is essentially a skeletal drop-in filter, without an actual filter there. This is an interesting component of the system — while it blocks light very effectively, and the drop-in slot is a great feature overall — at times it feels like yet another moving part to a somewhat intricate system. I'd like to see Haida's next generation include a drop-in slot that maintains the light seal after removal of your drop-in filters. This would alleviate the extra moving part (the light sealing ring drop-in). Also, the redundancy of potentially needing both square and drop-in NDs (depending on whether or not you're using a CPL/other drop-ins) is not ideal, since you can only use one drop in at a time. I'd simply prefer not to carry two different items that effectively have the same purpose.

Made with Haida’s M10 system + NanoPro 6-stop ND.

Made with Haida’s M10 system + NanoPro 6-stop ND.

Haida's filters themselves are impressive. I've shot with a number of their NanoPro NDs, and their CPL/ND drop-in filters. They produce a very slightly warm cast that's easily correctable in post-processing. There’s no noticeable difference in image quality compared to any top industry competitors. I'll note again that their drop in ND filters (those which come with the M10 system) appear to be of equal optical quality as their NanoPro ND line, despite their lightweight feel. (I have not tested their Red Diamond line yet.) When water droplets or other unwanted elements become as issue, both the NanoPro and drop-in filters clean remarkably easily compared to other filters I've used from other companies. The efficiency of a quick cleaning saves a lot of time during wet situations. As for vignetting: there is none, down to 16mm (the widest I've tested). For those who shoot wider than 16mm, you'll have to purchase the M10's big brother, the M15 — made for use with ultra-wide lenses, such as the 14mm-24mm.

Overall, the M10 is an impressive ergonomic success. Landscape photographers have yet another highly-recommended option to consider in an already competitive market. This is a tool for not only professionals, but beginners too. Its simple and sturdy design will leave any photographer satisfied, and more importantly, confident in their setup. I look forward to continued innovation and improvement at Haida Filters.

Made with Haida’s M10 system + drop-in CPL.

Made with Haida’s M10 system + drop-in CPL.

Agnes Obel at The Independent by Dub Sonata

Christopher Markisz - Agnes Obel

I had the opportunity to photograph and interview Agnes Obel, one of my favorite recording artists, during her San Francisco appearance at The Independent on March 22. I photographed the show for, a music blog I’ve shot for in the past.

Although I’ve done some journalistic work, I had never conducted an interview. Nevertheless, I eagerly accepted the challenge. A challenge I was not expecting, however, was the lighting. Despite my experience shooting concerts, I found it difficult to find lighting beautiful enough to match and illuminate Agnes’s engaging vocal performance. 

The dimly lit atmosphere did provide an intimate, and enjoyable experience for the listener, which of course is the objective. As a fan of Obel’s music, I was happy to be able to experience her performance both from an audio as well as a visual perspective. 

As a novice interviewer, my main objective was to avoid boring questions. I am familiar with Obel’s discography and history. I also have many years of experience as a music producer and engineer, two roles she plays on her own records. This made coming up with some interesting questions easier than I expected.

I related with her personally on several themes she discussed during our interview. Like me, she left school to pursue music production and audio engineering. Another was her difficulty deciding when records are complete. I have engineered and produced countless songs and several full-length albums, and I understand how daunting, yet rewarding the entire process is. Some of this we spoke about briefly off the record.

One of the things that resonated with me was her response when I asked if she ever considered writing for other artists.

 “When you start composing or writing for other people you look at songwriting and this form of expression as something much more utilitarian like it has a function. I see that also with friends of mine who’ve done film commercials and sort of lose their own voice, and I really don’t want to lose my own voice,” she said.

Ever since I had the good fortune of landing some licensing deals, my objective over time went from from making music, to making money from it. I’ve found myself writing new material less frequently, unless for a specific purpose – utilitarian –  as Obel put it. Perhaps I, too, have lost my voice in a way. I hear my old material—On The Arm, for instance (my ’07 debut LP), and I can hardly relate to it. For better or worse, I couldn’t make anything like that again. I don’t think it’s a coincidence that soon after I landed my first commercial spot (and thus narrowed my focus to finding similar opportunities), I began my explorations in photography. ‘Losing my musical voice’ so to speak, left a creative void that I unknowingly, at first, but consciously later on, began filling with photography.

As far as the show itself, Obel and her band performed flawlessly. She played several of my favorites from her repertoire, which was a nice surprise. I wish the lighting had been better but that’s concert photography, and I’m happy enough with the shots I got (my favorite is the first image in the photo essay). The best part of the experience was enjoying a conversation with an artist whom I truly admire (and listen to almost daily)—it was a privilege and I hope to do more multimedia coverage in the future.

Christopher Markisz - Agnes Obel


Christopher Markisz: Your latest record is titled "Citizen of Glass." Can you tell us a little about why you chose that name?

Agnes Obel: I wanted to make a conceptual album. I wanted to see if I could work with a title and a concept before I wrote the songs. Before I had been just kind of writing songs and I wanted to see if I could do something else. I know modern composers, classical composers and film composers often work with a title and a theme to sort of inform the writing and the production and the arrangements and the instrumentation. I wanted to see if I could work that way of thinking into my little universe, and if it would change things and push them in a new direction. I was looking for a concept.

Meanwhile, I was touring Aventine, my previous album, and I was reading about all this NSA stuff and Edward Snowden. There’s been a lot of discussion everywhere but especially in Germany, about surveillance and the rights to privacy, and the rights of an individual to have his or her secrets and keep them. Germany has a very big awareness because of their history. In East Germany, every third citizen was a spy during the GDR. When the wall came down there was a lot of talk of how everybody was spied upon and under surveillance, and how detrimental is was to society and to the trust within all social organizations. So in Germany there’s a lot of focus on this compared to Denmark, where I’m from; in Germany people are a lot more freaked out about it.

Then I came across this term for when you’ve lost all your secrets and all your privacy; in Germany you say that you’re made of glass. You’re a glass human, a glass citizen, a citizen of glass. I immediately thought it was such a cool way of describing it. I felt like I could describe this feeling of being made of glass in a musical sense, also understanding it in a way broader, personal sense, not just political. When I finished my tour for Aventine which was one and a half years, I had already been researching the subject a lot, trying to find literature; I bought some new instruments, went straight home to my little home studio and started writing for this new album, trying to collect ideas and construct this new universe around my idea of how it is to be made of glass.

Christopher Markisz: Very interesting. Listening to your catalog, one might assume you've been classically trained on several instruments. Is this true?

Agnes Obel: Well, I just played classical piano since I was a kid, but actually, the most training I’ve had that was formal was when I went to something called the Jazz Academy in Copenhagen, which is something you do before you go to conservatory, then I studied recording sounds in studios. I dropped out of high school to study engineering but I went back again, I studied cultural studies, literature and recording. My parents freaked out. They don’t get so happy when you do something like that, but now they’re fine! [laughs].

Christopher Markisz: I’m very impressed with the production of your records. How has being your own producer and engineer informed your creative process?

Agnes Obel: It makes the whole process more fluid. I don’t have to fragmentize or split up the writing, the recording, the production, the mixing; I can sort of do all that by myself. If I have an idea for a song, I can start immediately to record it and find out if it’s a cool song. Very often when I start recording it I start producing it, and then start mixing it…I can sort of go with the flow. Obviously, the danger of it is that everything usually take me longer, because there are no restrictions or time limits.

Christopher Markisz: Do you ever find it difficult to decide when a song is complete?

Agnes Obel: Yes, it’s a big problem. It’s very hard. When you do it all yourself, you become very critical and it can be very hard to listen to your own music later on, listening for mistakes. I’m trying to embrace the idea that nothing is perfect, and I just have to see it as what is was there and not be so overly critical because then you never enjoy anything. Making an album is a big task; you always forget how much work it is when you do it all yourself. It’s not good to be super neurotic; this is a little bit how I always am [laughs]. I have to say I really enjoy the process itself of recording and writing; sort of disappearing into what you’re doing is really wonderful. It’s my favorite part of all this that I’m doing. It’s what makes it all meaningful to me; I think I wouldn’t do all this if it wasn’t for these periods of intense moments of focus, letting your imagination work and flow within that project.

Christopher Markisz: It sounds like you like the studio more than the stage.

Agnes Obel: Yea, I think I do, though I love to play with my band now. I have such a good band. I love how the songs come alive and change with the personalities of the different musicians; how we improvise, all of it is really fun. I don’t like promo so much. We’re not doing so much here [in the US] but in Europe during the fall and winter, it was overwhelming. I was dreaming about being able to release music without having to do all that. Going to each country and having 15 interviews a day; they have to take pictures of you…sometimes I feel, I don’t know…
Christopher Markisz: Exploited?

Agnes Obel: Yeah, I think sometimes people don’t understand how uncomfortable it can be when people take pictures of you all the time. My boyfriend is a photographer and I really love photography but sometimes I really enjoy not having a camera in my face [laughs].

Christopher Markisz: I’m sorry that I’m here to do that!

Agnes Obel: [laughter] It’s just that it makes me…

Christopher Markisz: It makes you a Citizen of Glass.

Agnes Obel: Yeah! I guess so. I like much more to be the creator than the object.

Christopher Markisz: Have you ever thought about writing for other people?

Agnes Obel: I have and I’ve also been doing that and some film stuff, but I enjoy so much making albums because I have my own vision, and I’m really afraid of destroying some of the purity of that. When you start composing or writing for other people you look at songwriting and this form of expression as something much more utilitarian like it has a function. I see that also with friends of mine who’ve done film commercials and sort of lose their own voice, and I really don’t want to lose my own voice. I want to develop my own sound. I’m a little bit wary. I hope in time I won’t have to do so much promo as I have had to do with previous albums so I can just keep creating. That’s my goal for the future.

Christopher Markisz: Speaking of the future, do you have any other passions or hobbies, or paths you've ever wanted to pursue in the past, or perhaps pursue later in life?

Agnes Obel: Yes. Something with the mind. I love neuroscience. Everything with the brain really fascinates me. I studied literature and cultural science but now I’m really more into biology and understanding the mind. I think it’s sort of interesting that we all walk around with these hyper complex brains that we really don’t understand. We want to go into space but we don’t understand our consciousnesses. Stuff like that I find very very interesting.

Christopher Markisz: What’s happening in “It’s Happening Again?”

Agnes Obel: That song is about the cyclical nature of the mind; of my mind. I sometimes experience things happening in a loop. This album is called Citizen of Glass, so I wanted to be honest with somethings, with myself. I come from a family where my dad who had been suffering from depression basically most of my life. There was always sort of loops, when he’s good, when he’s bad, then it’s good, then it’s bad. I’m always afraid I am the same because it’s slightly genetic. I wanted to write about that. Thank God I was never sick like him but that song is about that. It’s also inspired by this German concept “eternal recurrence,” and idea that history is happening in a loop.

Christopher Markisz: That’s my favorite song on the album.

Agnes Obel: It’s also my favorite actually.

Christopher Markisz: It’s a special song. When you bring in studio musicians such as a cellist to perform on a record, do you allow them room to re-interpret your ideas or is it more strict in nature where they are playing out your melodies note for note?

Agnes Obel: Yea, I do that absolutely. I want to get their personality in there. When I do that I let their ideas come out and they improvise over the theme, and very often then I will edit it a lot. It’s not always that they know where to go. For example with “It’s Happening Again,” I wanted the production to mirror the inner state of my mind, something that’s repeating itself over and over again. But I was not completely sure how to do that so I had to experiment. I had a lot of recording sessions with different cellists. I thought I had it and then I threw everything out and I did it again [laughs]. It was a long process with that song. I had to try some things out and see what was working.

Christopher Markisz: Are your albums the soundtrack to your life?

Agnes Obel: It’s true when I hear old albums, I really step back in time. I realize, oh I was there. You also realize how much you’ve changed. A lot of the songs from Philharmonics, I can’t really identify with them anymore.

Christopher Markisz: It’s a timestamp.

Agnes Obel: Yes. And I think it’s like that for everybody. 

For more info on tour dates and music, you can visit Agnes Obel's website here.

Christopher Markisz - Agnes Obel
Christopher Markisz - Agnes Obel
Christopher Markisz - Agnes Obel
Christopher Markisz - Agnes Obel
Christopher Markisz - Agnes Obel
Christopher Markisz - Agnes Obel

National Geographic Photo of the Day by Dub Sonata

My image "Under The Waves" (re-titled "Above The Clouds" by NatGeo editors) was published on the homepage of National Geographic as their "Photo of the Day" today, January 15, 2017.

This image and place is very special to me. I have been a frequent visitor to Mount Tamalpais since my very first trip from New York to Marin County in 2003. Now a Bay Area resident myself, I've spent the last 3 years living in a town called Fairfax, located at the foot of this unique mountain. Many days and nights I've explored this terrain, honing my photography skill set and building my portfolio, but most of all, enjoying moments like the one captured in this image.

This particular image was shot on an October morning just before sunrise with a Canon 5D Mark iii, on a 70-200 f/2.8 Mark ii lens at 200mm; f/14; ISO 50; 20 seconds, using a Lee Filters Big Stopper (10 stop Neutral Density filter).

2016 National Geographic Nature Photographer of the Year Competition - Shortlisted Entries by Dub Sonata

Two images I entered into the 2016 National Geographic Nature Photographer of the Year competition have been shortlisted as editor's favorites and subsequently published in several mainstream media outlets.

Regardless of who wins, being highlighted in such an esteemed competition is a win itself. Both images have been made available as wallpaper via download on National Geographic's website, here, and here.


Yuna @ Mystic Theatre, Petaluma, CA by Dub Sonata

I shot a very intimate Yuna performance at Mystic Theatre in Petaluma, CA, on Saturday night for I first heard about Yuna while traveling through South East Asia a few years ago (she's from Kuala Lumpur, Malaysia) and she's since become of my favorite current artists. This was my second time seeing her perform and she rocked it- I'm glad I got to shoot this show as opposed to the sold out San Francisco show on Sunday because I was able to get as close as I wanted to get the kind of images I like- more environmental portrait style as opposed to documentary music photography.

She performed her new single "Crush," (the record features Usher)  along with crowd favorites "Lights and Camera," "Mountains" and "Lullabies."


Yuna's opening act, Fool's Gold signee Bosco also put on an interesting performance that left me anticipating what's next for the Savannah, GA artist.


Yuna's new album Chapters drops this Friday on Verve Records.


Jadakiss & Busta Rhymes Live by Dub Sonata

I shot a Jadakiss / Busta Rhymes show last night at Resorts World in Queens. Shooting live music is one of my favorite types of photography, especially legendary artists who I grew up listening to. I was a little late having taken the train from the Bronx but I arrived just in time. Normally at this venue I'm competing with several other cameramen/women for the best points of view and elbow room but last night I was the only photographer with access to the pit thanks to Overdrive Productions. Both artists put on a great show, performing a multitude of classics from their repertoires. Jada went on first, followed by Busta who had his usual hype man Spliff Star on stage with him and eventually brought out fellow Conglomerate artist O.T. Genasis of CoCo fame, with DJ Self spinning in between sets. Check out some images from the night below:


Published: National Geographic by Dub Sonata

National Geographic published one of my recent images from Myanmar in their Your Shot story "Built to Walk," curated by esteemed photographer John Stanmeyer and Pulitzer Prize winning journalist Paul Salopek. The photo essay focuses on human migration and parallels their current project, the Out of Eden Walk, which "involves walking across the planet for almost a decade in the footsteps of the first human ancestors who trekked out of Africa during the Stone Age and discovered the world."

My image is of a boy carrying firewood down a dirt road presumably back to his home in Bagan, Myanmar. It was taken about an hour before dusk and the sun's light was just beginning to turn nice and golden. I began stalking rays of light, waiting for unsuspecting pedestrians to pass through them for photo ops. The village was shrouded in trees and therefor largely shaded, making such light even prettier and more dramatic. I suppose I was simply in the right place at the right time to have been able to capture this moment, as the boy entered and passed through the light in the blink of an eye.

A boy carries firewood through a lonely sliver of light back to his home in Bagan, Myanmar.

A boy carries firewood through a lonely sliver of light back to his home in Bagan, Myanmar.

I felt that this photo was a good fit for Built to Walk because although the subject isn't migratory, he's in fact doing something just as primal: walking in search of firewood- something the vast majority of people reading this entry only have had to do while camping during leisurely trips into the wilderness. For millions of people around the world, simple issues like obtaining heat and potable water are critical tasks that require lots of planning, working, and in this case, walking. Here's what National Geographic Fellow/Foreign Correspondent Paul Salopek had to say about the image:

Fabulous moment, Christopher. The chance of light--gone in an eye blink--is thrilling. A wonderful moment for Built to Walk, and a tidy caption, too.

You can check out the story here; there are some truly amazing images and I'm honored that mine was one of thirty selected out of over 10,000 submissions to be a part of the it. Congratulations to the other photographers and to John and Paul for putting together a great story. If you are a photographer and not yet a member of the Your Shot community, you should check it out. It's a great way to gain exposure, have your work critiqued and potentially be published in one of the highest regarded magazines in the world. I will be posting more entries on my most recent trip through South East Asia in the days and weeks to come so please stay tuned!



Back on the Left Coast by Dub Sonata

After spending the month of January in Thailand, Myanmar and Laos, I'm back in the Bay Area. It was a nice quick trip but it feels great to be home feeling inspired for a new year and a new body of work.