Jan 162015
 

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Kolkata India – Shooting the streets and smiles

by Mark Seymour – His website is HERE

My photography travels have taken me to some of the most beautiful, interesting and diverse locations but I can honestly say this was unknown territory for me and before I left I really didn’t know what to expect. The little knowledge I had of India from its unique colour and spices to its religious and cultural heritage, the ornately carved temples to the lush landscapes, the fabulous history of the maharajahs to the well broadcast poverty, did not prepare me for what I was going to experience. Kolkata, once known to the English traveller as Calcutta, it is the capital city of the Indian state of West Bengal. Kolkata is the principal commercial, cultural, and educational centre of East India and is the third most populous area in India.

My opportunity to photograph the streets and people of Kolkata came from the Hope foundation and professional photographer Mark Carey who regularly runs a week-long training workshop that in addition to providing photographers like myself the most amazing opportunity to build their personal portfolios, but also enables the Hope Foundation to raise some important funding and their profile for their valuable work with the local children.

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Over 250,000 children are forced to exist on the streets and in the slums of Kolkata. 30,000 children are trafficked into Kolkata on an annual basis to be forced into child prostitution, child labour and child slavery. The Hope Foundation was established in 1999 by Irish Humanitarian Maureen Forrest to help these children.They provide support to over 60 projects including education, primary healthcare, child protection, children’s shelters, vocational training and drugs rehabilitation. HOPE has extended its support and now provides a holistic approach to development which includes working with the children, their families and the community in Kolkata.

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Joining four other photographers we prepared ourselves as much we could before heading out onto the streets and slums that form the living areas of the local people. I can honestly say that what confronted me was challenging and life changing. But what struck me most and what I believe I captured was the spirit of the adults and children as they lived their lives, photographing everyday moments. For me the power of the images was in the expressions on their faces, there was so much joy and laughter in such difficult circumstances.

Initially they were curious and taken aback by our presence as we wandered in and out taking photographs, but they relaxed and engaged with our cameras, smiling and welcoming us into their world. I can honestly say these people touched me in a way I was not expecting. Their sense of pride and joy was humbling.

Whilst we were there we were invited to a special event put on by Hope, a picnic for some of the projects they fund. They ate, drank, played games and enjoyed colouring activities.

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I predominantly photograph my street images in black and white, but colour is an important element of visually recording India. My photos captured the very young through to the very old, living, working and getting on with their daily lives. My favourite images are of the children at play, just like children all around the world, enjoying climbing, exploring and making up their own games. The difference was in where they were found playing, not play parks and gardens, instead railway lines and amongst the confined spaces between the homes and make-shift buildings.

I travelled all the time with my Nikon D4s and two lenses The Nikkor 35mm F1.4 and the 28 1.4 although some days I alternated with the 35 and old but superb manual focus Nikkor 58 1.2. All the shots were handheld, the light was generally really good however it got dark quite early which is where the Nikon D4s really coped well as I quite often upped the ISO to 8000 to let me continue shooting without flash. I’m a great believer that it’s not about the size of the camera more about how you conduct yourself, how you move around and communicate that gets you the best images.

For me I can say that with all my heart I will be returning to India and extending my experiences of this beautiful land of extremes.

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Jan 152015
 

2014 – My year with Leica

By Jason Boucher

Long ago I read Mike Johnston’s post on The Online Photographer about a year with Leica and it would make you a better photographer. I wanted to jump in at the time, but at that time couldn’t imagine spending that much on an “old” camera and it would force me to buy a new lens. I ended up buying a used Bessa as well as a used Voigtlander lens. While the original article suggested to commit fully, I committed to at least 1 roll of film per month. In that year I relearned so much about photography. It slowed me down. It made me intentional in my shooting. It also was my 1st experience with a rangefinder and frankly, the focusing became second nature and something I preferred over the split prism I grew up with. I was happy with my Bessa and my m43 digital and DSLR autofocus kits. That year with film and my Bessa really did help me.

A couple of years ago, things changed for me. I took a new job where I was not providing social content and digital image assets to the company I work for. This freed me a bit from photography as work. I could do photography for me and for me only. Coincidentally at the same time, my friend at my local camera store, National Camera Exchange, called me one day and said they got a used M9 in mint condition. I went in and held it in my hands. Wow. It was love and lust at first sight. But…cash was still a problem and I left instead with a used M8. Figuring I could give it a try and not loose much money. I had 1 M -mount lens at the time, a Zeiss 35 f2.8, I attached it and shot it almost exclusively for a couple of months.

Here are a few shots from my summer vacation and family visit in North Dakota with the M8

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It was a lovely set up and gave me a few images that I truly cherish. That old M8 has some quirky but special mojo. To be honest, it is still my favorite black and white, digital camera of all time and one day hope to own one alongside my newer Leica digital M camera. That missing IR filter does something amazing to skin and skin tones. But…I just could not handle the noise of shutter as well as the inability, at least with my single lens I owned, to shoot at higher ISO’s and in lower light, something I do a lot. So I put it away and shot it on special occasion.

About mid way through 2014, I took the M8 on a trip again and was reminded of both the experience and the glorious output. So…I sold everything else I owned including my new Fuji XT1 as well as the M8 and came home with a used M240. Over the course of the fall I slowly added some used M mount glass. I know much has been written about the M240 and how some folks prefer the M9 CCD sensor. I had some experience with the CCD with the M8 and in certain instances do prefer it, the overall shooting experience, capability as well as the higher ISO capabilities make the M240 an easy and preferred choice for me. It just works.

M 240 Images…

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My Leica M240 has become an extension of my hand as well as the most amazing creative tool I have ever used. I am no professional and shoot only for myself, but I am pleased with and believe the camera has in fact been a driving factor in changing my personal style and satisfaction with photography. I know that for each of us that we all respond uniquely to gear and many feel that Leica’s are a bunch of hype. I thought that too, but in the end, I feel that it did help me develop, grow and output better images.

So….Even though I really only starting using Leica cameras halfway through 2014, I still consider it my year of Leica.  Hope you enjoy them and my wish to all of you in 2015 is that you find that muse, that tool, that thing that inspires you and helps you develop your craft and art.

Cheers

Jason
www.imaginegnat.com

Jan 132015
 

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Italy, Transylvania, Austria with Sony A7s, Olympus E-M1 and Leica

by Neil Buchan-Grant – See all of his guest posts HERE

Hi Steve,

I thought it was about time to share with you some of the pictures I’ve been making over the last year. As ever my photography has been mostly made with the Olympus EM1 but following on from your enthusiastic response to the Sony A7s, I decided to trade in my A7 for one. I only use the Leica M 50mm Summilux ASPH on the A7s but its a combination that, although limited in application, has proved to be a great one.

I spent most of the summer at home in England enjoying the fine weather we had here, but I booked myself a week of shooting in a villa on Lake Como in northern Italy for the end of August. The village I stayed in was buzzing as George Clooney was in town shooting his latest coffee commercial just before his wedding in Venice. I then had a very fruitful week in the marvellous city of Sibiu in Transylvania. I was given backstage access to a fashion show there which led to some intimate low light shots made with both cameras.

This was made in the hotel Villa D’Este, in the games room, with a Sony A7s and Leica M 50mm Summilux, 1/160s, f1.4 ISO 1600 Model: Thorn

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Shot with the Sony A7s + Leica M 50mm Summilux in available light, 1/320s, f1.4 ISO 100 Model: Bethany Cammack

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Another shot in the city of Sibiu made with the Olympus OMD EM1 + Leica DG 25mm 1.4, 1/200, f1.4, ISO 200, available light. Model: Amalia Beksi

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In London this shot used only available light and was made with the OMD EM1 and the new 40-150mm 2.8 lens @ 45mm, 1/50s, f2.8, ISO 1600

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During a quick break in Vienna Austria, I was lucky to come across an exhibition featuring the work of a New York fashion photographer of the 1950’s called Lillian Bassman. I found her work incredibly beautiful. She was a contemporary of the likes of Richard Avedon and Irving Penn but for me she took things to new levels of artistic endeavour with her innovative printing techniques and her eye for elegance and drama. I’ve since bought her book “Women” and I now long to work with long-necked women and couture hats!

This was shot in the villa on Lake Como with the Sony A7s + Leica M 50mm Summilux, 1/200s f1.4 ISO 800, available light (grain added later in Silver FX) Model: Donutella Viola

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This was made in the villa on Lake Como with some continuous lights I had brought with me. Shot with the Olympus OMD EM1 + Olympus 17mm 1.8, 1/80s, f2.8, ISO 800 (grain added later in Silver FX) Model: Chiara Sgarbossa

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I made this shot in the garden in Como with the Sony A7s and Leica M 50mm Summilux, 1/80s, f1.4. ISO 100, available light Model: Jessica De Virgilis

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Another shot of Jessica made at the edge of Lake Como. It was shot at dusk with an off camera flash through a mini softbox on the Olympus OMD EM1 and the Olympus 12-40mm 2.8 lens @ 12mm, 1/250s, f3.5, ISO 200. The image is a composite of the original colour version and a black and white conversion, blended to give a dramatic effect. Model: Jessica De Virgilis

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Shot with the Sony A7s + Leica M 50mm Summilux in available light, 1/320s f1.4, ISO 100 Model: Bethany Cammack

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Finally the prospect of more dark winter skies was too much so I booked a week in the Spanish Canary Islands over Hogmanay. I had the new Olympus 40-150mm 2.8 PRO lens on loan, it just went back today..:( and I was dying to use it in good light. Its’s a lens which I would happily recommend to anyone with a micro four thirds camera, it’s bitingly sharp! By some ridiculously lucky chance encounter, I ended up shooting a UK model who was there on vacation. This gave me some great opportunities to test this new lens on something other than landscapes. Thanks again for the opportunity to share these pictures with your readers.

I took this shot backstage at the fashion show in Transylvania with the Olympus OMD EM1 + 45mm 1.8, 1/60s, f1.8, ISO 3200 available light, (grain added later in Silver FX) Model: Raluca Mararu

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This was also made at the same event with the OMD EM1 + 17mm 1.8, 1/100s, f1.8, ISO 1000, available light (grain added later in Silver FX Model: Rosalinda Mihaela Zadaroinea

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This image was made in the changing rooms with the Sony A7s and Leica M 50mm Summilux, 1/125s, f 1.4, ISO 1000, available light, (grain added later in Silver FX) Model: Cucerzan Adelina

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During my stay in Sibiu I was lucky to work with some of the models on locations in the city. This was made with the Olympus OMD EM1 + 12-40mm lens, 1/320, f2.8, ISO 200 using an off camera flash through a mini softbox (18”) Models: Amalia Beksi and Flavia Bodi

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Kind Regards
Neil

Neil Buchan-Grant
http://buchangrant.com
British Travel Press Photographer of the Year

A few more…

This landscape in Fuerteventura was made with the OMD EM1 + 40-150mm 2.8 PRO @ 40mm, 1/320s, f4, ISO 200 Polariser

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This image was made at sunrise in Fuerteventura with the OMD EM1 + 12-40 2.8 PRO @ 12mm, 1/2500s, f2.8, ISO 200, Polariser

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Another one in Fuerteventura this time with the Olympus OMD EM1 + 40-150mm 2.8 PRO @ 115mm, 1/1600s, f2.8, ISO 200 available light Model: Bethany Cammack

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This picture was made in Fuerteventura in available light with the OMD EM1 + 45mm 1.8, 1/3200s, f1.8, ISO 200 Model: Bethany Cammack

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This picture was made during a rehearsal of the English National Opera’s Nutcracker at the Colosseum in London. It was made with the OMD EM1 + 75mm 1.8 lens, 1/400, f1.8, ISO 3200 (grain added in Silver FX)

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This photo of people watching a firework display in Winchester was made with the Sony A7s and Leica M 50mm Summilux, 1/125s, f1.4 ISO 25,600

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Jan 082015
 

Me and my Fuji X100 (original)

by Jonas Luis

Hi, Steve!

I have followed your website for several years, now. I always look forward to new entries especially new reviews and daily inspirations submitted by photographers all over the world.

I started photography 8 years ago and was primarily a Nikon user. Then, came the Fujifilm X100. I just fell in love with the design of that camera. It reminded me of my Dad’s Kodak Retinette. So, I pre-ordered it and read all the online previews and rumors. I kept on waiting, even after production halted in the Fujifilm factory in Sendai, Japan due to the devastating earthquake and tsunami. After almost a year of waiting, I finally received my order. I wanted to use the X100 as my travel camera, not just as my primary travel camera, but my only travel camera. Of course, I had to contend with the built-in lens. I thought having a single lens would be liberating (if you have a DSLR with multiple lenses, you know the mental anguish of choosing which lenses to bring, packing, etc.) I sold all my other Nikon DSLRs but one, and traveled with my little X100. I also put-up a group pool in Flickr called X100rumors for users of the X100 camera and its future variants. Yes, coming from DSLRs, the X100 was frustrating initially: back-focusing issues, useless manual focus, camera freezing up, etc. (all of which were vastly improved and solved by firmware updates). Still, instead of traveling with an entire system, I now travel with “a camera”. In the beginning, the limitation of having a single lens bothered me. Soon after, it became a personal challenge to obtain the best image I can with that single focal length.

Before I took photography as a hobby, I usually buy souvenirs from my travels. Now, traveling with a camera, I am more inspired to bring home photographs of a place – photographs that I could truly call my own. Before traveling to a particular place for the first time, I would Google images of that specific place – trying to see note-worthy attractions, what tourists usually photograph. Then, I would choose which attractions to photograph, and imagine how I would shoot it in a way that probably nobody has ever done before (or at least not shown in Google images, Flickr or 500px). I usually take note of the predicted sunrise, sunset and weather on each day during my travel. As you all know, aside from the Golden Hour, a lot of exquisite images can also be taken in the rain. The following images were taken by my little X100 throughout the years. They were all re-sized for this website in Lightroom.

This first image was taken when I first saw the Golden Gate Bridge in San Francisco. I noticed that the other tourists had their cameras with zoom lenses and camera phones aimed only at the bridge. I soon spotted these array of coin-operated binoculars just in a corner, seemingly neglected – seating there while time and technology just whizzed by. They were probably fascinating and a novelty during their time, but now, just a relic. Yes, I was more enchanted by these shiny binoculars than the enormous man-made achievement that everybody flocked here for. I took a photograph of the binoculars, edited the image with Fujifilm’s free SilkyPix software and a free open-source software, Gimp. I ended up calling this piece, “The Old Robot”.

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Image number two: my girlfriend and I traveled to Chicago. I wanted to have a souvenir photograph of the “Cloud Gate” like everyone else who has been there. If you Google it, you would know that this piece of art has been photographed a million times. So, I decided to have our souvenirs by putting my X100 in a Tamrac Zip-shot tripod, attached an infrared filter and with a couple of Cokin neutral-density filters to the lens. I then set the camera on long-exposure. My girlfriend and I took turns photographing each other. The shots were very long exposures, so we would take a comfortable pose while the one photographing would continually wave his or her hand like a conductor in an orchestra – letting the other know that the shutter is still open and for not to move. The image was converted to black and white and edited in Lightroom.

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The third image is a photograph of the Smithsonian garden in Washington, DC using the same tripod and infrared filter. I was carefully composing my shot one afternoon, when a gentleman just sat down on the bench at middle of my frame and unmindfuly read the day’s newspaper. Irritation turned to inspiration when I started seeing the results on my X100’s LCD screen. To me, the resulting image just exuded leisure and relaxation. My office and I ended up gifting a framed print of it to a co-worker who recently retired.

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This photograph of the beach, was taken in Cancun, Mexico. I was initially drawn by the red color of the floaters. Up close, I was amused to see a beer bottle under the lifeguards’ tall chair. Looks like they had a little “refreshment” while at work. To me, the image says, “Chill out! You’re on vacation! You are not in the USA!”. This was edited in Lightroom.

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The fourth image was taken in Richmond, Virginia. While gazing up the monuments and buildings, it reminded me of the architecture in the Eastern Bloc during the cold-war era. So, I edited this image to have a utopian look in Lightroom.

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My foray into street photography is pretty limited. Unlike other photographers, it is hard for me to find something to photograph on the street, that to me, seems worth-while. Maybe, I don’t have an eye for real street photography, or maybe, because of my little experience with a film camera as a child, that I try not to waste a photograph unless I see a potential story in the picture. In my mind, I keep on judging a potential photograph as just a regular snapshot, or a potential story that is worth telling. In this case, my girlfriend and I were crossing the street in Chicago, after a late dinner. I saw this cyclist coming towards us. It was close to midnight, it was cold, it was raining and I thought, “Why is this guy out here on such a miserable night? Is he going home? Going to see his lady, perhaps?” Granted, he could just be a regular commuter but I can’t sometimes help making up crazy stories like these. So, without thinking, I just stopped in the middle of the street and took a photograph while the cyclist and all the cars are rushing towards me. All the while, my girlfriend is shouting at me to cross the street. Until this day, whenever I look at this image, I still wonder where this night cyclist was heading to. This image was edited in Gimp.

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Image seven is a photograph of the outdoor public market in my hometown in the Philippines. During some days of the week, there is a public outdoor market, and vendors are there as early as two in morning, preparing their wares and produce. I took this photograph around sunrise. Now, I don’t know any of these people. I was only walking around taking photographs. I like this particular photograph because when I took it, I was in the middle of the crowd. But as you can see, I was nothing but invisible to everybody. Everyone had their own stance, their own gaze – as if actors on a stage and only I, could notice the play unfolding. Almost like a Renaissance painting. Edited in Lightroom.

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This colorful image of lights was taken at Disney World. I took this hand-held with the X100. I was surprised when I opened this image on my computer because it already looked perfect, straight out of the camera. The X100 has a great low-light capability. I converted it in-camera from RAW to Velvia. I only increased contrast a very tiny bit in Gimp. But you are hard-pressed to tell the difference between the edited from the original.

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This next image of a crashing wave is when my X100 nearly got nearly got killed. I was in Pebble Beach in California. I was trying to take photographs of incoming waves with a small tripod. Because the X100 doesn’t have a zoom lens, you really have to keep the camera a little close to the water, the tripod was set low and and I was almost seating on the rocks. Anyway, while composing my shot, I noticed a rather large wave coming in. I was quickly debating if I should go back and save my camera, or hold my ground and maybe, will have a helluva of a shot. I decided to hold my ground. So, as soon as the wave came crashing in, I took a single frame then immediately, raised my camera with the tripod over my head. My shorts got wet, but that little gamble paid off. Image edited in SilkyPix.

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The last image was taken in Baltimore, Maryland during one summer. There were a bunch of kids playing and running around the fountain. Like in a playground, all these kids were all chasing each other and playing despite being practically strangers to each other, all but these two boys. I saw that they were in their own little world, brothers – probably twins. Somehow, it reminded me of my brother and I, during my own childhood. So, I edited this image in Lightroom in a way that invokes a sense of nostalgia.

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All these images were taken by my beloved Fujifilm X100. It was only more than a year ago, that I upgraded my computer that I was able to embrace Lightroom and Photoshop. For more than five years, I was using a free program called Gimp and also the SilkyPix software that came with my X100. To me, having the X100, limitation became inspiration. Could I have made these shots with a DSLR, given the chance? Most definitely. But I selected a particular tool and made full use of it. Even my choice of editing software is of no importance. Coming home from a travel, I usually personally judge my photographs if they are worth the ink and paper they will be printed on, if not, I usually not bother sharing them. Years ago, I would spend more on gadgets and lenses. Now, I’d rather spend on printing and framing and decorating the house.

Finally, I continually strive for the elusive “6-second photograph”. If a stranger is able to look at a photograph for six seconds or more the first time, then I would consider that as a very successful photograph. Have I tested that silly theory? No. But it’s a lifelong goal that keeps me on clicking.

I hope I can inspire all of you, especially to those who are just starting photography, that regardless of the camera that you have, regardless of the latest editing software, the most important thing is your own vision and the stories you can tell. Only after extensive use of your camera that you will develop your own style and personal inspiration in photography. Even in music, the student plays somebody else’s music in the beginning. Only when they feel comfortable and proficient with their own instrument, when they usually feel inspired making their own tunes. Gadgets, extra lenses and accessories are fun, but most of the time, they just distract you from your own imagination.

Now, with my X100, would I be upgrading? Maybe not anytime, soon. Now unless… Fuji comes up with a X100T in graphite silver? :)
Keep on clicking!

Jonas Luis

JonasLuis.com

Dec 272014
 

Perfect and Special Shots

by Dirk Dom -See a few more posts from Dirk HERE

Hi!

I’m a mechanical engineer, specialized in machining. I never had any kind of art training. I made the switch from technically competent to artistic photographer four years ago. I’m sorry if that sounds like bragging, but to me the switch was very obvious: my productivity increased tenfold, I discovered images everywhere and my images got different. I think a lot about my work, and I put out the following to check out if this makes sense.

I wonder what impact my prints have on other people, who just see them. People get such a barrage of extremely beautiful, interesting and spectacular images during the 40,000 photorealistically engineered images they get on TV commercials every year that it’s little use trying to compete with that with just your own photographs. For me, every print is a work. I searched for it, waited for it, discovered it, shot it, went back for it, processed it, printed it, etc. To people, it’s just one of a hundred thousand nice images. Maybe I should go for images with more than just beauty. I got sent thirty images from a friend, all supposed to be the very best in the world, you know one of these typical things that get sent on the Net. Four or five I considered interesting, these had something extra. I looked at ten years’ worth of winners in a big photo contest and four images appealed to me. I think the shots I selected now for my spring portfolio all have something extra, but other people may not think so. Perfection and something extra aren’t the same. Perfection does get boring: I got the comment with my former shots that, yes, again, all just perfect and extremely beautiful, but all the same and boring.

I did a show in the Arboretum in Kalmthout, three months, with twenty-three 2 foot 8 inch prints, flowers and insects. All extremely beautiful images, but without something extra, I now see. No feedback at all. People couldn’t care less. When I took these and processed them, I wasn’t at the stage I’m at now yet. A year ago I almost stopped flower photography because there was no challenge in it anymore. I started doing flower shots with something extra this spring, and I think that now, I’m on the right track: the challenge is back.

Here’s what I mean by having a perfect shot and a shot with something extra:

This is a perfect shot. It can’t get any better, but there are thousands and thousands like it. To me, taking a shot like this is routine and boring. Put me anywhere in a place with flowers and I’ll make twenty like these, all perfect, without any effort.

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This is flax. I simplified the shot. Very beautiful, perfect. Although nice and pleasing, there are thousands of shots like this.

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This is a shot with something extra. The background is not what you expect, the framing is different, it reads from right to left and the middle flower isn’t perfect. Discovering it while shooting is a true surprise and the outcome is, too. I now know how to search for such a shot, I discovered it two years ago.

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Shots like this one above are extremely rare, I have maybe ten of these, but it’s also gotten routine.

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Here’s another one:
Who’d shoot a stupid green flower which isn’t perfect? Yet it has a great impact to me.

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An insect shot I consider interesting. Such images don’t just happen. You need to discover your subject. This shot took me ten minutes of gradually improving until I got it right.

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My nuclear blast images fall into the interesting category I think, but they’re so rare, I shoot max. one or two a year and I only figured out how to discover and make them reliably four months ago. But here we get into another problem: although this image is made in the forest and only had minimal postprocessing, no one is going to believe that. It’s instantly dismissed as a Photoshop gimmick and so it’s worth is zero.

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Of course I do photoshop gimmicks. They are too much fun!! This is an image of a little seed and a flower. I call it “Alien Encounter”. It reminds me of the “Doomsday machine” episode of Star Trek. I think this is an interesting shot. It took me many minutes to discover it after I saw the plush.

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Perfection has its price. For four years I shot hamamelis in February, I took hundreds of shots, searching like mad amongst the hundreds of thousands of flowers, all nice, maybe close to perfect, but boring.
Then this shot happened to me:

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This was what I had been striving for. I never shot Hamamelis again.

But maybe I shouldn’t go for the gimmick effects but for the truly exceptional:

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I’ve been shooting this kind of flower for thirty years, until I discovered this one in deep shade in the forest, with just one petal remaining. That was four years ago. The shot took no effort at all. Only at home I discovered what I had. I haven’t bothered shooting this flower again because I can’t top it.

I’ll never make an image of this simplicity with this kind of light again. I consider it the best I’ve ever made.

There is no info about stuff like this at all on the Net. I don’t know where to go to get tutoring on such things. I really wish I could do art school, but that ‘ll have to wait until I’m retired.

I realize I put myself wide open to sarcasm by calling my own shots beautiful and interesting. So be it. What I’d like to know is if I’m on the right track here. What do you think about perfect and interesting shots?

Bye,

Dirk.

Dec 222014
 

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Sixty Weddings with a Leica M 240

by Joeri van der Kloet

Hello to all of you! Thanks Steve for giving me the opportunity to share my thoughts with your readers again. I’ve posted a couple of times on shooting weddings with a rangefinder, but I thought it would be nice to give you an update.

I’m quite sure I’m a lucky person. 2014 was a crazy year and it’s not over yet. I just kept getting emails from people who were getting married and asking about availability. It was a very busy, yet immensely rewarding year. With an ever-increasing competition among (wedding) photographers this is something I don’t take for granted. I have found that staying true to the way I work does pay off. I don’t stage anything besides the group portraits and I shoot real moments only. Just snapshots of beautiful moments. Nothing more, nothing less. Sometimes my clients tell me it felt like I was just one of the guests, who happened to be there with a funny little camera. The M helps in this approach with its modest proportions, but behavior is just as important. I wear a suit if that’s the dress code, I mingle with the other guests and even my camera bag fits in. It may seem like just common sense, but you’ll be surprised how often this is forgotten.
Besides my documentary wedding work, the number of customers for my workshops are growing. Lots of rangefinder users are interested in the way I use my camera and they’re especially interested in my focussing training techniques. I really love this work, because I can help people to get more fun with their cameras.

In the last two years I’ve shot 60 weddings with my Leica M240 and although I already reviewed this camera here before, let me give you an update after many hours of shooting.
After having shot around seventy weddings with my M9s, a few years ago, I had gotten used to this camera. While I was on a four months journey around the world, I heard about the new M and I was quite excited, but also in doubt. A CMOS sensor? Liveview? Video? Seriously? Like most of you, the first pictures we saw that were taken with the new flagship were somewhat disappointing. Soon after that, the CCD vs CMOS discussion took off. And we’re still having this discussion today. Of course I also read about red skin tones, the lack of ‘crisp’, ‘pop’ and ‘3D’. However I also read that the M240 featured 2 extra stops in ISO sensitivity, a more silent shutter and a better responsiveness in general. For me, the increase in ISO sensitivity was enough to spend the 6300 Euros and start working with it.

The number one reason for me to work with the M240 instead of the M9 is ISO. I’ve really needed those two extra stops for low light circumstances. Even with a fast 35/1.2 I have used the highest ISO setting quite a few times. Of course the wedding receptions are the hardest moments to capture. As a rule of thumb I can freeze people who are dancing at 1/90th and at 1/60th, even though it will start to get slightly fuzzy, the look is very moody. People that are dancing slowly can be shot at 1/15th and still be sharp enough. By the way, sharpness is never my main concern. Emotion has top priority, then composition and only then sharpness. Flash is no option as far as I’m concerned, since I try to be as unobtrusive as possible. So for ISO only, I’d choose the M240.
Next is overall responsiveness. The M9 has a somewhat gritty shutter button, while the M240 has a clear two-step shutter button. The shutter itself is more silent and lacks the whining noise of the M9. Button wise, the M240 is more responsive, although I have heard people complaining about the start-up time. With my M, I have no problems with that and whenever I use my M9, it feels slower to respond on the buttons. Handling wise, I prefer the M9, simply because it significantly lighter. Don’t underestimate these 100 grams. You will notice the difference.

Much has been said about the M9 screen. Yes, it’s a joke, but it never troubled me. It was good enough to browse through the menu, check my histogram and check composition. If you’d want to check for sharpness, forget it. Though the M240 is not very good for checking for sharpness either (just compare it to the 5D3: now that works!) it’s a lot better than the M9.
But then the menus: I prefer the M9, simply because it’s more intuitive and easier to work with than the M240. Also, setting the ISO on the M9 triggers a clever menu: by clicking down you’ll increase one stop and by clicking to the right you increase your ISO with ⅓ of a stop.

Then there is the live view. First I thought I’d never use it on the M240. When I started using it, I discovered some benefits of this system. It always works, no matter how dark it is, whereas the EVF might get so dark that it’s almost too hard to focus. Live view also provides a way for very precise focussing. The drawback is that live view is very laggy. For me, during action it’s unusable, but for more static subjects it’s great. It’s also great for checking if your rangefinder is still calibrated properly. I do not use it a lot, but I wouldn’t want to miss it in a next M.

Battery life of the M240 is very good. With my two M9s I used to carry six batteries to a wedding. Now two is enough. So that compensates for the increase in weight of the camera itself. Sort of.

Issues then. The M9 has had quite a few and one more recent issue can be added to the camera: corrosion of the sensor. While the M240 has had its share of bad luck, it seems to be problem free at this moment.

The most important feature of a camera however, is its output and that’s what most people are talking about. It’s the CCD versus the CMOS. Yes, the files are different and everyone had to get used to these new files, myself included. Technically, the M240 files are superior: they have more dynamic range, less noise and they’re just more flexible. The issue with the skin tones has been fixed, though it never bothered me much. The M240 needs a little more punch than the M9 files: increasing the contrast a little is usually a good thing. For me, I’m really happy with the output the M240 delivers. Of course, you’ll have to shoot in raw, just like with the M9. Where the M9 really shines is base ISO. Those images, where light is good and focus is spot on are almost unbeatable. But as a pro I don’t shoot on base ISO that much. I don’t get to choose the light on a wedding and often it is dim, or very contrasty. So what do I want? Low noise high ISO and flexible files with a good dynamic range. And that’s what the M240 delivers. If you’re shooting in other circumstances and you don’t need to make any money with your camera, I can perfectly understand why you’d prefer the M9 over the M240. In fact, I still have my M9-P which I will keep as long as possible.

Maybe you don’t even need to make a choice between the M9 and M240. When I switched to the M-system, the M9 was the only full frame compact camera body in the world. Lots has changed. Sony has made the full frame compact system camera accessible for a much bigger group of people with the A7 series. I have seen many great reports about the A7 and A7s. Steve here rated his A7s as his number one camera! On the other hand: DSLRs have acquired features that make them more interesting for the documentary approach as well. The Canon 5D3 for instance, is just as silent as the M240 in its silent mode. Also, its AF-system is a lot better than the 5D2, which makes the 5D3 a pretty good smallish, silent camera for the documentary wedding pro. For me, I just like the way the M-system works with its simple lay out and its intuitive controls. I wouldn’t want to change that. Also, my M is my best marketing tool ever. Whether I like it or not, it sells.

So, in conclusion, can we finally say which camera is better? No, we can’t, because image quality should be one of the most important factors in deciding which camera to buy and this image quality can’t be described in numbers and sometimes not even in words. I just wanted to explain why I still prefer the M240 over the M9 after having read the renewed CCD vs CMOS discussion. Whatever camera you buy, get the one you can afford and just shoot with it. That’s what they’re meant for.

My wedding website: www.luta.nl
My workshop website: www.joerivanderkloet.com

and now, the photos!

1 Magical moment. The couple started dancing on our tiny boat on the Amsterdam canals. The sun came through and I just knew I had the best job in the world. With 28 Elmarit.

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2 The dance. They just kept dancing on this wedding and everybody had such a good time. Very low light, but I think I nailed it on 3200 ISO on 1.2 at 1/125th with the terrific CV35/1.2.

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3 Bride getting ready. I love to use whatever there is available for natural framing. With the small but very good 35 cron.

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4 The car. This bride just loved the classic Porsche 911 the groom arranged for their wedding. And it even worked with the dress. Shot with the CV35/1.2.

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5 Intimate moment during one of the speeches. I’m constantly looking for these moments. With the 50 cron, my workhorse.

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6 Waiting for the groom. While the bride was peeking through the window, this dog jumped on a chair and started peeking as well. I couldn’t have been happier of course. CV35/1.2.

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7 The vows. This was an intimate outdoor wedding and the couple had ordered birds made out of paper from Japan as a styling detail. I decided to shoot the vows through this curtain of birds. With the tiny 28 Elmarit.

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8 Father and child having fun. Shot at 6400 ISO at 1.2 at 1/60th. Is it sharp? No, but it conveys the message. CV 35/1.2.

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9 Bride and groom and umbrellas. It was a rainy day and the couple moved from the wedding venue to the next venue. I liked this scene and shot it quickly. With the 35 cron.

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10 I noticed this little moment just after the ceremony between the bride and her daughter. Shot with the 50 cron.

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11 The moment after the kiss. Couples relax after all the offical things are done and you can tell by just looking at their faces. WIth the 28 Elmarit.

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12 Soap and sunshine. During the ceremony it was dark and rainy, but when the couple got out the weather had changed completely. They were hugging each other and I liked this scene with its warm colours and all the reflections on the bubbles. With the 28 Elmarit.

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13 The laugh. While returning from a group shot, the groom (probably) told a joke and the bride laughed out loud. I like the flare and the soft light as well. With the 50 cron.

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14 The cake. This lovely couple just had a terrific day and I love the little moment with this interaction between the newly weds. With the 50 cron.

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15 The look. The groom was listening very carefully while the bride was secretly looking at her husband-to-be. I love, love this light and the way the 50 cron renders the scene.

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16 Magic light. When the couple walked towards their car after the ceremony they literally stepped into a ray of light. Smooth, warm, just beautiful. And the 50 cron has no trouble in rendering this scene.

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17 Boy and car. When the groom went for a cup of coffee, the kid sneeked in the car, an Audi R8, and pretended to drive the car. I could hear him imitating engine sounds. With the 35 cron.

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18 Smooth. The CV 35/1.2 is not just a low light lens. It’s also suitable for getting this smooth look. I’m not sure who the bride was looking at, but I just like this shot.

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19 Friends. Well, this one doesn’t need any explanation. Best friends captured with the 50 cron.

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20 Getting ready. I like the expression of the bride and the soft light from the window. Shot with the 35 cron.

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21 The kiss. An intimate wedding with only twenty guests. Being able to mingle with guests is even more important than at big weddings. With the 35 cron.

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22 Almost ready. After many years of shooting I’m still surprised that my clients give me the opportunity to capture all these delicate moments. Here the bride, probably quite nervous and so beautiful in the last moments before she’ll meet her groom. With the CV 35/1.2

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23 Light from above. This couple lived on a boat with windows in the ceiling. When the groom stepped on board, the bride heard him and looked up, trying to get a glimpse of him through the window. Shot with the 35 cron.

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24 The quote. While we were heading out for a boat trip we came across this quote and I quickly focussed on it. The groom turned his head to read it and I took the shot. CV 35/1.2.

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25 Kiss me honey. The bride reaching for a kiss in a train somewhere in Rotterdam. With 28 Elmarit.

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26 The first look. It was very narrow and I didn’t have much space to shoot the couple during the first look. Luckily, there was a mirror. CV 35/1.2.

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27 Father and bride. Long after the wedding, this bride told me that this picture made her father cry. I’m still honoured she took the effort to tell me that. Shot with 50 cron.

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28 Kiss and dance. Working with a rangefinder in low light conditions can be hard, but also very rewarding. The couple loved this shot and so do I. CV 35/1.2.

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Dec 182014
 

The Joy of Shooting Photos

By Dennie Mullete

My name is Dennie, I’m from Bandung, Indonesia. And sorry if my English not so good …

When the first time I found this site, I was searching for a pocket camera with good high ISO performance, and I found Steve reviewing the Olympus PEN E-PL1 … I so impress with the result, even Steve said that E-PL1 has a  really good jpeg engine that time and I was looking for a camera like this from the start… But I still did not know anything about aperture, bokeh, fastlens etc. I’m blind at that time, know nothing about photography. What I know is high ISO is needed when you want to take pictures without flash in low light, so I bought it …

Fast forward, now I have a Canon 6D that really help me when shot low light, and I keep telling myself I’m not a photographer, I’m just taking pictures :) … but I must say … sometimes … the joy, the fun, the mood, the inspiration is the main control about the picture I wanna take, that really takes effect to the result … coz I have the time when mood is down, no joy when shooting … I have 1 or 2 hundred frames but nothing to be keeping … that was a big hit for my photography experience … and I say … I would pick Olympus pen E-PL5 rather than my 6D … just because the joy … the fun to use … I’m not say about the IQ, I’m just saying about the “fun factor” that really take effect of the result … :)

Enough said. I hope u like my pictures and thank you Steve, you are really my Inspiration … for about 3 years now … and I am waiting for your Sony A7 mk II review. Cheers

It’s taken about 10 PM, really dark, at local restaurant, light source from the light garden, and the back is city of bandung, really nice place, the air a bit freezing, the place called “Balakecrakan”, sundanese language, mean “eat together-nes”, 35mm f2 @f2, ISO 12800, 1/60, develop from RAW

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Taken in my friend place, just hang out, and try snapshot with one source light, the hanging light on the middle room, so i tell my friend to dress like a mob … do u think it’s look like a mob ? :) 35mm f2 @f2, ISO 6400, 1/100, develop from RAW

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 “Bandung Caang”, sundaese, mean “Bandung Bright”, spend time with family, is something I must do, family … all the work I do, all my effort, is for my family, so what do the best beside hang out with family ? :) 85mm f1.8@f2, ISO 3200, 1/160 Straight JPEG

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See my facebook https://www.facebook.com/denie.mullete

Dec 152014
 

Alzheimer’s photo project using d800 and Sony A7/A7s.

By William Yianni Binks

Three years ago I took a photo of my Yiayia (Greek grama) on her 75th birthday.  The photo didn’t do so well with the family when they noticed quiet abruptly that her eyes were NOT even in the final photograph.  I explained that the photo was purposely edited as such to create more of a visual reconstructing of the viewer’s grandmother, not only my own.  Without the ‘windows’ to the soul, the viewer could interpret whoever they felt would purposely fit the image.  Suffice it to say; my family understood the art, but still reached out for a photo of her with her eyes in it- I sent the raw photo..

I wont give away too much on my project, nor any images from the actual internal project itself here. Although I thought it would be of interest to elaborate on the projects roots briefly and some of the photo’s that had been taken leading up to the project. After the infamous birthday photo with no eyes, as I am sure it will be remembered, I instantly got the idea of taking similar photographs of her on her following birthdays.  I would push this further by trying to incorporate more elements of family into the scene, and always try to take them in the same place- her knitting corner (Where the first birthday photo was taken).  I was always fascinated with an image I had taken in Victoria, British Columbia of three generations of one family within one photo, but placed in a triangle and in different levels of focus.  (If anyone knows me you’ll know strong cinematic images and even further those, which contain visual triangles, are my go to style).   A funny background story to this photo is that I didn’t realize the figure in the top of the photo was the little girls mom until later at the hotel where I found all three in a photo moments prior linking hands swining the little girl in the middle as they walked to the steps where the final photo was created.

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Anyhow, this image got me thinking about ways I could incorporate this sort of triangle and elements that felt almost apart of my YiaYia adding a feeling of independence within the isolated corner she knits.  As her Alzheimer’s worsens, the fact she still can knit, and sometimes in complicated ways (intricate hat’s etc) has always left me intrigued.  It is truly incredible how the mind can hold onto certain delicate details regardless of the forces at play.  As for the triangle, you will find it in multiple images from the set, first implemented below in a photo of her. The isolation of her corner will become apparent all but within one photo- from her 77th birthday.  In this photo only, the outside world comes into play, with my mom reaching in with the birthday cake. Now, where is the triangle you’ll say? Well, look a bit closer and in small detail behind her my brother and are I seen in baby photo’s. There is it, the 3 Generations within one photo.  So, I had my triangle and my overlapping birthday photo’s of her, which could become a set in themselves, but I wanted to dig deeper. It was at a film shoot three years later after the original ‘photo with no eyes’ that I finally got the spark and push I needed..

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I was talking to a man at a pop up shop taking place in a photo gallery I was filming at.  The man seemed to know his stuff about photography so we started talking about what we shoot. Eventually I ended up showed him some of the photo’s of my Grama I had shot on her birthday’s from my phone and he was beyond interested.  I further found out he was in fact the owner of the gallery itself!  I had to laugh at the thought, here I am interested this man knows photography so well all the while I’m in his studio.  I thought up the idea on the spot about continuing the project and morphing it into something even more contained. The spark from the family triangle photo along with her birthday photo’s got me thinking.

We talked and the idea came along that a project enclosed within a certain time period such as the birthday photo’s would lead an interesting visual piece.  I would shoot photo’s of her throughout one month showing her knitting habit which has now engrossed most of her days.  I felt this would also be an interesting view on a disease, which is growing in popularity sadly, and in a way a project that, just like the birthday photos without eyes would again become relatable to many.  The man told me to push the project and if it worked out come back to him with prints to perhaps show in a gallery one day.  I lit up, I finally had my next art project.  More so even then the photographs it would become something I would always look back on, doubling as important family photo’s.  More so even though to personal importance it could have a larger reach and spread awareness of this disease on memory.  The entire project felt as if it could come full circle in its meaning, acting AS a memory item (photographs) and about something which takes AWAY the memories themselves (Alzheimer’s)

I won’t say too much more about the project except I have finished the photographs and will be editing them soon.  They contain various daily portraits, as well as documented photography of the incredibly large amount of knitting taking place within the chronological time frame of the shoots.  The project, if successful will speak too each individual however they like, but at its heart it will be a combination of memory, family, disease, generations and the inevitability of old age.

Here are some of the photographs that will accompany the project, some side lining the display and other’s actually being incorporated into the timeline…

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Thanks guys:)
All the best,
William Yianni Binks

(As well, the blog can be seen with how I added the photographs here on my site! http://blackcasemedia. wix.com/wbinks#!12-Days-In- October-Alzheimers-ongoing- photography-essay/c2su/ 2DF6C499-2044-4A2C-8F4F- 578F2F93A495)
The flickr page for this project is here: https://www.flickr.com/photos/willbinks/sets/72157649285622997/

Cinematographer | PhotographerWeb | www.blackcasemedia.wix.com/wbinks

Dec 022014
 

Character Style and Mood in Photography Part 2 – Hints of Hidden Things

By Peter Maynard

See part 1 of Peters Report HERE.

Thank you all for your positive response to my first essay on character, style and mood in photography. As I edited that article it forced me to think about why I adopt the approach that I do to photography, so apart from anything else it was useful as a means of clarifying my own thinking on the subject. For those who read it you may recall I talked about my belief that we should each search for an approach to image making that reflects our own personality and preferred personal style. I also argued the merits of deliberately using mood and leaving something to the viewers’ imagination so they can interpret the image in their own way.

I had a number of images that I had considered using in the last article but did not in the end use due to considerations of length, so I thought I might as well prepare a part 2. Maybe it will help inspire others to try something different in their own photography. For those of you who have had a look at my Flickr site you may have seen that I have tagged photos “life in shadows”. This stems from my film shooting days when I was largely shooting monochrome. It seemed to me that much of photography was about representing life using shadows and light. Hence – “life in shadows.” I have headed this article “hints of hidden things” as it seems a little more relevant to the theme I have been writing about – the use of mood, the value of the power of suggestion and the idea that leaving some things to the viewers’ imagination can actually help improve an image. For those who have expressed interest in an article on post processing, I have not forgotten. Subject to Steve’s agreement, I will prepare an article for future publication. By the way I realize that by now some of you will have had a peek at my Flickr site so some of the following images may be familiar to you (if so, my apologies).

The first image is a favourite of mine although I am not sure why. However, I do know that what appeals to me has something to do with the presence in the image of the steeple of the old clock tower. Other than this it is nothing more than a jumble of buildings reflected in the window of another building. I suppose it does suggest something about the nature of change and progress or perhaps about the permanence of some aspects of the past. And of course it says something to me about my home town.

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Some images appeal to me just because of the patterns that they contain. I have to admit that I love abstract photos. The following two are examples of pure abstracts. The first is an abstract take on a building reflected in the window of another building. What makes it in my view, is the distortion that the reflected image is given by the slight misalignment of the panes of glass and the subtle colors.

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The second of these demonstrates why sometimes you just have to be thankful for the opportunities thrown up unexpectedly when you have a camera in your hand. If you look closely this image is nothing more than an office shot through a window. But with a boost to contrast in post processing and a little added glow, it becomes something that reminds me of an abstract painting by a modern artist like a Kandinski or a Miro (all those lines and blocks of colour). To be honest it may not appeal to everyone but I just liked exactly that – the lines and angles together with the colours. I guess the message is always have a camera with you if you are serious about photography. I know I feel naked without one.

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While on the theme of making the best of opportunities that present themselves, the National Gallery of Victoria in Australia has a water wall the front of the building – a wall of glass with water perpetually flowing down it. It’s a gift to photographers like me who love images that give a slight twist to reality. I especially like the following image for the relationship between the people in the photo as well as for the two eye-catching splashes of red. You just can’t plan these things – but you can anticipate them. I knew this would be a good spot for photos and so I hung out on an interior mezzanine floor overlooking the wall for perhaps an hour while snapping the occasional shot as images presented themselves. I knew that sooner or later something would turn up.

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And this image made in the same place on the same day seems to work too, although it is very spare in terms of its content. Once more, a splash of red works to heighten interest.

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With one exception, the following six shots are all similar to many of those used in the last article – people in one of my favourite settings – enjoying themselves with friends over a coffee or a meal. (Hint, if you are nervous about street photography it is easy to get natural and engaging photographs of people when they are concentrating on their friends or food). To a greater or lesser extent they all demonstrate the ideas I talked about in that article, especially the ideas of deliberately using blur, distortion and shadow to create mood and to encourage viewers to make their own interpretations of the images. All of these have involved some post processing (mainly cropping, tone, colour etc.) to bring them to their final state, but to a large extent what you see is what I saw (i.e. I have not set out to create something new – just enhance what was already there).

The third image in the series is well out of focus. Here is another hint. If something goes wrong, do not be too quick to delete photos that have not turned out (which often happens when shooting candidly in streets). I was using autofocus, which I think focussed on the reflections, not on the main subjects. Kismet! For some reason this worked better than it might have had I focussed correctly. I often find it is possible to come back, perhaps months later, to photos that I initially rejected and find something interesting in them. This was one of those.

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I will end this article with one final photo which is an example demonstrating what can be done with a more extreme approach to post processing if you are of a mind to do so. This image was actually taken on an aircraft when flying off to an overseas holiday a few years ago. I thought the photo was quite good, helped by the quirky pose of the subject, but the setting was boring. At a loss to what else to do with it and as an experiment, I tweaked the colour (lowering saturation), the tone (increasing contrast and adding a vignette), the sharpness (adding some blur and glow) and also added a semi-transparent texture overlay for no better reason than I was interested to see what I could make of an image that I thought to be good but which had a background which intruded. Although you would never know it, the halo like glow is light entering through the plane’s window.

I full well realise that some think this amount of post processing is “cheating” in some way, but my view has always been that particularly in this age of digital imaging, image making is about the end result – not how you get there and so as long as you are honest about it that’s OK. Besides in this case it is a way of using a photo that otherwise may not have been a keeper. It is another example of how you can take a more or less boring image and then add elements to invest it with a character that has more interest. I will pick up on this theme in a future article in which I will provide a few suggestions and examples of how to improve basic images by post processing that takes you beyond the usual processing that involves little more than reducing digital noise, sharpening etc.

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If you feel so inclined, please visit my Flickr site.

https://www.flickr.com/photos/life_in_shadows/

Or you can visit some I have placed on Pinterest for a more succinct overview of some of my images.

http://www.pinterest.com/peterm1001/

Nov 242014
 

Character Style and Mood in Photography

By Peter Maynard

Adelaide, South Australia

Hello Steve. Allow me to open by saying thank you for running this site. It is one that I visit regularly for inspiration and information. I thought it was time I went about trying to inspire by providing some thoughts on the importance of character, style and mood in photography. It is a wee bit lengthy but I hope it’s worth it, so here goes.

In photography, many of us start our journey by studying and learning from the masters of the art. But my belief is that many of us will eventually develop a desire to create their own personal photographic style, rather than just copying others. This requires experimentation, learning, effort and creativity. In my case, I approach photography as an art form, not just a mechanism for documenting and recording events. This more expressive approach influences my work greatly and my ability to use photography to express myself artistically is the thing that constantly challenges, engages, enthuses and energizes me. Oh, and did I say frustrates?

What really counts for me is the creative process itself and ultimately what is important is whether I like the resulting image. I understand that not everyone approaches photography in this way and that is fine but this is my way so it is all I can tell you about. What this article is about really is the need for photographers to develop character and style in their work and in particular I would like to demonstrate the role that mood can play in image making as a part of this.

Although like many photographers, I started “serious” photography by shooting black and white, my preferred style now most often involves using colour because I find it lends itself better to artistic interpretation for my type of work. This is not invariably the case though – I like to let the image “decide” if it wants to be in colour or in monochrome, if that makes sense. It is a simple fact of life that some images work best in monochrome and some in colour. Part of our job in image making is to work out which is which. So I usually shoot in full colour then convert later if needed. Here is one where monochrome seemed to work better to convey the feeling I thought the image was crying out to convey – solitary, thoughtful, a little gloomy. I can’t say it’s a perfect photo – it has too many blown highlights for that, but it has mood in bucket loads and that is what I wanted.

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I always feel that photographs are at their most interesting when they require some degree of interpretation by the viewer. And as I have already hinted, as much as anything this is about creating mood in images rather than just capturing a scene accurately. It is about what is suggested in the image more than what is recorded. My personal belief is that this kind of photography is at its best, not necessarily when the images are technically perfect, but rather when they either capture or create a mood that “speaks” to the viewer. of course a viewer may interpret my photographs as having a very different mood or message from the one I intended, because of course the viewer will interpret the image through his or her own eyes and own experiences.

Here is a colour example I happen to like very much. Like many images that I like the best, it is not technically perfect. And like many presented here, it was shot through a window and as a result is distorted and softened by flare and reflections. Technically it may be questionable, but artistically I feel it works. This image reminds me very much of early autochrome colour images which have a lovely softness and pastel quality. And it has a lovely intimate mood which sets me thinking: who are they, why are they here, what are they talking about? That is exactly what mood should be able to achieve – set the viewer thinking.

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I am happiest with my own photos when they are somewhat ambiguous (one reason I often make liberal use of reflections when I can – think Saul Leiter who had a similar approach for, I imagine, similar reasons). I think of a good image as being one which allows room for viewer interpretation as I mentioned earlier. Here is another example. Again, it’s an image of a group of people in a warm café; sitting, passing the time, drinking coffee and enjoying each other’s company. Once more, critics could be forgiven for saying it’s a bad photo – excessively dark, soft, indistinct and vague. But these are exactly the things I love about it. It has an intimate mood that draws me back to this place and time. Hopefully it does something similar for others who may remember times when they have sat amongst just such an intimate group of friends. Once more this photo is all about its mood.

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Why is it that looking in through a window on a scene so often creates that feeling of intimacy and warmth? I find this again and again – it is like looking in on a secret and private world. Here is a further example, an image that speaks to me once more of comfort, intimacy, congeniality and friendship.

Image 4

Of course the same technique can be applied in other settings. In the following two images, shot through windows in Kowloon, Hong Kong I captured the staff of two of the many small restaurants that line the streets in this part of town, at work in their kitchens. Shadows and light complemented by the blur of steam on what probably has to be admitted were grimy windows transport me back to my time in that place. To me this type of travel photo is more evocative than any number of wide-angle scenes of iconic buildings and skylines, perhaps because the images’ human scale because they capture the feeling of the places depicted. They are photos which make the most of mood and looking at them transports me back to that place and time. This is what mood can do when it works for the viewer.

Image 5

Image 6

But of course, mood does not always rely upon reflections in a window. In the following shot my aim was for the image to be about the triangle made by this mother’s face, her hands and the face of her child to emphasize the relationship between them. So after making the image I applied a vignette to emphasise those elements and not much else – perhaps just enough to give context. I have often felt that in image making a successful image is as much about what you leave out as what you capture. And that is a key creative choice that photographers should keep in mind.

Image 7

The same kind of technique can be successfully applied to other types of photograph to create mood. In this image of a city skyline, the natural shadows have been enhanced to focus the eye where it needs to be – on the juxtaposition between old and new as represented by the buildings in the image.

Image 8

In all of the above images there has been some degree of post processing to draw out final image. Perhaps it is surprising for many people to learn that the processing has involved taking detail out – not maximizing it. As I said at the outset, to me a photograph can often work best when it is a little ambiguous and allows room for personal interpretation by the viewer. This can often only be achieved if the image has lost some detail that might otherwise distract the viewer from the main message or make the main point of interest in the image less obvious. But there are times when little effort is needed to achieve this.

Sometimes, as in this photo all you need to do is to rely on natural light to capture the mood that was present when the image was made. And then maybe tweak it a smidge in post.

Image 9

But I can never quite let go of the idea of using reflections so here is one final photo to illustrate a variation on this theme. In this example it was as simple as photographing the distorted image of a crane against the sky, with both elements reflected in a grimy upper story window of a warehouse. No tricks, little processing, just an image that is both vague and at the same time, somehow evocative. You may have guessed. I love reflections for their ability to create mood.

Image 10

So there you have it, some thoughts on creating mood in photography to illustrate my central message of the importance of photographers creating a personal style for themselves. And of course to illustrate this I have shown you something of my own personal style. Your task is to find a style that works for you – a style which gives you a voice. And what about creating mood? Well, unsurprisingly I find that much of it is about using shadows and light. Speaking personally I just wait till I see an image that looks as if it is interesting then compose and press the shutter. Then when I am processing it and begin to see an image emerging that I like, I may add a bit of shadow here, subtract a bit of light there – or visa versa, till I am happy. No secret, just experience and a certain sensitivity to an image that in some way makes me go “wow, I like that, I think I will stop now!” If there is interest and |Steve agrees I am happy to prepare another article for his site on how to use post processing to enhance mood and style in photographs.
I recently found a photography book containing photos of Australia in the 1950’s and 1960s. A sentence in it caught my attention, part of which referred to “the ability of a lens to give a vision not seen by the eye”. How true that is. If we are doing our job right as photographers we will sometimes manage to capture an image that no eye, including our own has ever seen. We have caught a moment in time and when we first see the photo realise we have really seen it for the first time. I am sure we all have had that experience and am constantly amazed by the ability of photography to do this. But my central idea in this article is that even though a photo can capture something not seen directly by the eye, if done well it can tell an even deeper truth about the image by speaking directly to our emotions. That is the elusive frustrating demon I constantly chase. Maybe we all do.

I hope you have enjoyed this and even more, I hope you have found it useful or at least thought-provoking. More of my photos can be seen on my Flickr page. Nothing fancy, just photos from my everyday life and travels. Some good, perhaps some indifferent, but I hope not many that are bad.

Please visit and if you feel so inclined, leave comments. https://www.flickr.com/photos/life_in_shadows/

Or you can visit some I have placed on Pinterest for a more succinct overview of some of my images. http://www.pinterest.com/peterm1001/

Nov 182014
 

Travelling with the Nikon Df

By D.J. De La Vega

Hi Steve,

It has been nearly two years year since I had the privilege of sharing my photos on your site from my photogenic road trip to Tuscany with my Leica X1. In that time I began to lust after a camera with a better optical viewfinder. The 36mm Brightline viewfinder on the X1 is a lovely piece of glass and a joy to use, but unfortunately as it is completely passive, it is not very practical and requires a lot of patience and compromises (and a lot of missed opportunities). This lead me to have a “Moment Back with my D7000″and since then I have not looked back and upgraded to the Nikon Df and have not regretted the decision for a second.

Meanwhile the time was upon me again for what has become my annual photogenic road trip. This year after many deliberations and alterations it eventually ended up being Tuscany again, only this time with a stop off in Barcelona on the way. No longer would my trusty X1 accompany me on my travels, as the Df is now my go to camera day-to-day. Initially I was concerned the added bulk and weight would impact upon my journey as my camera is strapped around my neck every minute of the waking day. In reality however I found if you are prepared to lug a camera with you all day regardless of the size, it is the practicality of actually carrying it not the physical exertion that is the issue. The Df is actually way better suited to life around my neck (not tucked away in a bag or wrapped in leather armour like my X1) and I can absolutely confirm it is a robust piece of kit for its size and weight. I have banged it around quite a bit and even inadvertently tested the weather sealing by spilling a cup of Coca-Cola all over it!!!

In use, I find the Df to be a magnificent camera. The dials are exactly where I want them to be and like my X1, I can look down at my camera and adjust the settings at a glance without raising it my eye. This comes in really handy when walking the streets in built up areas as the light can change from street to street depending on whether the low winter sun is obstructed or uninhibited. As I turn a corner, I will instinctively change the ISO on the top plate depending on how the street is lit, and found in bright sunlight I often used the L1 ISO to facilitate shallow depths of field in bright sunshine. At all times I am aware and can see what the camera is set to in case an opportunity should present itself.

So that is enough of the technical side of my gear, to my results. As I mentioned, my first stop off was Barcelona. This was serendipity as to get the best deals to flights to Tuscany I got to spend a day and a night in the capital of Catalonia. I admit, this is nowhere near enough time to explore such an expansive City, so I concentrated all of my time around the Gothic Quarter and food markets. These were wonderful locations for taking in the culture and atmosphere of the city and they presented me with countless opportunities for my photography.

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For street photography the Df is as responsive as you would expect any DSLR to be. It is no super fast sports camera, but for spotting an opportunity, lifting the camera to your eye and shooting, it is about as instantaneous as you could possibly hope for. Certainly without hyperbole a hundred million times faster than my X1.

From Barcelona to Pisa and then Siena: This time around I did not want to recapture the same photographs I achieved previously. By focusing on this philosophy I was able to explore a lot deeper than before, ignoring the local landmarks and focusing on the people and the ambiance of these underrated cities.

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For me, the pièce de résistance of Tuscany is the incredible city of Florence. This time around I made sure I had ample time to really soak it all up and immersed myself over three days and nights aimlessly wandering the charismatic streets. I do not posses an adequate number of superlatives to begin to describe the culture, art, architecture and culinary delights of this amazing place.

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(I genuinely only took this shot of the chap shooting the street with the M9 for this site to see if he was a reader or to see if any readers knew him?)

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I hope you have enjoyed my results even half as much I had making them!
DJ De La Vega https://www.flickr.com/photos/djdelavega/

@dj_delavega

http://instagram.com/dj_delavega/#
P.S These are the links to the relevant articles mentioned at the start of the post.

http://www.stevehuffphoto.com/2012/12/24/photographic-road-trip-ii-tuscany-by-d-j-de-la-vega/ 

http://www.stevehuffphoto.com/2014/02/26/a-moment-back-with-my-nikon-d7000-by-d-j-de-la-vega/ 

BUY…

You can Buy a Nikon DF at Amazon or B&H Photo

See Steve’s Review of the Df HERE.

Nov 132014
 

Gigs with the GX7

By Keiron

I decided at the beginning of this year to take the big step from a cellphone camera to a camera that couldn’t make calls and check Facebook (although the Samsung cameras are blurring those lines). After a lot of research (mostly on your site) I settled on the micro four thirds system based on the size of the hardware and the quality of the images and when I saw the Panasonic GX7 I knew it was the camera for me. Size was really important as I do a lot of backpacking and there was no way I could carry a DSLR system with me on my travels.

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Here is my Ninja GX7 next to the classic Olympus Trip 35 and it is crazy to think that both cameras have pretty much the same equivalent focal length. I purposely make my GX7 look this way to make people less aware of me taking pictures and also to reduce the chance of thieves taking a liking to my gear.

I thought I would be a travel/street shooter as that was generally what I used my phone for but as I am a massive music fan I soon realised that I could take some fairly decent pictures of gigs. Due to the fantastic size I started to sneak my GX7 into gigs and take flash free pictures of the smaller concerts that I attended and I must admit I was amazed at the quality. My set up for the GX7 was the Panny 20mm 1.7 on the body and in my coat pocket and this would be great for close to the stage shots, and then I would have the Oly 45mm f1.8 in my pocket for further away scenes.

I found that both lenses compliment each other as the 20mm gives you the “I am in the action” type shots and with the focus assist lamp off the band, and fellow fans, hardly notice you taking pictures.

The Wild Feathers playing at Paradiso in Amsterdam. Shot with the 20mm: f2.2, 1/60 sec at ISO 2500

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The 45mm on the other hand allows you to be a bit further back gives you quite flattering band moments which I really enjoy. The swivel touch screen on the GX7 really allows you to shoot way above your eye line and still focus and compose the shot properly, it really is such a great camera.

TenTemPies at Melkweg in Amsterdam. Shot with the 45mm: f1.8, 1/125 sec at 3200

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I do not think many photographers would ever recommend Micro Four Thirds as a concert set up and to be honest if I went into photography for concerts I would have aimed for the Sony A7 line or the overly discounted Nikon D600. I find that on the GX7 ISO1600 is very usable and up until ISO3200 you start getting grain and detail loss but with some editing afterwards you can rescue the pictures quite well.

TenTemPies at Melkweg in Amsterdam. This picture was massively over exposed but with some lightroom magic it came out ok. Shot with the 45mm: f1.8, 1/125 sec at 3200

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Lighting at concerts will always prove quite a challenge and I find that it forces you to shoot in full manual and using manual focus (magnification and peaking on the GX7 is big help here). The photos are not perfect and the grain can be annoying if you are used to well-lit street shots but at the end of the day live music should be dirty, raw and in the moment so there is no reason why the photos can’t be as well.

The Wild Feathers playing at Paradiso in Amsterdam. Shot with the 20mm: f2.5, 1/50 sec at ISO 3200.

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Even though I would not recommend the system for this kind of shooting I have been very impressed with the results and the versatility of the camera has really shone through.

Both bands are great and you should check their music out:

The Wild Feathers

Ricky Young, Joel King, Taylor Burns and Preston Wimberly, grew up steeped in music; playing solo gigs, touring with local bands and working at venues. The four guys came together in Austin in 2010 through coincidence, mutual friends, and a shared love of the classics: Petty, Dylan, Cash, The Band, Allman Bros, Neil Young and Willie Nelson. They immediately began playing together and became The Wild Feathers. The young band spent the next year writing and defining their sound and touring around the country, sharing the stage with Delta Spirit, Surfer Blood and The Heavy, even landing an opening spot on Paul Simon’s 2011 fall tour.

http://www.thewildfeathers.com/

TenTemPies

TenTemPiés is an international collective of musicians based in Amsterdam, The Netherlands. Their music is a powerful and innovative blend of flavours, mixing Latin Rock with Reggae and Ska with an Amsterdam twist: Damsko Mestizo!

http://www.tentempies.com/

Have a great day,

Keiron

Nov 122014
 

Cubans

The Ricoh GR in Havana Cuba

by Lorenzo Moscia – See his website HERE with some beautiful photos

This trip to Cuba was for family reasons. My wife has not see her father since 2008, so it was basically a pretty intense trip. I decided to go very light with photographic equipment because for the first time in the past 8/9 years I was travelling abroad with no photo assignment on my shoulders or any particularly freelance plan on my mind.

But Cuba and la Habana are always a very good place to be with a camera.

Cubans

Cubans

Cubans

I bought a Canon 6D with a 50 1.2, and a Ricoh Gr V 28mm fix lens.

Each time I was walking down the street and take out the Canon all sort of people would approach me because I would represent the typical “yankee” with dollars. I would start to talk to them in a sort of cuban slang (I have been married to my cuban wife for the pst 14 years) so they would let me alone. But going around with the Ricoh was a totally new experience for me. I rediscovered the pure pleasure of the “street photo”, just going around with no particularly subject in mind with a little camera in one hand, and none would be pay attention to me.

Cubans

Cubans

Cubans

I usually use it with A, and find very easy to play with the apertures. But I love as well the TAV function, where I set the aperture (lets say 5.6 or 8) and the speed ( something above 125) and the camera just find the ISO to match the timing. That is very useful when you walk around and you just shoot on the move and you don’t want panning pics.

No one gave me any attention with that camera even in some more extreme “barrio” neighborhoods where the average tourist does not normally go. I really felt like I was invisible.

Cubans

Cubans

Cubans

The bad part about Ricoh is battery life very poor even if I had the “blind screen” option. I will have to buy an extra battery. The problem is here in Rome is very difficult to find.

Second issue is the auto focus in low light condition which is a bit slow,  even if there is a manual and snap options wich are very good by the way. The files look amazing with very balanced color and a very good dynamic range.

Cubans

Cubans

Cubans

Cubans

The Canon stayed in the bag most of the time and I used it basically for the portrait series (See Below). Some days I went around with just the Ricoh inside the pocket of my shorts and I would take it outside holding in one hand like a pocket of cigarettes, spot a scene from a distance get closer and take pictures without looking at the screen. If I would go buying “fuel” at the local market down the road, for the family, the Ricoh would be always in one hand allowed me to take pictures even if I was carrying market bags on bought hands.

Cubans portraits

Cubans portraits

Cubans portraits

Cubans portraits

Cubans portraits

Cubans portraits

I m sort of happy because I can see that in the market there are more and more new options each day of small compact cameras with even better sensors, quicker focus and more general functions. Using this camera in the streets of Havana It was not exactly like my first love, the one and only Contax G2 black with the 28mm, but, I must admit that the feeling it come pretty closer.

Lorenzo Moscia

http://www.lorenzomoscia.com

You can buy the Ricoh GR these days for under $700 at Amazon – HERE.

Nov 122014
 

A Dedication to Chris Brunkhart

By Alex Bacon

Thank you Steve Huff for allowing me the opportunity to write about my friend, Chris Brunkhart. Chris is an amazing and influential lifestyle/snowboard photographer who was just recently diagnosed with Stage 4 colon and liver cancer.

Many of you who visit this website daily may not recognize Chris’s name but you may recognize his iconic photography. Chris’s images have documented the world of snowboarding in Snowboarder, Transworld Snowboarding and Frequency
magazines—to name a few. His editorial work in the 1990’s was often described as having a dark atmospheric quality, that gave as much attention to ethereal, snowy landscapes as it did to the athlete he was photographing.

I can truly say, that it isn’t just shooting the best athletes, over six continents that makes Chris tick. It’s the freedom of self-expression and the process of creating and capturing life’s fleeting moments which fuels his creative fire. His photography evokes emotion on such a deep level. You don’t just “see” what’s happening in the frame, you feel it…you’re in it, experiencing that moment physically, and I can’t think of a more apt compliment for any photographer. Chris’s creative vision and unique photographic style has influenced many young action-sports photographers over the years. Seeing Chris work first hand, applying his gift of capturing that moment in time is what drove me to pick up my first camera and pursue photography as a passion, I thank him for that gift every day!

For the past year, Chris has been living in Brooklyn, NYC where he has been shooting landscape photography and field portraiture, as well as dabbling in mixed media sculpture, woodworking, and continued contributions to underground film and video projects.

Upon his diagnosis in September, Chris returned to his home city of Portland, Oregon so he could be close to his friends and family during his treatment. Chis has recently begun his treatment of Chemotherapy and has started to fight against the cancer which is threatening his life.

There are two benefits being held to help raise funds for his ongoing treatment and everyone reading this is welcome to attend. The first will be on November 14, at NEMO Design in Portland, Oregon, and the second will be on November 20, at The Boathouse Collective, in Costa Mesa, California. A GoFundMe page for financial donations has also been set up at www.gofundme.com/chrisbrunkhart.

Image caption guide:

Meeting the heli, Juneau Ice Field, Alaska

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 Yakutat backcountry, Alaska

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Matt Donahue, Mountain pass near Briancon, Italy

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Craig Kelly, warming hut, Revelstoke, BC

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Devon Walsh, Mt. Hood, OR

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Dan Peterka, Stepping off into the Vltava river, Prague, CZ

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No Tennis. Creston Park, Portland, OR

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A woman waits on a cold winter day, Prague CZ

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Jamie Lynn, about midnight in Seattle, WA

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On his way to work. London, UK

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Silhoetted by the clouds. Craig Kelly, near Pucon, Chile

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Nov 032014
 

Pictures around Egypt

by Mohamed Hakem – his website is HERE

Hello Steve, I am a young egyptian photographer who has passion for the art since I was a kid. Photography is my hobby, interest, love and passion. The most thing I liked about this site is that it has a different vision; everyone is seeking to be a pro, But the Idea here is different. Here we don’t pixel peep, we don’t speak technical terms in the form of charts, we only talk about passion. The term Passionate photographer is exactly what attracted me this website. I don’t want to be a Pro or a commercial photographer, I want to be passionate about what I shoot.

Living in a country like Egypt I had to overcome a lot of difficulties to pursue my passion. Acquiring gear is the first as you have to pay double or triple sometimes quadruple what anybody else pay and wait a lot to get what you want to imagine selling or upgrading its a real pain. I reached a point where I had to start thinking about making money out of it but I totally failed. In Egypt weddings are the only way to make money and that’s not me. I was more of a nature/culture lover.

Secondly In Egypt there is nothing that people know as a landscape or a nature photographer. Here photographer is the kodak guy who tells you smile! To print and sell. So If I ever decided to give my full-time and seek my passion I end up jobless.

I love my country and I want to show the world its beauty, Speaking of culture, Egypt has an unparalleled culture and nature. Egypt should be the touristic capital of the world. Egypt is safe and has the best location, weather, monuments (more than the whole world combined) crystal clear water, magical deserts and safaris, Culture(Ancient Egyptian – Greek – Roman – Islamic – coptic – jewish – pre historic!), best food and everything you’ll ever think of. So I decided to throw away all the money-making thoughts and I stopped nagging about the prices, and I decided seek my passion, travelled around Egypt to to infamous places to try to show the world the beauty that few knows. I built a website to show the photos with nothing in my mind except my passion.

The below photos is the combination of pictures from around Egypt In the White desert, Wadi el Rayan Desert, some Wild life And Cairo

An Angry leopard in africa Safari park – Alexandria Egypt

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A lovely camp under the milky way in the white desert

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A lovely merchant in Kham El Khalili

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This is not the surface of the moon, this the white desert at night! Yes the ground is white and it really is that glowing at night

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A kind man waiting for the prayer

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The king of the desert in Wadi el Rayan

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The Egyptian Owl

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El Max in Alexandria, a simple fishermen’s home

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Moez street in Cairo

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Ibn Qowaloon mosque in old Cairo

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The Fayoum desert – a desert Made for camping!

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Mohamed Hakem Hussein

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