Aug 282014
 

Shooting a model for the first time

By Andrew Paquette

Website: www.paqart.com

For my summer vacation this year I decided that I wanted to shoot at least one fun sporting event and to set up my first ever model shoot. As of about eight hours ago, both are accomplished. The sporting event, a basketball championship in Amsterdam, was a lot of hard work as far as the shooting was concerned, but was a breeze administratively. I was invited (and paid) to be there, so I didn’t have to worry about getting permission for anything, getting press credentials, setting up the location (or finding it) or anything like that. In contrast, shooting a model for the first time meant I had to do everything myself. What was that like? After deciding that I wanted to shoot a model, preferably a professional from an agency, I had to have a concept, a budget, and some idea where I intended to do this and what kind of permits I might need. In the end, almost everything went differently than expected.

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My first goal was a non-goal—if I was going to pay for all the things that went into the shoot, I did not want to get something that looked like, as my wife described it, “somebody’s girlfriend in the forest”. This doesn’t mean there aren’t excellent photos of somebody’s girlfriend in a forest—I saw quite a few while poring over photographer websites—but they all had something extra to make them interesting. As an illustrator, I had made many compositions over the years that could be readily translated into interesting photographs, but most would require the construction of extensive sets—something I did not want to do because of the associated costs. Instead, I wanted something simple, with maybe one or two models at the most, and preferably something that could be shot in an accessible (and free) public location or an inexpensive day rental of a photo studio, probably in Amsterdam.

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To help give me ideas, I looked through my catalogue of street photos in Amsterdam. I found two that looked good enough as ideas, though not as finished photos, to serve as inspiration for a shoot. Both could be shot on the street in Amsterdam in large public spaces. I didn’t think there would be a problem with this because it isn’t much different from the street shots I already took, but just to be sure, I checked the city of Amsterdam’s website (http://www.iamsterdam.com/en-GB/business/Film-office/Filmprotocol) to see if a permit would be needed. The short answer is that no permit would be required. The only caveat was that I would need a permit if I introduced helicopters, hundreds of extras, food carts, or car crashes into the shoot. I wasn’t planning on doing any of those things, so I was in the clear. They do ask that photographers notify them of pending shoots so that area businesses have an opportunity to complain or stipulate things like a fee for use of their washroom, no trash dumped in their bins, etc.

Next, I had to find a couple of models. The first concept required a female model and an athletic male model capable of Rollerblade or skateboard stunts. I wanted to shoot them at the skateboard park in Amsterdam, where the female model reacted to the male model doing stunts (or, if I found a female model who could do them, the reverse). The second concept required two female and two male models, something that I doubted would be affordable, but I thought I might as well check. I should point out here that I have hired models twice before, but not for this purpose. The first was hired from an agency in Portland Maine, to pose as a generic female character to be used as reference for my work as a comic book artist. Hiring her was not difficult. I just called the agency, told the owner what I was looking for, and $500 later, had the shoot wrapped and a couple of books full of excellent reference shots that happened to be not very good photographs.

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The second occasion was in 1999 or so when I hired a female model from an LA-based agency to have her head scanned for use in a video game. Again, this was not a difficult thing to arrange. I called the agency, they sent over some head shots, I picked one, and then she went to the scanning facility and did the job. Not a problem. This time, it would be different. Why? Because this time, I was a photographer working on a portfolio instead of an artist with a client.

I went first to a site that listed about two dozen agencies in the Netherlands: (http://www.kmodels.com/Netherlands-modeling-agencies-links2.htm).

I started calling and emailing to inquire about rates and how a shoot could be organized. None answered my emails. I spoke with one agency rep at A Models Amsterdam (http://www.amodelsamsterdam.com/) who seemed to think I was asking for a free model because it was for a portfolio. I explained that wasn’t the case, but it didn’t matter—without a client (preferably a major company) their models weren’t available, even for paid work. So here I got stuck. No model means no shoot. What could I do? I found a site that sets up photographers with models, hairstylist, and make-up artists (http://www.modelmayhem.com/) but to get in I had to have a portfolio with photos of four different shoots with four different models. I didn’t have that, but did have some decent shots of more than four different people in situations that looked like different shoots, so I decided to upload those and hope that my industry credits as an artist and art director were enough to deal with any problems in their review process. Unfortunately, my holiday was almost over, so their approval had to come fast or I would have missed my window of opportunity. But then, I got lucky.

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While I was shooting the basketball game in Amsterdam, my wife and daughter attended a figure drawing class. My wife thought their model would work for the photo shoot I wanted to do, so she approached her about it. The model was fine with the idea, so now I had a model. However, I only had one model. The concepts I had for the shoot wouldn’t work. I booked her anyway, then sat down to think about what I could do with one model. In the end I took inspiration from a street photo I’d taken in Amsterdam of a girl smoking a cigarette in front of a dark stone wall. Her features and pale skin contrasted against the dark stone reminded me of old Proto-Renaissance portrait paintings. This would be the theme. With that decided, I had to figure out how far I wanted to go with it. I didn’t own any Medieval artifacts to use as props, and doubted any museum would let me use theirs (I also didn’t want to go through asking for permission, a process that would likely take a long time and then be rejected anyway.)

Location was easier to deal with. There are a lot of Gothic cathedrals in the Netherlands and I had photographed quite a few of them so I knew what they looked like. One of the oldest was in the south of Holland and they gave permission to shoot there. Now I had a model and a location, but needed a way to somehow connect the model to the location. This could be done with a medieval costume. People in the Netherlands love costumes, so at first I thought it would be easy to find one. It wasn’t, but after a lot of looking, I found a costume shop in Den Haag with a great selection of good quality medieval costumes for rent (http://www.dewitkostuums.nl)

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I don’t read Nederlands very well, so I missed the part on their website that said they were open for appointment only, so I went without an appointment. Luckily they were very nice about my lack of knowledge about their policies, and invited me up to look at their costumes. While I was there, I decided to get two so that more variety could be eked out of the shoot. This turned out to be a very important decision, so I’m glad I did it. At the time I was worried because the costumes I rented were among the most expensive they had. My wife was looking at me like she was thinking “are you sure about this?”

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So then I had two costumes, a model, and a location. I had the general idea that these Proto-Renaissance portraits were my inspiration, but how to translate that into photos? What ended up happening is I asked the model to do an impromptu extra shoot when she came in for the fitting. We went out to a local community garden where she was photographed in the more brilliantly colored costume of the two. The idea was that this day she is wearing friendly, upbeat colors and would be shot in a pleasant, green, lush, fresh-looking location. On the next day, she wore an outfit that had much less color and was photographed against stone and black iron. The effect created a contrast between a shire-like garden on the first day with the stately aloofness of a stone cathedral on the second. One is playful, the other austere.

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For cameras, I used a Nikon D800 and a Sony A7r. On the “green” day, the A7r was mounted by a Zeiss ZA 135mm 1.8 lens, and the D800 had the Zeiss 55mm Otus mounted on it. On the “white” day, the A7r had a 35mm 1.4/ASPH Summilux. The D800 had either the 55mm Otus or a Zeiss 15mm Distagon. I also used a Nikon NB-910 speedlight on the D800 and a Zacuto viewfinder for both cameras (I love my Zacuto viewfinder!). I won’t compare the quality of the lenses because each is pretty much the best you can find in their focal length and performed as such. All lens choice decisions were dictated by focal length—what was needed to frame a shot or get a certain effect.

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Aug 262014
 

My muse: Alina, with the Nikon V1

By Ivan Lietaert

Hi Steve and Brandon. I would like to present to you and your readers my muse: Alina. She’s my youngest kid, 4 years old, and she’s not (camera) shy at all. (Put a plastic toy microphone in her hands, and she’ll start singing instantly!) The pictures below were all taken in the past couple of weeks, and were taken with my Nikon V1 and the Nikon 1 18.5mm f1.8. I shoot jpeg, not raw, and the pictures were treated with Lightroom and Nik Software plugins, esp. Silver Efex Pro 2. I use natural light only. No flash.

I wrote about the V1 for your website about a year ago. Then, I wrote about the surprising video capabilities of this camera. 

The V1 has become my favourite ‘family trip’ camera for still images because of its fast focus and compact form. I don’t have the budget, honestly, for fancier gear, so I make the best of what I’ve got.

I live in Belgium, a country that has quite strict privacy laws, especially towards the under age. For photographers, it basically implies you need a release form when post portraits online, unless you are the parent (or legal guardian), which I am, of course. Aside from the legal aspect of publishing my children’s pictures online, I do have other reservations as well. I have friends who would never publish pictures of their (young) children online for safety reasons. In the late nineties, Marc Dutroux, a serial child molester and murderer, shocked the country, and now parents of young children are particularly sensitive about the issue.

To be honest, there is a bit of a guilty feeling, mixed with suspician, each time one of my kid pictures is liked or favourited on Flickr… which is sad, not? But there is yet another angle to this. A while back, I was asked by one my best friends to remove pictures from my flickr account. The reason: the kids have now reached puberty, and they are afraid to be bullied for these pictures, which their fellow class members are googling for.

Professionally, I’m a teacher at a secondary school (ages 12 up to 18), and I am the unofficial ‘official’ photographer for many school events. I always take care only to publish pictures in which the kids look good/cool and not goofy or whatever, just for that reason. (When children enroll to our school, they automatically must sign a release form too). Here is a link to an article I wrote for Steve about such a school event.  This is the reality of the world we live in, and I am writing this post because I’m curious about what you, Steve and Brandon, and your readers think about all this.

This is my Flickr account: https://www.flickr.com/photos/ivanlietaert/

Kind regards,
Ivan Lietaert

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Aug 252014
 

Dear Steve,

Father’s Day just recently passed in Brazil. As past year I’m writing to you on this date, and as past year I’m sending to you a few pictures of my inspiration, my precious daughter. I realized that I never had sent pictures in color to you. Just because I don’t get so many that way — a good composition in color is harder to do, at least for me. So this time may I share some few, in color.

Dear Brandon,
Be proud of your dad I’m absolutely sure he’s proud of you — working so close to him, and following his steps — it’s a dream for any father that comes true.

Dear Both,
If you do will it would be a pleasure to see these few posted like an inspiration that might inspire. I’ll be glad and proud, she either.

My best wishes, in color. And happy father’s day,

Luiz Paulo

PS > Don’t know if this is important (the exif data) — I keep shooting with my old M9, and keep enjoying it…

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Aug 252014
 

Finding time for Photography with a Nikon Df

by D.J. De La Vega

Hi Steve,

The last article I sent to you was all about going the extra mile to make the time for photography. Setting aside dedicated time solely for the purpose of exploring my art. This article however is quite the opposite… It is all about my quest to juggle my photography with my family and work life.

First let me start by clarifying, I am a really, really lucky guy!!! I have an amazing family and a steady job, I could not ask for anything more from life, I want for nothing. When it comes to my favourite craft, there is simply not enough hours in the day for me to dedicate as much time as I would like to photography. For this reason I have become quite adept at shooting the everyday things that surround my every day life around my everyday routines. Always carrying a camera with me whether I am walking the dog with the kids in the park, popping to the shops or cycling to work in the rain. Historically my trusty X1 went with me no problems, small light and unobtrusive. However there are two main reasons I have drifted back to DSLR at the expense of the little powerhouse. Firstly, the X1 is quite delicate in it build quality. It really disagrees with being flung around, bumped and banged and heaven forbid it would ever get wet and dirty. Secondly I always shoot Raw with the compact and this is where the problem of finding time for my photography arose.

Post production for me has always been a headache, I much prefer shooting the photos, experiencing and capturing the moment. The though of sitting indoors staring at a screen endlessly editing photos on my prehistoric laptop send a shudder down my spine, especially if I have a lot to work through. This has led me to try to streamline my post production workflow.

Getting back to how lucky I am, I recently upgraded my D7000 to the magnificent Nikon Df. I learned photography on a Pentax K1000 and later acquired a Nikon FM2n, so getting back to the manual dials and classic style of shooting with the Df has really inspired me. The pace of using this camera is a mix of slow and methodical like my X1 but a lot faster and more responsive. I love the organic quality of the JPEGs from this camera and do not have to spend long at all tweaking them on the computer. Also enter into my life the new Adobe Photoshop Express app on Windows 8. This little app is a dream come true for me…I am new to the iPad/tablet generation but no longer do I have to log onto my ancient laptop to do “proper” photo editing. I can quickly pop the SD card straight into my tablet, adjust a couple of sliders on-screen and I’m done. Minutes instead of hours!
With all my modern conveniences now at hand it was time for a little vacation to visit family dotted around the country. With the Df permanently attached to my shoulder I had the pleasure of shooting some of my own stuff here and there in-between visits and family functions. Just a quick note on the build quality of the Df… it is brilliant. The right balance of sturdy metal ruggedness, but just about light enough to carry around all day every day.

It’d be my honour to share some of these shots with you and your readers to give me a bit feedback on how the finished articles stack up against my older work. Remember, I spent more time shooting than I did quickly and dirtily editing them, so go easy on me…

Photo 1: Shooting the fountains on the street in Peterborough.

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Photo 2: Peterborough Cathedral Selfie… Correct me if I’ wrong, but I’m sure this is what the upward facing mirrors are for???

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Photo 3: Peterborough Cathedral

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Photo 4: The most nonchalant cyclist in London.

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Photo 5: The Photographer Photographed, using what appears to be an Olympus film SLR.

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Photo 6: The Photographer Photographed, using what appears to be a Canon DSLR. 

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Photo 7: A classical underground busker. A great character and a fantastic musician.

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Photo 8: A beam of light in the Natural History Museum. With the weather and the queues I was lucky there was any light left that day. 

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Photo 9: Lincoln Cathedral 

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Photo 10: A view of Lincoln Cathedral.

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Thanks for looking and thanks in advance for any feedback!
DJ De La Vega

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

@dj_delavega

http://instagram.com/dj_delavega/#

Aug 202014
 

A Sony A3000 Experience

By Bill Spencer

This is about an unintentional photographic journey resulting from a failed GAS adventure. Some time ago I attended a Sony event where the A7 and A7R were available for customers to try out. I went with the intention of buying either one or the other, to sample the ‘full frame’ experience and hopefully use with some of the very good old lenses I have. Disaster – after an hour of messing with the cameras I found I could not counter the shutter slap problem and get a sharp image out of either camera. The A7R was absolutely impossible even using the ‘Hasselblad death grip’ technique learned many years ago. Almost in frustration I came away with an A3000 kit (£220 or just a little more than a RX1 lens hood costs here) as when in GAS mode you have to get something.

Most people who read Steve and Brandon’s blog will know the A3000 is almost universally ridiculed by most photographers who have tried it because of its strange specifications. To summarise it has a superb 20 megapixel sensor married to dreadful viewfinder, screen and electronics. It does have a very good handgrip, all metal E lens mount, a rigidly mounted sensor and is light as a feather. The reason for the purchase was to use it with a collection of older lens with appropriate adapters. Strange as it may seem I quickly bonded with it as a hobby camera (I have other kit for work – I am an Architect and use photography a lot professionally). It is a super simple camera basically usable in Aperture priority or manual mode with older lens and is all the better for that. It is not particularly suited to sports photography and is not much good at ambush photography (sorry – street photography). Focus peaking and the magnified fine focus function are good although the viewfinder and screen give only an idea of the framing of the image to be taken , loads of tech stuff around the screens but very little textural and quality image information. ie a bit limited for pimping. As I have said it has many minuses and a few key pluses.

The 3 photos below give an idea what it can do. The lens for these is a Canon 200mm macro lens. The lens has been renovated by the lens doctor http://www.thelensdoctor.co.uk/ (Steve will know about his previous life as a drummer in the 80s with famous bands including Thin Lizzy, Creed, Pilot and many more). Even before renovation it is almost as sharp as the Canon 180mm EF macro but with far superior colour and out of focus transitions. Now it is fabulous

As with all Sony products I have there seems to be a spoiler built-in. In my A3000s case it will only work with an official Sony branded battery and not any of the 3rd party ‘compatible’ units I have tried so far that do work in my Nex3. The official batteries cost a fortune so unless you have other Sony batteries it is an expensive business to get spares. However with old lenses attached you get about 500 exposures per charge so lack of a spare is not a deal breaker.

It occurred to me whilst writing this that I have never used the kit lens although being so light I usually have it in the bag. Other lens that work really well on this are most fast 50s (F1.2/4 Yashinons, Pentax and Rokkor) in fact any from an SLR background. I don’t know about M39 stuff or short back focus Leica lens as I do not have any.

Please keep up the good work on the site and keep the reviews and user experiences coming and I hope you enjoy the pics

Modified by CombineZP

Coot with Chick 200mm F8

High summer on our local canal 200mm F11

Aug 192014
 

Dogstreets: Mans best friend 

By Brigitte Hauser

Dear Brandon, Steve and Readers

The daily inspiration from all over the world makes me happy and smiling almost every day. Thanks a lot.

I am an amateur photographer and I like street photography. Since our old dog Murphy has died in the beginning of 2014 I see a lot more dogs in the streets than before!

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So I started my dogstreets project.

Taken in Nice (France), with Sony rx 1.

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Near Portofino (Italy) also with Sony rx 1.

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Taken in Zurich, Switzerland with Nikon Df and Leica Monochrom.

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The last pic shows Pablo our new dog by LMono, it is a “street dog” from Spain.

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As you see I use three cams. (I would prefer only one with only one lens) The one I use most is Sony rx1 because of its size. Focusing is sometimes e bit slow. I adore the LMono. But with Leica I need two hands free for focusing. And with a young dog at the doglead – very very difficult:-) That’s why I also use the Df although it’s a bit bulky for streets especially with Nikkor 58, 1,4. But super lens.

Enjoy the pics.

Yours
Brigitte

Aug 132014
 

A Pair of Fujis in Paris

By James Conley

France’s importance in the history of photography cannot be overstated. Some of the most significant documentary images in the history of photography were made in Paris, and it was the home of photographers like Henri Cartier-Bresson and Robert Doisneau. Today, the city is full of commercial galleries dedicated to photography. During any given week there are dozens of elaborate exhibitions and public displays of images. Photography is respected as an art, and it is actively promoted. Indeed, France is home to Jean-François Leroy, the founder and sponsor of Visa pour l’Image in Perpignan. Paris is at odds with itself, however. It’s an easy city to shoot, but a frustrating city to shoot in.

~First, the backdrop.~

Paris is divided by the Seine. The right bank is to the north, and the left to the south. The left tends to be rather rich (read: touristy) and the right bank tends to be more artsy (and frequently seedier). The right has interesting places like the medieval-streeted Marais, and the left was Hemingway’s stomping ground. The right is hillier, the left flatter.

Regardless of where you go, though, Paris is a victim/beneficiary of Georges Eugene Haussmann. Until the middle of the 1800’s, Paris had the same structure as it had during the Middle Ages—small, interwoven streets and cramped buildings. In 1794, under the influence of the miasma theory of the day that the tight quarters were the cause of illness, a Commission of Artists came up with a plan for redoing the streets. Nothing happened with the plan until Louis-Napoléon Bonaparte became emperor in 1852. He wanted the government to better control a capital where several regimes had been overthrown since 1789, and wanted wide avenues through which to move troops.

Napoleon III tasked Haussmann with reurbanization, and gave him broad powers to implement the plans. Haussmann used that power to seize property, require owners to make changes to building facades, and to completely level and rebuild parts of the city. Haussmann defined the maximum height of buildings, and their features—including balconies and roof pitch—was mandated. Neighboring buildings had to have floors at the same height, as well as matching exterior lines. Quarry stone was mandatory along the avenues. Wide boulevards, landscaped gardens, and monuments were designed to frame France’s imperial history. The plan and its result made the city look like an extensive palace.

What all this means from a photographer’s point of view is that the city provides a fetching backdrop for almost any picture, no matter what part of the city you’re in. It also means that no matter what part of the city you’re in, it runs the risk of looking remarkably like any other part. The buildings are beautiful in their own way, but they lack individuality. It’s as though Disney had the power to reface a major city.

Paris has some of the worst traffic of any major city. Cars are numerous, but mopeds and motorbikes are a close second. They are everywhere. Vehicles clog the streets and they park in any available place. Because of the chaos of so much traffic, Paris has placed a seemingly infinite number of three-foot tall poles to block walkways from vehicle parking. Parking on the streets is relatively unlimited, however, and there is almost no street that doesn’t have cars or mopeds lining it. This means that nearly every street scene will be blocked by either a pole or a vehicle.

Light is also an issue. Paris is a very northerly city. It is on a latitude similar to that of the U.S./Canadian border. In the autumn, this means that the sun is low in the sky, but it’s very bright. Shadows are strong, and highlights are glaring. Dealing with the contrast is not an insignificant challenge. Partly overcast is a friend to the limited dynamic range of a digital sensor.

Most of the traditional sites are worth seeing, even if their inspiration to make images is low. The Eiffel Tower is impressive. The Louvre is stunning. (Outside, at least. I think the Met is better curated, regardless of the difference in volume.) The city’s elaborate gardens are interesting and relatively attractive, if a rigid approach to horticultural design appeals to you. The streets are obtuse and there is no grid, which makes for convenient backdrops. The Latin Quarter and Ile Saint Louis stand out as particularly photogenic. As discussed below, however, many of the sites aren’t accessible to photographers. For example, Sacre Coeur doesn’t allow photography inside, nor does the Shakespeare & Co. bookstore. The Louvre, however, does. Most storefront businesses do not allow photography—including of the street. Most people out on the street will wave you off if they see you taking pictures.

~Second, the law.~

Contrary to France’s very welcoming approach to photography as art, it is also the home of two laws which restrict it: Droit d’image and La Loi Vie Privée. Basically, a French citizen can sue a photographer for using any image which includes the citizen or his property in the picture.  So, for example, you see an interesting farmhouse in Versailles. You snap a picture, and then want to use it on a blog which has advertising from which you profit. Unless you have the written permission of the owner of the property, under French law you can’t use the image. And what if the property gets sold later? That’s right—you have to get the new property owner’s permission.

The law against using someone’s likeness commercially is not particularly different from the protection other countries provide: you can’t associate someone with a commercial product without a model release. The French people, however, generally fail to understand that taking pictures of someone in a public space and using it for an artistic or editorial purpose is allowed. The French assume they have the right to interfere with all photography.

This confusion has led many photographers to avoid France, and to not publish their work in France. Whether or not these laws would be enforced against a particular photographer with a particular image, it certainly casts a pall over the desire to make images.

~Third, the people.~

Paris is a busy city. The streets are full of a variety of shops. People live in the city, and despite their cars, they shop very locally. The Haussmann design leaves little interior space for working at home, so people are out and about. Cafe tables are plentiful, and people loiter for hours working or talking. Pedestrian traffic is heavy, as is bicycle and motorized transport. Shops tend to close around 6 p.m., but cafes and restaurants are open later.

Despite (or because of) the number of tourists, people tend to be fairly aware of photographers. More so than in cities like New York, Parisians seem to be constantly on the lookout for someone taking a photo. There are few smiles in Paris, and even fewer when a camera is around. Shopkeepers will confront you if they even see a camera. They’ll also come out of the store if they see you taking pictures in the street. Signs forbidding photography are everywhere.

Outside of stores, the people on the streets are less confrontational, but it’s wise to be aware and not push the issue. It’s best to follow the fancy footwork of Cartier-Bresson and blend blend. He was a master at taking photos fast, with his subjects unaware they were being photographed. Zone focusing and the use of the rear LCD display on cameras so equipped is required practice. Waiting in the right spot for the right time is also handy—people get used to your presence and pay less attention.

~The Fujis~

I took an XE-1 and an X100s to Paris for two weeks. and racked up over 100 miles of walking around the city and its environs. I shot with two lenses on the XE-1: an 8mm Rokinon and 18-55mm Fuji. The X100s has a fixed 23mm. I found the Fuji X cameras to be very adept at the kind of speed required for Parisian street photography. The small bodies go unnoticed, and as mirrorless cameras the Fujis are quiet. The X100s is particularly easy to adjust for zone focusing and is virtually silent. The rangefinder style X series in general are well-suited to be quick to the eye, making stealth shooting easier.

Like any city, the best way to approach Paris as a photographer is to walk. There are opportunities for images on the plentiful buses and metros, but the action (as always) is out on the street. Having lugged 35mm and DSLR equipment for more years than I care to remember, the small and light Fujis are much easier on the shoulder and the back for extensive city walking.

Paris is a great city. The air and the water make delicious pastries and bread. The streets are picturesque, and there are interesting places to see. The art is impressive and ubiquitous. It’s worth a visit to the galleries and museums. But it’s a tough city to work in. The people are not friendly to photographers, and the traffic and poles make it a challenge to find a clean foreground, much less a background. The pollution is horrendous, and the noise is incessant. The most photographed places are the most accessible, which means being original is not just a challenge—it’s risky. Having a street confrontation in a foreign language does not a good trip make. But Paris is worth the challenge, and forewarned is forearmed.

website: fjamesconley.com
twitter: @Philatawgrapher

—James

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A woman on the Paris Metro reads among a plethora of geometric patterns.

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Waiters take a break outside a cafe in Paris.

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Aug 112014
 

The Samsung NX Mini

By Milo Hess

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Thank you Steve for the opportunity. Been following your excellent blog from the beginning!

This is going to be a mini review. No not the Austin Mini or mini cupcakes but the recently introduced Samsung NXMini.

Marketed pretty much as a selfie camera for tweens/teens I had my doubts. What am I going to do with a selfie camera?….I’m not a fan of any pictures of myself let alone selfies taken by me. By way of background I currently shoot photojournalism ( media credentialed) for a few weekly newspapers here in NYC….shooting news, lifestyle, documentary, street as well as events both personal and business. In the past I have been an award-winning art director in broadcasting working in network and cable news and as an art director/graphic designer in the corporate world. I am very particular what my imagery looks like always trying for something a little different with what I guess is a graphic eye. With a sense of humor as well when possible. For full disclosure I am a Samsung Imagelogger testing out their new products as well.

Again what am I doing with a selfie camera? Using it as a terrific tiny everyday, always have it with you, walk the streets, interchangeable lens miniature dslr that has excellent optics, does RAW, has wifi, a larger than normal for a camera of this size 1” sensor, 20.5 megapixels and a flip screen. This camera to my surprise is a tiny gem. Fun, solid, very small and a kick to use. The lens quality ( there is a kit lens 9-27 and a 9mm prime) is surprisingly good. In fact the sharpness is extraordinary for such tiny optics. Yes the buttons are somewhat small and the screen can be hard to see in bright sunshine. … then again not unlike many small compact cameras on the market. This for me is a camera to always have with you for those moments. Not your smart phone. It’s fast, fun with quality output. Would I shoot an entire paying assignment with it? Prob not…although I have used it for a few newspaper images. A selfie cam that does much more than selfies. And a pretty damn good one at that.

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Work can be seen at:

capturedcolor.foliohd.com
www.facebook.com/capturedcolor
instagram.com/capturedcolor
twitter: @capturedcolor

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SAMSUNG CAMERA PICTURES

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Aug 032014
 

Ngorongoro Crater, Tanzania

By Byron Christie

Dear Brandon and Steve,

I’ve been visiting your site now for several years and it has been the source of a great deal of pleasure and I thank you sincerely for your efforts. Thanks also to the many talented photographers who are so inspiring.

I am very basic in my photographic understanding and capabilities and I don’t pretend to be a talent but I take great satisfaction making photographs. I admittedly suffer from addiction to fine gear and am fortunate to have been able to cobble together a nice stable of gear over the years. With my ill gotten gain, I recently packed up and went to Tanzania for a safari with my wife and another couple. We spent two great nights at the Ngorongoro Crater before relocating elsewhere. Most unhappily, ALL of my gear was then stolen and I was reduced to iPhone photography for the rest of the trip! I am well aware that, in the hands of many people, the iPhone is capable of producing fabulous images. However, it was a bummer to lose my Leica M typ 240, 35/1.4, 21/3.4, 135/3.4, Oly EM1 and Oly 150mm/2.0! If you come across just such a setup while in Arusha, please bear me in mind! I would like to mention that Ken Hansen (email: [email protected])has helped me replace my Leica gear and I greatly appreciate how easy it is to work with him.

The photos below were taken just before I lost all. Most fortunately for me, I downloaded my cards on leaving the Crater Lodge. No matter how sophomoric they are I would’ve regretted the loss of my photos more than the equipment. I do recommend the trip for sure. The Masai are wonderful and proud and I loved seeing the sights. Feel free to bust me on these! I hope to continue to learn from you all.

Best Regards,
Byron.

1st photo. King of the Beasts. Olympus OMD EM-1 Olympus 150mm f/2.0 ED @ ISO 200, f/10, 1/500th second.

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2nd photo. Sleepless in Tanzania! Milky Way over the Crater with jet lag insomnia. EM-1 with Oly 12mm @ ISO 1600, f/2, 41 seconds.

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3rd photo. Morning Sunburst in the Crater. Leica M typ 240 with 21mm f/3.4 @ ISO 200, f/5.6, 1/60th second.

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4th photo. Masai making fire. Leica M with 35/1.4 @ ISO 200, f/4.8, 1/1000th second.

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Jul 272014
 

Black and White Storytelling

by Ben Miller

Steve and Brandon,

I think that all photographers are searching for the perfect camera and a photographic style that they can call their own.

My main focus in photography is black and white storytelling. I find that the sum of several photographs which tells a story can be greater than one just one perfect image. I have found the gear that best suits my focus. In my bag is a Leica M9 and an Olympus OM-D E-M5. Both of these systems allow me to get close to people without being obtrusive. I believe in prime lenses and do not own any zooms.

I recently was commissioned to shoot an event with my M9 and E-M5. During the gathering I was pulled away and asked to join a few gentlemen in the parking lot. I wrote the following story to accompany the captures of what occurred:

 

At every party there is a secret party.

One that only few know about and are invited to.

I was lured away from the crowd to one of these clandestine gatherings.

I turned down the smoke as it is not my thing.

I partook in drink instead.

They handed me a big shot of Fireball whiskey.

I gargled the cinnamon spiced liquor and then swished it around in my mouth.

After swallowing I asked if they had handed me water and if there was anything stronger.

As I raised my Leica to my eye I said “document everything”.

I then smiled and said “don’t worry…..

I’ll only capture you from the nose down.”

 

Attached are the images from the photo story.

You can view more of my work on my website and blog:

www.photographsbyben.com

www.photographsbybenmiller.blogspot.com

Thank you Steve and Brandon for having a wonderful website that so many of us look forward to everyday.

Cheers,

Ben Miller

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Jul 182014
 

Film shoot: Sirens

By Brett Price

Hey Steve,

I’d like to share a few images from a recent shoot I was able to do recently. In the past when I’ve submitted stuff for your site I’ve done extensive write ups on gear or technique but I thought I would just keep this one kinda simple. The theme for this shoot was based off of one of my favorite scenes in one of my favorite movies, “O’Brother Where Art Thou?” The scene with the Sirens is beautiful and I tried to recreate that a little with these photos.

My setup this time was simple. I brought my Leica MP and a Fuji GX645af and shot mainly film for these that you are about to see. It’s a mix of Efke KB50 film (sadly now discontinued) and Kodak Portra 400. I developed the B&W in Rodinal and shot with a Y2 filter. All were scanned with a Noritsu scanner.

I post a lot of my work to:

Tumblr: Brettprice.tumblr.com
Instagram: @brettprice
Flickr: www.flickr.com/photos/brettprice

Hope you like them! Cheers!

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Jul 172014
 

Photographing 100 Strangers with Fuji

By Justin Holder

Steve,

Earlier in the year, I started what seemed like a mountain of a project, planning to meet 100 strangers over the next years, interviewing them and compiling them into a book for my two sons. The project is called “Advice For My Boys” and has ended up being not overwhelming, but an incredible journey.

Just last Friday, a couple of days before Father’s Day, I had already hit my 100th stranger since mid February.

I have a Canon 5DMKII and a host of L-lenses, but I knew that would add an intimidation factor, beyond what there would already be. So, I shot the entire project with my Fuji X100s, Fuji X-E1 and then the Fuji X-T1. As many of the other Fuji fans know, these cameras offer such incredible results, yet seem so cosmetically casual and unassuming. I could not be more pleased with the results.

Now, over 100 deep in the project, I have decided to keep going. I always ask my strangers initially three questions: happiest time of your life, toughest time of your life, one piece of advice for my boys. Amazingly, not ONE person has said no to the project.

Even more cool has been the ripple effect of it. One of my favorites, Lois, who worked at McDonald’s said, as we were sitting down to talk, “you know, this is the first time in my life I’ve ever been noticed.” I asked what she meant. “Oh, I’m just one of those people who goes through life and you don’t really notice if I’m there or not.” The next day, lots of readers of the project showed up at her McDonald’s with cards, notes, little gifts, etc. Even the president of the bank went over to see her. She emailed me that evening and said it was the best day of her life. There have been so many similar stories in this project…and I feel certain there’s not one stranger I’ve met by chance.

We’re all fans of Steve’s site because we love cameras and photography, but even more the opportunities and experiences they often allow. If you’ve been considering doing something out of the box, I’d urge you to make the leap. Yes, it’s intimidating, but the rewards greatly outweigh the risk. Cheers to all of you!

Website for the project: www.AdviceForMyBoys.com

Nashville NBC affiliate news story

Thanks, Steve!

Justin

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Jul 142014
 

My favorite cameras for usability, ability and versatility mid 2014

By Steve Huff

Wow. It is already mid 2014. Half of this year has whizzed by faster than ever and as always we have a ton of cameras that we can choose from when it comes to photography. If we want something small that packs a punch, we have that. If we want something for low light, we have that as well. If we want something that is a joy to shoot, hold and use, well, we also have that. Do we have it all in one single camera yet? Well, not really.

There are always new camera seeing released though maybe not as many as the years past. DSLR production, as in new models, has seemed to slow down some from the constant barrage of new models that we used to see. Well, at least it seems like it. Even mirrorless offerings seem to be lasting a little longer between releases these days, and this is GOOD as we are at the point now where almost any camera will give us better results than most of us even need.

So far in 2014 we have had some cool releases and there are still fantastic cameras that were released in the past that are still perfectly usable. The question you need to ask yourself when deciding on a new camera is “What will I be shooting with it”, also “Do I value usability more than overall versatility”? “Will I be shooting mostly low light or in good light”? “Does it need to fit in my pocket”?

Once you decide what it is you want to use the camera for, be it portraits, your kids, vacations, or just an everyday shooter then you need to decide if you want simplicity in a fixed lens model or something that will allow you to choose and change lenses. The choice is yours as there is something out there to fit your needs, and I am going to talk about the cameras I like as of July 2014 with the reasons WHY I really like, if not love them.

My fave cameras made for Versatility

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Micro 4/3, Olympus E-M and E-P series

My favorite camera for ALL OUT versatility as of today is still the Olympus E-M1 or even E-P5. These cameras are beautifully made with a solid feel and gorgeous looks (in the case of the E-P5). They have some of the best lenses made for any system next to Leica from fisheye to telephoto and everything in between including some super fast primes like the Nocticron f/1.2 that is one of the best lenses I have ever used. With Micro 4/3 you have speed, you have the lenses, you have the build, you have the amazing 5-AXIS Image Stabilization and you have a smaller size. The lenses are so good, and not so astronomically priced. The color reproduction is beautiful and the B&W is not too shabby either. A camera like the E-M1 has it all and the only real weakness of this camera is that the sensor is smaller than full frame and smaller than APS-C. For this reason you lose out on some shallow depth of field and the images will be a bit more noisy at high ISO than full frame cameras.

Even so, if you shoot mostly in good light and want one hell of a system with unlimited lens choice and an all around great experience with pro image quality results, the E-M1 is still a gorgeous camera. The E-M10 and E-M5 are as well. I reviewed them all and you can read my reviews of these models HERE, HERE and HERE. Yes, you can indeed get DSLR quality and beyond with these models.

You can buy the E-M1 at Amazon or B&H Photo.

Three from Micro 4/3 – Super versatile cameras that do it all. 

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My fave camera for Point & Shoot, Vacation and SMALL SIZE!

Sony takes it here for me with the new advanced pocket rocket, the RX100 III. 

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The new Sony RX100 III is a hell of a camera in almost every way. It is small, made very well, has a pop up EVF, tilt LCD and stellar IQ for a small pocket camera. It’s a handsome camera as well and gives us an f/1.8 to f/2.8 lens from 24-70 (ff equiv). What is not to like? The color is great. the files are nice and I have seen some do amazing work with the RX100 version 1 and now Version III improves on that model in every way. This is, hands down, the best pocket camera I have ever seen or used, ever. Video is good as well. It does it all but will not give you the all out versatility or IQ of something like a Micro 4/3 or full frame model. For what it is though, it is the perfect camera for every day shooting, vacation, kids, family, events, etc. Whoever buys an RX100 III will not be disappointed. It is the real deal. I have been able to use one for a but thanks to B&H Photo but have not had serious time yet with it. Will be doing that this week. You can buy the RX100 III at B&H Photo or Amazon.

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My Fave camera for Usability

Without Question, the Leica M reigns supreme here

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The Leica M, any of them from film to the M 240 or Monochrom take this one for me in a huge way. These cameras are ones that you cherish and create an emotional bond with. For those who think that is nonsense, then you have never had that bond with a camera, and yes, it is real. The Leica M is a masterpiece of design, build, and usability. All manual focus using a rangefinder it is a very precision tool that actually can teach you a think or two about photography, framing and exposure. It is a tool one can use for a lifetime if you choose a film model, as they last forever. While the price is off-putting to many, think about it in a new way. This is a camera that will give you the most enjoyment from any camera ever..well, it has for me and not everyone is the same. From the moment you take it from its box all of your regrets of the money spent fade away.

The Leica M6, M7, MP, M8, M9, M240 and Mono will give you that Leica experience that no other camera will give you. As for IQ, others can meet or exceed the Leica in that area but nothing can beat it for usability or for creating that emotional connection. You can buy a Leica from many places these days but my faves have always been Ken Hansen, PopFlash.com, The Pro Shop and Leica Store Miami. These guys will treat you right.

Three from the Leica M 240

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My favorite camera for general every day and low light use

The Sony A7s wins this one easily. 

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You guys know how much I adore the Sony A7s and while it is not the most versatile (only due to lack of native lenses when compared to others such as Micro 4/3) camera it is indeed quite powerful. There is no low light situation that this camera can not tackle, period. When used with the 50 0.95 Mitakon I can see in the dark and when used with the native Sony lenses such as the 35 2.8 or 55 1.8 the camera will even AF in the dark. Amazing. The A7 also has better color performance than the A7 and A7r , better AWB, faster AF and better M mount lens compatibility. You can read my review here to see what it is all about but I now have one of these bad boys with a few lenses and love it to pieces. As I said in the review, the A7s is probably puns for pound, dollar for dollar my favorite camera that I have ever reviewed.

Low light shooters, this is a must try or own. The camera also is excellent in daytime shots and video. If more native lenses were around it would be unbeatable for me as of July 2014.

You can buy the A7s at Amazon or B&H Photo.

Three from the A7s, 1st one using the Voigtlander 35 1.2 wide open and a 100% OOC JPEG. 2nd one is from the Mitakon 50 0.95 and third and fourth is from the Zeiss 50 Sonnar 1.5. 

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Runner Ups

The Fuji X-T1 and Leica T are also very cool and very capable cameras. The Leica is different than other cameras in its interface and joy of use. It is a Leica and gives you the Leica style of IQ and pride of ownership. The Fuji is still a lightweight in the build but for Fuji fans, this is the best of the lot when it comes to Fuji interchangeable lens bodies.

Of course these are not the only cameras I like, but they are my faves as of July 2014. The Sony, the Leica, the Olympus..all superb in so many ways and unlikely  to leave anyone disappointed as long as you use them with good glass. The key is to get out and use them (for me it has been tough since it has been 110-112 every day and me and extreme oven like heat do not jive well for more than 5-10 minutes) and have fun using what you do own. The key is you more than anything, not the gear..though I admit..it is very fun to test and try new cameras!

Jul 132014
 

The best for me: Leica Monochrom!

by Francois Roosens

I think it’s the moment to send you some pictures from my Leica MM (Monochrom). Leica came into my life about 2 years ago, I sold my D4, D800e and all reflex kit to buy it.

The Leica MM is for me the best camera I have bought. I now own the MM(The best), M240,  A7r,  A7s (fabulous), and also the Lumix GM1 (it’s a perfect micro camera). I like your job.. Thanks for everything.

I am sending you some picture of « GILLES » from Belgium, it was in March for the « Carnaval » It was an important feast in my country. Early in the morning Gilles come pick  up other gilles and drink and eat at each house. in front of every house, they dance around… and lunch some oranges to give at children or at people for have a lucky year. I hope you like this.  The Leica 24 Summilux and 50 Noctilux 0.95 was used for that and I was up at 4AM.

Thank you!

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Jul 102014
 

The Urban Jungle with an OMD E-M5

By Matt Stetson

Hey Steve and Brandon,

I was introduced to your site by a friend almost 3 years ago and have rarely missed a day since. My name is Matt Stetson I live just outside of Toronto Ontario Canada.

I got into photography around 6 years ago when I broke my wrist snowboarding. I wasn’t going to be able to ride for a while so I figured the next best thing would be to take photos of all my friends who could. The more I shot the more I really began to enjoy photography and the whole process. After a few years of acquiring gear and experience I started to get published in magazines.

My favorite type of skateboard and snowboard photography is when it happens in the streets. Each and every city is a concrete playground and it’s always exciting to see how athletes interpret different features. I love how street style photography is similar. Each city is its own “Urban Jungle”. It’s always interesting to see how people act and react within their environment.

I was introduced to street photography mainly through this site. The more street style images I saw the more I began to really love the genre. I love all of the textures, shapes, architecture, and people you can encounter on any given day walking through a metropolis. Also I love how that same place can be so greatly different from day-to-day depending on weather, time and season.

After many hours reading reviews on this site I decided to buy an Olympus OMD EM5 with the Panasonic 20mm 1.7 and Oly 45mm 1.8. The smaller lightweight body and lenses are just way less intimidating while walking down the street. I don’t get the crazy large files that I do with my 5D MKII but I don’t need them for this application. I also love taking it to family events and vacation/trips. The size is just not a factor, so the camera fits wherever I have space left over, instead of having to create space for my camera gear.

I would love to share a skateboard and snowboard photo, as well as a few of my favorite street images. I really appreciate all the great content and inspiration that you guys post. I hope that I can be a part of it. You can also check out my website here: www.stetzphoto.wix.com/mattstetson

Thanks
Matt Stetson

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