For the last field test, I took an approach for street photography to shoot exciting New York City. The test revealed that 1) the ultra-minimum distortion enables natural rendition just like a normal lens; and 2) the images don't look unnatural even though I shot freely without worrying about leveling. The next situation I wanted to try was “landscape photography.” And, I decided to “slash” nostalgic landscapes of Japan that have survived in harmony with nature since ancient times.

The 21mm angle of view is a little too wide for natural landscapes. Yet, because of the high resolving power of the lens and the sensor, as well as the reproduction of tone and colors unique to the Foveon sensor, the definition is as high as the one of medium format films. Although not many scenes can be shot with this very wide angle, I enjoyed the challenge of searching for the best scenes for the angle. The light compact body and a tripod for traveling facilitated shooting even on the precipitous and muddy location, and best of all, I could commit myself to shooting. And, this is the greatest characteristic of the dp series including the dp0 Quattro.

Except for the two images shot inside the forest, all images were shot handheld. Also, because of the low amount of light in early morning, I took most shots wide open. I would have hesitated to shoot in such a situation, but I trusted in the high performance lens and was able to document human activity in the image at the bottom. Thanks to the resolution high enough to clearly isolate the person from the background, the thin natural drawing lines, and the all-encompassing 21mm equivalent angle of view, the camera captures the photographer's point of view, field of vision, and even standpoint. What shall I shoot next? The field test of the dp0 Quattro continued.