Aug 282015
 

titlefilmyear

A year with film – Leica, Contax, Nikon, and Hasselblad

By Adam Laws

I hope your well and have a cup of tea close by, it’s pretty miserable here in London. It’s been awhile since my last submission and I thought I would write to you about my year of analogue photography with a Leica, Contax, Nikon, and Hasselblad.

Since my last post on portraiture with the Sony A7 ‘apparently’ I have been going all hipster though I must say without the beard by shooting analogue.

The majority of my work is still shot on my Sony A7.

Sony images 1, 2 and 3 – 

Sony 1

Sony 2

Sony 3

However I have been supplementing my digital work with far more analogue images, furthermore I generally shoot all my personal snaps now on film. I don’t believe film is better in any way but I do believe without trying to sound all hippy film gives a more organic image. Most importantly I enjoy the process of shooting film more, and surely fun is the most important element in the creative process.

So I’ve gone through some cameras this year, which I will elaborate on why giving a brief synopsis/feel of the cameras.

Leica

I bought a Leica M6 TTL with a .85 viewfinder and 50 ‘cron. Leica’s are beautiful aren’t they? The lore written about them makes them sound at times like unicorns at times, as such I romanticized owning one.

My thoughts on owning one – Well they are beautifully built. Solid and satisfyingly weighty. I did struggle with ownership, which ultimately made me sell it after a few months. This is not the cameras fault but more the time in my life I purchased it. Soon after I started my part-time photography degree, I needed to shoot an element of film in a studio and the Leica with its limited flash sync was not ideally suited to this task.

I also struggled with the notion of how expensive it was. Don’t get me wrong it is a beautiful piece of machinery, which evokes an emotive response and for that I totally appreciate why individuals buy them. However for the less money I could purchase a Hasselblad 500cm, Nikon FM2n, and Contax G2 all of them with glass and have change. Is a Leica M6 better than all 3 of these cameras? And would I have less fun shooting these cameras. So I sold the Leica to find out.

Leica images 1, 2, and 3

Lecia 1

Lecia 2

Leica 3

Hasselblad

This camera is a beast. Well it terms what I’m used to. The sound of the low thud of the shutter makes me smile. I do struggle with its size. I’m used to traveling light so having a big medium format camera is somewhat strange for me. It also interesting shooting back to front, something I am still getting used to.

The best thing about the camera, even more so than the negative size it produces is the reaction I get from the model. As soon as a model sees this camera in my experience they instantly get more serious about the project.

Hasselblad 1, 2, and 3

Hasselblad 1

Hasselblad 2

Hasselblad 3

Nikon FM2n

This is becoming one of my favourite cameras I own. The bright viewfinder, the solidness of the camera, and the big manual dials. It does not feel as good as the Leica, not as well made or smooth. I would say the camera is more utilitarian workhorse. I use it with an awesome Nikkor 50mm 1.2, which is a joy to use.

Generally this camera is loaded with FP4 film shot relatively wide own in a studio environment, where I would be using the model light as a source of light in-between shots with Sony or Contax G2. I have started taking this camera on the street with me when I fancy shooting B’n’W.

Nikon 1, 2, and 3

Nikon 1

Nikon 2

Nikon 3

Contax G2

The Contax is pretty much always in my bag. It can do everything my Sony can but it uses film. Unlike the Nikon this is normally loaded with colour Portra. The focus is always accurate and makes a great travel companion.

The contax does feels better in my hand than the Leica ever did. This is due to the thumb rest situated at the back of the camera. In addition the dials are a step up from that of the Nikon, but the camera feels very electronic with autofocus sounding something like Robocop. I also use this as a secondary studio camera generally mimicking the settings I had with the Sony to have a comparative organic film image.

Contax 1, 2, and 3

Contax 1

Contax 2

Contax 3

Conclusion

Generally there isn’t one. I think ultimately as long as you enjoy the process of creating images that is the most important element.

Sometimes there is a more suitable tool for the job, but that doesn’t also mean it is the most fun way to complete the job after all.

For me I like the organic images, the slower pace of shooting, the challenges asked of you using antiquated cameras, and thought processes that go through your mind.

I have enjoyed playing about with different formats and cameras. I think it’s always a great idea to play around with as many cameras as possible that way you know what you like and don’t. In addition the challenges posed by new equipment makes you think about your photography, which is never a bad thing.

You can view more of my work on my website: www.adamlaws.com

However I regular update my Instagram with my newest work: https://instagram.com/adamlawsphotography/

Jul 282015
 

User Report: A Nikon J5 Review

by Eyal Gurevitch

ZPR-NIKON-J5-FRONTLEFT-10-100MM

What makes a small camera great?

When asked what camera is compact and excellent I have no straight answer. It’s complicated, I tell them. You must sacrifice zoom range, or the max apertures of the lens, or the price of the camera, or its controllability, or its size.

So what’s the best compromise, they ask. It depends, I say. Would you call yourself an advanced photographer? Do you enjoy controlling your camera? Change its settings much? Must you have a large zoom? Can you pay more? Can you carry more?

91ekAdTmZ9L._SL1500_

How can you compete with a x30 zoom of a 240 gram camera, or a x83 in a camera the size of an entry-level DSLR? How can you challenge a 1” sensor in a 300 gram camera that also has a useful zoom range and an f/1.8-2.8 aperture range?

It’s tough for camera makers to keep pleasing us photographers. To keep surprising us. But somehow they keep it coming. Such is the Nikon 1 J5. No, it’s not a groundbreaking camera, it doesn’t bring anything entirely new to the market. What it does it to balance some really great qualities in a single, triumphant package.

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Size matters.

With its 10-30mm kit lens, the J5 is not any taller or wider than the implicitly aforementioned RX100 IV. It is thicker, due to the length of the lens, so it’s not pocketable and that’s a big difference, but in terms of conspicuousness, they are virtually the same.

So why even consider the J5 over the RX100IV if they have the same sensor size and body size, but a large difference in max apertures, in favour of the Sony? The first and most obvious argument would be the ability to switch lenses. However, most Nikon 1 lenses mounted on the J5 would render it cumbersome and unbalanced, so other than for a niche use of a large aperture prime or a long zoom here and there, the capital practical use of this camera would undisputedly be with the 10-30mm along with its f/3.5-5.6 apertures.

DSC_0072

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The grip. The controls.

There are two significant changes the Nikon did with the J5 over the previous body. The first is the all new BSI-CMOS sensor that delivers 20.8 megapixels but much more importantly better image quality and richer colors. The second is a thought out design of dials, buttons and controls added to the camera body without adding to its size. There’s a new Fn button in the front, a new dial around the video button, PASM modes in the main control dial and there’s a new grip. I would never understand why all cameras don’t have a grip as deep as their smallest attachable lens. The new grip of the J5 makes it oh-so-much easier to hold, especially compared to J4’s bar-of-soap-like slippery body. All these additions turn the J5 into a camera that’s easy to use and easy to control.

DSC_1254

DSC_1358

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The Speed

Nikon take pride in the fast shooting abilities of the J5 and they have almost every right to do so. Just like the J4, it can shoot a max of 20 shots per second with AF at full resolution, or 60 shots per second with locked focus. It has an impressive variety of slow modes in video (but an unimpressive 15fps in 4K). The only caveat being its slow processing, taking long seconds and sometimes even minutes to save the large amount of photos taken during a quick burst.

81SE1RqcMSL._SL1500_

There’s also the cool best moment capture feature, which keeps buffering images as long as you half press the shutter, taking a batch of 20 shots when you fully press it, 10 out of which are from the second before you pressed it.

In this regard there’s no change at all from its predecessor – you’re sure to capture the decisive moment, but probably not the next one.

DSC_0425

The Bottom Line

The Nikon 1 J5 is a highly capable, intuitively controllable compact mirrorless camera. It’s a huge step up from the J4 in terms of body design and as well as in image quality, making it a viable competitor in the high-end, large-sensor compact camera market, standing against the likes of the Sony RX100 IV as well as the Panasonic GM5, and with a truly attractive price tag.

Check out the Nikon 1 J5 at B&H Photo or Amazon.

Jul 182015
 

Great Sale on Voigtlander  Lenses at CameraQuest!

Stephen Gandy over at CameraQuest.com is having a FANTASTIC sale on all Voigtlander lenses for M mount and micro 4/3!!

ALL sale lenses bundled with a Premium B+W Nano 007 Filter! All have free expedited shipping. Lenses over $600 have free Next Day Shipping to most lower 48 locations. Sale available for North and South America only.

Screen Shot 2015-07-18 at 11.39.34 AM

Voigtlander Micro Four Thirds Lenses

https://shop.cameraquest.com/voigtlander-micro-4/3-lenses/

17.5mm f/.95 $1200 now on sale $900
25mm f/.95 VII $1000 now on sale $800
42.5mm f/.95 $1000 now on sale $800

Voigtlander Leica M Lenses

https://shop.cameraquest.com/voigtlander-leica-mount-rangefinder-lenses/?p=catalog&mode=catalog&parent=191&pg=1&pagesize=48

12mm f/5.6 Leica M $750 now on sale $700
21mm f/1.8 Leica M $1200 now on sale $1050
28mm f/2 Leica M $630 now on sale $600
35/1.2 VII Leica M $1200 now on sale $1000
50/1.1 Leica M $1000 now on sale $900
50/1.5 Black Leica M $900 now on sale $800
50/1.5 Chrome Leica M $1050 now on sale $950

SL II Lenses for Nikon and Canon EOS

https://shop.cameraquest.com/voigtlander-slr-lenses/

20mm f/3.5 Nikon $550 now on sale $500
20mm f/3.5 EOS $530 now on sale$500
28mm f/2.8 Nikon $500 now on sale $480
28mm f/2.8 EOS $500 now on sale $480
40mm f/2 Nikon $500 now on sale $450
40mm f/2 EOS $550 now on sale $450

May 062015
 

JPDoublemoon

The Power of Symmetry

By José Pazó 

In this article, the third one I am sending you, I am going to talk about an unexpected camera: The Nikon S32.

It is a very simple, waterproof, Coolpix series, yellow piece of plastic. Probably, for many out there, one of the worst cameras anyone can buy. The specifications are incredibly basic: diminutive sensor, lots of noise and tones of glare. All types of chromatic aberrations and quirks of use. At least, very cheap. I bought it for my 2 years old daughter, but cameras are always nice temptations. At the end, like Homer Simpson does with his bowling ball for Marge, this camera was partially for me. Do not tell my daughter.

s32

My prior two articles have been about film, b&w film. I like mechanical cameras (Leica M3, Hassy 503), old glass and expected and unexpected results. I still keep some reservations about digital cameras. I have a semi-old Ricoh GRD and a Pentax K01 that I like because nobody likes it. Call me old-fashioned, but pixels are like gremlins in my deep reptilian mind. Preys for ghostbusters. So I bought the Nikon S32, and when into my hands this yellow piece of soap came (probably the most non-ergonomic camera I have tried –slippery as hell), and while playing with it, the miracle showed up in the ancient form of symmetry. ¡Symmetry!

I guess I am a very asymmetrical type of guy. Although I like and practice yoga, one of my legs is shorter than the other, and size and shape of my nostrils are very unequal. Maybe that is the reason why I love Japanese art so much, because of its tendency towards asymmetry. While asymmetry is humble, subtle, suggestive and dynamic, symmetry is solid, pompous, affirmative and static. Symmetry is in general very much related with power. Japanese art tends towards asymmetry, but Chinese art (and power) leans towards symmetry. Japan hides power; China shows it. So I guess that, with the Nikon S32, a Japanese camera, I discovered ancient China and its marks in the Western world and in my reptilian brain.

JP5floatertree

Symmetry creates admiration, or at least aw (The White House, the Taj Mahal). It also produces endless decoration (the Cordoba’s Mosque, the vegetal decorative motives of the Alhambra). Symmetry is also present in almost any altar or oratory in the world. Our bodies also tend towards symmetry (at least some bodies), our faces too. Studies have shown that babies prefer symmetrical faces, and religious iconography indulges in it. Greece was almost symmetrical, Rome was over symmetrical, gothic cathedrals and Viking homes were too, the Empire State Building is symmetrical. Butts are. Busts too. Eyes, fruits, shells… (When they forget Fibonacci, another aurean way of symmetry). Monsters and extraterrestrial beings are usually symmetrical. Hearts not so much. That is probably why they keep us unbalanced. But they produce rhythm, and rhythm is symmetrical. Trees are rotationally symmetrical and so are kaleidoscopes, one of my childhood loves.

JP4tree

 

Nikon S32 can produce symmetrical images. If I were a fashion photographer, I would be using it to play with models to create enticing, almost religious, visions. Since I am a mere dilettante, I am sending you a batch of everyday pictures. They are technically terrible, but visually addictive. Interiors, monsters, altars, flying trees and perfect landscapes. Etscheresque, for those who enjoy Etscher, the painter. At least for my obsessive brain. This first batch includes photos related with the vegetal world. I do not know if you are going to find enough merit in them to be published, not to even mention other batches. If so, thank you in advance.
As always, regards from Madrid to the whole Steve Huff’s clan. Keep your vision and very personal approach, I find lots of value in it. And the same for all of you who write or visit here. Tons of talent around. I do not have a webpage or similar. Thinking of making one but, for the moment, I enjoy just sending pics to others. So, hasta la symmetrical vista.

JPpark

JPflower

JPcorner

JPpark2

JPgreenhouse

JPmountain

JPDoublemoon

JPVera

JP1tree

jp6nighttree

JP7nighttree

JP3tree

Apr 102015
 

Medium format goes medieval: comparing a Nikon DSLR with the latest from PhaseOne

By Andrew Paquette – His Website is HERE

A couple weeks ago I started making plans to do a photo shoot at the ruins of a local castle. I intended to bring my D800 and a Zeiss 55mm Otus as the primary rig, along with an A7r with a Zeiss ZA 135mm for action and close-up shots. However, a few days before the shoot, my wife and I were talking about medium format systems, the photographer Jason Bell, and then PhaseOne medium format cameras. To find out more about PhaseOne, I performed a few searches on the Internet, but didn’t get very far with pricing information because every page led me to a form that I could use to get a free test drive of a PhaseOne system. I was primarily interested in knowing what a refurbished system cost, but since I had to fill out the form to find out, I filled it out. A few days passed, and then on the day before the shoot, I got a call from PhaseOne. Would I like to borrow a camera for a test drive? The rig suggested by the salesman was the 645DF+, the IQ250 50MP digital back (their first CMOS sensor), and a Schneider Kreuznach 80MM f/2.8 leaf shutter lens. This is the exact same rig Bell mentioned when talking about one of his shoots. Curious to see how it would work out, and with a little trepidation that GAS syndrome may have just had a peek in the room, I decided to try it out.

Dungeon corridor, shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8

Settings: f/2.8, 1/5 ISO 400
Considering the slow shutter speed here, I really should have shot this at a higher ISO

Dungeon corridor

—-

Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/3.2, 1/60 ISO 400

Robin in red

The primary reason I was curious about medium format in the first place had to do with my discovery that almost all of the photos I like the most were shot on medium format systems. In one case, a photographer had one shoot of many on her site that I liked a lot, while the rest were good but not as creatively inspiring. That one shoot was done with a PhaseOne. The more I looked, the more references to medium format and PhaseOne I saw. What finally decided me to look into it was a photographer who wrote how he had tried and tried to make images that had qualities he associated with his favourite photographers, like Annie Liebowitz, but couldn’t do it until he switched to medium format. Until then, he thought there was some problem with the way he was taking the photos, setting up the lights, or editing them in software. It wasn’t any of those things—it was the type of camera he used. After switching, he was able to get the look he wanted.

The D800 and the Zeiss 55mm Otus is a very nice combination for DSLR shooting. Short of the D800E or D810, it is about as good as it gets. The lens is the second-highest ranking lens rated by DxO labs (after the 85mm Otus), and the camera is one of the highest rated among DSLRs. The Phase One is similarly one of the best offerings from a brand that is popular among professional photographers. From my perspective, I wanted to know if the image quality difference would be noticeable, and if it would be worth the huge price difference between the two systems. Lately I have been gravitating toward portraits and fashion, both of which genres seem to benefit from medium format cameras.

Disclaimer:

This purpose of this article is to provide some information about how a high end DSLR system compares to a well-regarded medium format system, for those who are considering a switch. This is not meant to be a definitive scientific test. There are plenty of examples of beautiful work by professional photographers on the PhaseOne website, as well as on Nikon’s and Zeiss’s websites. These are great for showing the best possible results from the most highly regarded photographers, but it is hard to know from these gallery images what went into the shoots. What I found difficult to find were articles that compared DSLRs and medium format cameras by shooting something outside the range of normal technical tests, which are usually just a couple of distant buildings, a girl in the forest, and head shots of the camera salesmen at Photokina.

Expectations:

When I rode the train up to the PhaseOne dealer, I was fantasizing about getting some pretty amazing shots simply because I was using a PhaseOne. That said, I knew the possibility of that happening was remote. The D800 and Otus are an excellent combination and I had been using them for a year. Comparing that to an unfamiliar system automatically puts the PhaseOne at a disadvantage. Another problem is that the DSLR is much more useable in low light than the PhaseOne—or at least most medium format cameras, which operate best at 100 to 200 ISO (with 400 ISO the maximum). The IQ250 back I was using was different because it could go up to 6400 ISO. Despite this, I was thinking of the PhaseOne as a system that required studio lights, as opposed to the D800, which worked fine without them. I was planning on using a reflector and sunlight for the shoot, and had no room in my transportation for lighting gear. I hoped this wouldn’t compromise the PhaseOne too much, but that was what I had to work with so I’d just have to see how it turned out.

At the store, the salesman gave me a quick tour of the camera. During this short tutorial I shot a couple images of objects in the store. What I saw really surprised me: there were prominent green and magenta bands running along the edges of many white objects in the scene. Most of the Zeiss lens line have very little fringing problems, and the Otus has none. I literally hadn’t seen fringing for months because I have been using the Otus as my go-to lens. Even when I use other Zeiss lenses, like the ZA 135mm f/1.8, I rarely have fringing issues. Seeing fringing on the first couple of shots taken with the PhaseOne was disheartening, but on the other hand, the system I had in my hands was the same one used by the royal family’s photographer. There had to be a way around it.

Because of my concerns about the lighting and the lens, I was prepared for the test to go either way, but was rooting for the PhaseOne, if for no other reason but that it is always fun to discover a way to improve the quality of one’s images. It was a fairly dark day, so most of the shots were made with the camera mounted on a tripod.

Conclusions:

Ergonomics… The 645DF+ felt great in my hands, the menus on the touchscreen were easy to understand and big buttons were easy to press without accidentally pushing something else (as I do more often than I like with the D800 and A7r). The optical viewfinder was like looking into the detachable Zacuto viewfinder I use on my Nikon, but integrated with the camera and brighter. The live view screen was very nice, slightly higher resolution than the LV on the D800, and most importantly, the IQ250 has the built-in ability to transmit the live view and preview photos to an iDevice. I tested this on my iPad and it worked very well, using the free app provided by PhaseOne, Capture Pilot. This app can also be used as a remote trigger for the camera. This functionality makes focus checking trivially easy compared to the D800 (and probably the D810 as well) because of the much larger iPad screen. Overall, I felt that the camera was easier to hold, to carry, and to use in some ways than the D800. The only exception to this are the aperture and shutter control dials, which are smaller and thinner than their Nikon counterparts. This isn’t a big deal, but I found them more difficult to find and use than on the D800, probably because I’m not used to them.
The case this camera came in was much bigger and heavier than it needed to be for a camera that felt to be about the same weight as the D800 + Otus. As for overall dimensions, they weren’t much different there either. If I were to get one of these, I’d probably opt for a backpack instead of the gorilla-proof case I was handed for the tryout.

Image quality… Overall, I liked several of the shots from both cameras. In all but one of the examples where I shot exactly the same subject with both cameras, I preferred the PhaseOne result. I shot the PhaseOne in aperture priority mode because I wanted to avoid an excessively shallow depth of field in shots with multiple actors. This worked against the PhaseOne because I was able to use much faster shutter speeds with the Nikon. I initially had the impression that the Schneider-Kreuznach lens was softer than the Otus because the images themselves were softer overall, but the slower shutter speeds almost certainly allowed enough motion to lose some sharpness compared to the Nikon.
Despite the slight softness to images shot with the PhaseOne, in all but one example where I shot the same scene with both cameras, I preferred the PhaseOne because of the superior colours and tonal range. Both camera/lens combinations produced nice images, but the colours that came out of the PhaseOne were noticeably stronger.

I’m not totally convinced that the PhaseOne is hands-down better than the Nikon/Otus combination, but am willing to give it the benefit of the doubt until I have the opportunity to test it again*. I do know that the colour from the PhaseOne system and richer tones are very appealing compared to the more limited range available in the Nikon system.

*Update: I have retested the Phase One system and answered some of the questions left with the previous shoot.

1) The colour differences between the two systems are partly attributable to having used Capture One to process the Phase One shots but Lightroom for the Nikon shots. Despite this, the greater dynamic range of the IQ250 over the D800 is obvious.

2) The CA problem with the SK lens is very real but goes away at higher f-stops. I did some shots of dark tree branches against the sun at f/2.8 (heavy fringing) and f/5 (no fringing) as a test. If shooting at less contrasty subjects, the bigger apertures can be used. The Otus remains the winner in this category.

3) The SK lens is very sharp when setup properly. It really doesn’t like low light situations, and ‘low light’ for the Phase One is a lot brighter than for the D800. I had been setting the Phase One to match the Nikon settings—a big mistake because medium format requires more light than a 35mm.

4) The Capture Pilot utility is really awesome to use. It helps get steadier shots, and allows high resolution exposure and focus checks in the field.

Below are some more of the images from the shoot (and at the end, a couple of bonus shots from the more recent test):

Brigands. Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/6.3, 1/15 ISO 200

Brigands

Dejeuner sur l’herbe (Luncheon on the grass). Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/2.8, 1/223 ISO 200

Renaissance battle_4

Thom. Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/3.5, 1/111 ISO 200

Thom

Merlyn. Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/9, 1/7 ISO 100

Merlyn 1

Merlyn. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/7.1, 1/125 ISO 125

Merlyn 2

Unruffled. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/5.6, 1/100 ISO 1200

Unruffled

Sparring. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/7.1, 1/30 ISO 125

Sparring

Triple portrait. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/4, 1/200 ISO 125

Triple portrait

Robin. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/3.5, 1/100 ISO 200

Robin at the window

_______________________
The new test shots were made primarily to check CA and sharpness of the SK lens. All were shot with the 645 DF+, IQ250, and SK 80mm LS lens. Here they are:

Sunset fence 014

mirrored wetlands

RiverBend

Mar 172015
 

titlebjarke

2014 in Twelve images

by Bjarke Ahlstrand

Hi Steve,

Another year has passed, and at least from my perspective 2014 was extremely busy. I fulfilled a dream of mine and opened a rock bar, Zeppelin (www.zeppelincph.dk), + my very own photographic haven/store, One Of Many Cameras (www.oneofmanycameras.com), here in Copenhagen, where I live. The camera store, which deals with both new and 2nd hand stuff gave me even further possibilities to explore the photographic medium and although it hasn’t exactly cured my GAS, it helps that I can just borrow stuff from the shelves now and then :-)

I only shoot manual lenses as they fit my shooting style the best, and I spend most of my photography time on celluloid, expired chemistry and especially large format portraits, but that ol’ Leica M9-P of mine is still my favourite digital camera (since I can’t afford or justify a Monochrome, hehe), but I also adore the little MicroFourThirds camera which was given to me as a x-mas present by my One Of Many Cameras partner Daniel because of its portability, since the large format cameras are a bit bulky to drag around. My work can be seen here: www.oneofmany.dk and www.polaroid.com

Anyways, here goes — once again — 12 images, 12 cameras, 12 months – this time for the year 2014.

***

January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photograhic fibre paper used as a paper negative · ISO3

2014_01_8x10_scan_deardorff v2_270mm_boyer saphir paris f63_iso3_after

January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photographic fibre paper used as a paper negative · ISO3

I’ve been working on a book/exhibition the last couple of years. It’s gonna be called “After” and will feature 130+ portraits of my girlfriend, all shot immediately after we’ve had sex. There will be no pornographic content or nudity but “raw” portraits that try to capture that very special moment just “after”… I went about it in a dogmatic way, so I decided that all had to be shot within a five minute time span and I would max make 3 exposures. It was very challenging as many of the shoots were rather trivial when it comes subject, and location of course, but I managed to use a great variety of cameras and now in the final editing stages of the book, I believe it turned out okay. The book will be published around May/June if everything goes as planned. For this particular shot, Katja laid still for 8 seconds while I captured the light.

***

February · Leica M9 · 50mm Summilux Asph @ f/2.8 · ISO200

2014_02_LeicaM9_50summilux_iso200_Lucer

Still love the Leica, still love rock ’n roll, and I still have a record label, so I actually managed to shoot quite a few album covers in 2014, this being one of them. With vinyl making a serious comeback it’s a joy to shoot band pictures again. The band is called Lucer and they play high-octane rock. Be sure to check them out on Spotify –– or even better, on vinyl.

***

March · Goecker Studio Camera · 270mm Dallmeyer 3B Petzval · Expired Ilford Multigrade photographic paper used as paper negative · ISO3

2014_03_8x10_paper negative scan__Goecker Studio Kamera_Dallmeyer 3B_iso3_Street

I bought an old wooden large format studio camera, dating back to 1913 and it came with a wonderful Dallmeyer Petzval from the 1860s’ so I decided to drag it outside our little camera store (which is also a studio) and test it out. Two teenagers were walking down the street, but I convinced to them to stand still for 1 second while I used my hand as a shutter. Notice the Petzval curve, it’s absolutely wonderful. Oh yeah, the logo of One Of Many Cameras is actually the Petzval lens design from 1840 – both my partner Daniel and I even got it tattooed, so I guess that lens is rather special to me.

***

April · Fuji GX680III · 125mm GX f/3.2 · Ilford Delta 100

Picture 521

Even though I love large format and the creative possibilities it gives regarding perspective and focus, it’s not exactly portable. Enter the Fuji GX680III, a high-end medium format camera from the final days of the professional analog era. It has a small bellow and therefore tilt-shit capabilities and you can cram 8 images on a 120-roll film, so economically speaking, it’s quite okay (compared to large format). You can shoot the camera handheld – and those Fujinon lenses — whauh. This one in particular, it’s perfect. My youngest clone was shot wide open at f/3.2. Love the bokeh.

***

May · Kodak DCS PRO SLR N · 55mm Nikkor f/1.2 · ISO160

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I don’t want to (re-)start the whole CCD vs. CMOS war, I’ll just conclude that you’ll find on the CCD-side when photographic civil war begins. I haven’t owned a DSLR since I sold my 5D Mark III and I swore I’d never go down that road again… But then I was presented with this Kodak beauty, the first full frame pro digital camera, which cost a fortune back when it was introduced, and having never shot Nikon glass before (!) I couldn’t resent the 55mm Nikkor f/1.2. The 3 included batteries last only 5 minutes each, the camera breaks down constantly, has many quirks and is hardly usable above ISO400… But that Kodak CCD sensor is absolutely wonderful… I get the same feeling as when I look at images from my Leica M9-P and Hasselblad H3D-39. If I’m working digital (and not doing video), I’ll definitely go for a CCD-camera.

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June · Leica Monochrome · 50mm Apo-Summicron f/2 Asph · ISO320

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Had the chance to spend a day with the APO-Summicron. Took it to the beach along with a Monochrome. Nice combo. Stupid price tag, though.

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July · Leica M9–P · 35mm Summilux f/1.4 Asph FLE · ISO160

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Took my two clones to Barcelona for our summer vacation, alongside a couple of Leica’s and the Fuji GX680 monster. I keep coming back to the Leica, it’s “like home” every time I shoot it. The swimming pool was nice, too.

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August · Sinar P2 · 36cm Voigtländer f/4.5 · Impossible Silver Shade 8×10” Polaroid

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Having a record label is nice because you get to meet some really cool people, in this case the Swiss noise-rockers Herod who performed here in Copenhagen, and stayed at my place for a couple of days. I dragged the boys to my attic alongside my Swiss 8×10” large format Sinar camera, and shot an 8×10” Polaroid polaroid. The lens was stopped down at f/5.6 (which is like f/1.4 in 35mm terms regarding depth of field), but with the help of the movements of the camera, I was able to get all 4 members (relatively) sharp.

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September · Kodak Master View 8×10” · Rodenstock 210mm Sironar f/5.6 · Ilford Direct Positive Paper · ISO6

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Another band photo, this time around it was the death metal act Undergang, who were about to embark on a 5 week US tour and needed a band photo for their upcoming LP, so of course we went to a cemetery. I brought an antique Kodak Master View 8×10” large format camera and some Direct Postive Paper, and I snapped this ghoulish portrait with the Rodenstock lens shot wide open. Again with the gigantic negatives (1 x 8×10″ negative = 1 roll of 35mm film), the depth of field is extremely shallow, only a couple of millimeters but that old Kodak large format camera with its bellowsmovements made it possible to get them all “pretty sharp”. I made the vocalist only show the white in his eyes for the second I exposed the Direct Positive Paper, which indeed is a fantastic medium when working with the large format, since it’s like a Polaroid (positive) and you can handle it under red/safe light which makes it much easier than the negatives.

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October · Sinar P2 5×7” – 21cm Voigtlander Petzval · Expired Ilford photo paper

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One Of Many portraits of my favourite subject(s) – my clone, Hjalte. Almost 16 years old, he looks nothing like the child I’ve been documenting for many years now, as he’s growing rapidly, physically as well as mentally. Teenagers are hard to shoot since they’re pretty demanding, and pretty pimple ridden, but I’ve been experimenting quite a bit with expired analog materials and decided to try to drag the absolutely last silver out of some photographic paper which expired the year Hjalte was born (1999). He sat still for around 4 seconds while I underexposed and then the negative laid in the (also expired) chemistry for around half and hour before it was fully developed. I love it, one of my favourite portraits of 2014.

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November · Sony A7S · Leica 75mm Summilux f/1.4 · ISO1600

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Yes, I love old cameras (and especially lenses) but of course I also embrace new technological wonders –– like the Sony A7S. Most of my work is shot at extremely low ISOs, but the A7S opened new doors for me with its extreme low light capabilities. I’ve shot portraits for record covers at ISO 100.000 (!) which look fine on print – and my Leica lenses all perform wonderful on that little Sony. And the ones that can be hard to focus on a rangefinder are easy to nail spot on with the focus peaking turned on. Sometimes I wish the A7S had just a few more pixels as 12mp isn’t a lot for print/pro work, but I use it mostly for videos anyway, and there it reigns supreme.

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December · Panasonic DMC-GF5 · 1″ Taylor-Hobson f/1.9 · ISO1600

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Yeah, I prefer large format and medium format, and full frame digital sensors. But lately, I’ve come to love a small, not-very-special little Panasonic pocket camera (DMC-GF5) – due to one fact: its MicroFourThirds sensor and the c-mount adapter that came along the little x-mas presents. That combo opens totally new doors when it comes to lenses and look. Old 16mm film lenses (c-mount) shine on that little digital sensor (the ones that cover it that is) and since the camera is very cheap (and lenses, too) I bring it everywhere for snapshots that otherwise were reserved for my iPhone. Here you see the newest member of the Ahlstrand-clan, Trine The Cat, climbing unto a x-mas tree. Nothing fancy, just one of those “family shots”, but I really dig the look of that tiny 1960s 16mm film camera lens, which I just had CLA’ed by my friend, Professor Olsen (repair-guy at One Of Many Cameras).

That’s it. Enjoy.

Mar 052015
 

 

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4 days in the life of a Magnum photographer

by Sebastien Bey-Haut

Dear Steve,

I just came back from what has been one of the best photographic experience of my life and would like to share it with your readers.

I indeed had the privilege to attend a Magnum photography workshop mentored by Stuart Franklin in Panjim, a small town in Goa State, India.

It all started while browsing the Magnum website a couple of months ago: I saw a post calling for applications and having nothing to lose I sent a portfolio without too much hopes as they would accept only 12 participants worldwide… I received the good news a few weeks later: I was accepted! Living in Switzerland it meant a long trip (40h) for only 4 days of fun… But no way I would pass on it, so I booked my tickets, packed my gear and here we go !

The workshop was quite intense with mornings dedicated to discussions with Stuart and peer reviews, afternoon to shooting and evening / night to post processing. Our objective was to present a coherent 10 photographs story to be showcased at the Goa Photo festival… If possible without putting too much shame on our mentor’s name.

Of course having someone like Stuart reviewing your work is an incredible experience, his critics were always constructive but he would not miss the slightest default. Composition, tones, alignment of the different elements, everything has to be perfect or the photograph will be rejected without mercy.

The focus of the workshop was in building a coherent story and in editing our work so in order to give you a sense of what we went through I’ll first present the final 10 photographs we selected with Stuart:

10 selected photographs 

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Then here are some other “Stuart approved” photographs which did not make it into the final cut

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And to finish some of the images that I personally liked but were rejected by Stuart:

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As you can see the “image quality” is not what really matters, Stuart was looking for images which would invite the viewer to imagine a story behind it, transmit emotions, and more generally have their own strengths. Anything looking more like a nice “tourist postcard” was discarded, which is what happened with most of my portraits…

As a conclusion the main outcome of this workshop was to teach me how to be more demanding with my own photography, which is highly inspiring and will for sure be very useful in the future.

The gear I used is quite irrelevant to describe this experience, so I’ll let you guess what it could have been. One hint: Stuart was using the same camera “hipster” camera…

You can find more of my work here https://500px.com/Sebastien_Bey_Haut

Thanks for reading

Sebastien Bey-Haut

PS: I’d like to take this opportunity to send a big cheers to the Secret Magnum 12, keep the good images coming!

Feb 272015
 

Kids & Flash

By Warren Street

Love the site and look often. Very informative and fair in an unpretentious way. So right up my alley.

I recently bought a flash cord for my D3100 after seeing some of Larry Finks photos and loving the look and feel that to me really highlight emotions.

Being a 9 to 5 Dad of 3 kids means I’m not home a lot but when I am home it’s my job to get the kids ready for bed. One of the things that strike me is the number of different emotions we go through as we get ready and it’s a perfect time to put the camera in one hand and the flash in the other. I’m always amazed at the results I get. When you look at these you can really see so much. From what’s obvious to the subtleties between the kids.

From a technique perspective I shoot manual so I can stop motion(it’s action after all) and also have a decent depth of field as focus is not always so sharp. I’ve shot a couple of parties just for friend(I’m not a pro) and they always come out interesting and unique.

I hope you enjoy.

Warren Street.

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Feb 252015
 

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Low light photography with the Nikon V3

By Aspen Z

Hi Steve and Brandon, it’s great to be here again! The last time I posted was when I took the V2 to South Africa where it did the entirety of the trip. Since then, I’ve done many more excursions with it and from the tone of that post it shouldn’t be a surprise that I upgraded to the V3 as soon as it was out.

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Most recently, I embarked on a solo trip to Norway with the primary intention of seeing (weather/solar activity permitting) the auroras- a phenomenon I’ve always been fascinated with since young and somewhat sceptical of. Dancing lights of varying colours? Hmm…

There was just a single snowy day spent in Stockholm mainly for ease of flights, but it turned out to be very interesting a place and I’m definitely gonna give it a proper visit someday. For some reason, none of the locals knew where the Nobel Museum was and I found it in a square after crossing a secluded alleyway in Gamla Stan.

Arriving in Tromsø, with skies deep blue, I was abruptly reminded of the possible challenges ahead; polar night just ended and there was no true day to speak of. It meant working with ISOs I’m not usually comfortable with on the V3. I’d admit that there were at least two occasions before the trip I hesitated getting another camera (namely D750) so that I wouldn’t need to fret about noise. Besides, I’ve never photographed the auroras before and common advice online suggested full-frame cameras, fast lenses and possible weather-proofing. There was no telling if the V3 would fail me on multiple levels.

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I did learn a few things, some are tips from the perspective of a first-time aurora shooter, others just discoveries in general.

1) Unofficially, the V3 handles up to -16°C or heavy snow with no problem. I frankly believe most modern cameras can perform in conditions beyond their ‘limits’, much like how the Galaxy S5 can go underwater but isn’t given a special mention for it likely due to unnecessary warranty claims.

2) Test run a shot, i.e. do the highest ISO possible on your camera with a shorter shutter speed and adjust as needed. Suggestions of ISOs, exposure times and other aspects vary wildly from site to site and there’s no telling what light conditions were present or lens they used for such settings. Unfortunately for the V3, the sightings were during the new moon so the landscapes were very dark. Worse still, there’s not a fast ultra-wide lens for the N1 and it meant working with a relatively slow f/3.5. 90% of my shots warranted 15-30 seconds shutter speed with ISOs 1600/3200. These settings are typically not recommended due to noise (and they’re referring to full-frame!) but I knew trying ISO 800 and pushing up exposure was much worse in the V3. My focus was manually adjusted to infinity dialled back a notch. Be sure to check beforehand how long a shutter speed you can pull off before star trails become a problem.

2) The V3’s virtual level was immensely helpful (note: not the same as grid lines!). Except for the occasional compositional advantage, I couldn’t afford to crop with such light conditions/settings and wasting it on straightening horizons is entirely avoidable! Also, the tiltable touchscreen meant easy adjustments and no need for remote shutter.

3) The batteries drain faster but no faster than constantly using AF-C for motorsports/birding (in terms of duration). Warming up a frigid battery did restore some of its charge. I got through a night with two batteries, each left with the final bar of charge.

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Autofocus, as with its predecessors, was a joy to use and very swift even in poor light. At no point did the V3 falter and the magical twilight colours of Tromsø were captured accurately. The N1 lenses in general have stunningly good stabilization (rivalling IBIS?) and typically give you 5 stops of advantage (with the infrequent 6-7 stops from time to time on telephoto lenses). Viewing Tromsø after a cable car ride, I decided to settle with the 32 prime for composition, forcing ISO 6400 due to no stabilization, and it was then I really missed the lenses with VR. Reine was my last destination and I was greeted with much milder weather. The days were just a bit longer and the bright red Rorbu cabins with seaweed sprawling along the intertidal zone lent contrast to the dull light and snowy mountains.

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The auroras were indescribably amazing, with many colours in every form and shape, and they would disappear, capriciously, at times, only to reappear with greater intensity than before. They renewed in me a sense of awe so rarely experienced after childhood. My photos might have been better with a full-frame camera but I’m pleased with the V3’s output and glad that it shared such an experience with me.

More photos to be found here:

https://www.flickr.com/photos/aspenz/sets/

BUY: The Nikon V3 is available at Amazon.

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 022015
 

London with my new Coolpix A

By Kelsey Horne

Hi Brandon and Steve,

Before travelling to London this Christmas, I wanted to get a camera that didn’t sacrifice on image quality but would still fit in my jacket pocket, no case, no strap, no heavy DSLR around my neck all day. After seeing the great deal on your site for the Nikon Coolpix A, I decided to pick one up after reading your review. I figure $700 off the retail price is a good deal:)

GLAD I LISTENED TO YOU!!!

There is something about the way this camera renders the image that feels special to me. I wasn’t sure how I would like the 28mm focal length but after a couple of days of shooting it grew on me and I found it hit the sweet spot for shooting landscape and people. Sure it has some issues but having a large sensor in camera that is truly pocketable is worth dealing with the slow auto focus.

London is beautiful this time of year with the lights – contrasted by the old architecture. I shot more than usual because the camera was so easy to take with me no matter where we ventured.

Enjoy.

Kelsey

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Dec 222014
 

Nikon Coolpix A Deal now at Amazon (Prime) – $700 OFF

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Still in time for a great Christmas Gift (Amazon Prime Next Day Delivery) the Nikon Coolpix A is now at Amazon for the same price that it is at B&H Photo, $399. This is $700 OFF the normal price of $1099! The Nikon Coolpix A is an APS-C 28mm fixed lens pocket camera that has tremendous image quality.

It has better IQ than a Fuji X100S, better IQ than a Panasonic LX100 and Leica D-Lux and about equal to the Ricoh GR which is also an APS-C pocket camera. Of course  the Nikon Coolpix A only has a 28mm lens, so this is for those who like wide-angle shooting. Think of it this way..

Instead of buying a 28mm lens for your Nikon DSLR, you can grab this and have a 28mm with solid construction and gorgeous IQ.

At $399, this is a blowout deal and when they are gone, they are gone. This special price is only valid on the Silver model, which obviously sold less than the black. My guess is that Amazon and B&H have hundreds of these to clear out (though may be down to under 100 left).

CLICK HERE TO GET THIS DEAL AT AMAZON!

B&H PHOTO STILL HAS THIS DEAL AS WELL

 

Dec 192014
 

Best Christmas Deal Yet. Nikon Coolpix A, $700 OFF!

The fabulous Nikon Coolpix A, the pocket APS-C IQ monster that sold for $1100 since launch has now sunken to an amazing LOW price for the Silver model (which looks really sharp in person). Do not pay $1099, nope! B&H Photo is blowing out the silver Coolpix A for $399. THIS my friends is the best deal of the year I think.

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You can see my Coolpix A review HERE, and then if you want one at this special price of $399 B&H Photo is even including FREE Next Day Shipping! Wowzers! Thanks to Brad Husick for the tip!

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You can also add the nice $399 OVF to the camera and save $300 on that as well! So you can get the camera and OVF for $499 total, free next day air shipping!

CLICK HERE TO SEE OR TAKE ADVANTAGE OF THIS DEAL (WHILE SUPPLIES LAST)!

Dec 162014
 

Wedding photography with Nikon Df and AIS lenses

By Peter Patenaude

I recently had the opportunity to photograph a wedding in Greece. As the title suggests, I photograph with two Nikon Dfs paired with only manual AIS lenses, for this wedding the 20mm 2.8, the 50mm 1.2 and the 105mm 2.8. Of course, what is used to take a photograph matters and can have a large impact on how a picture translates. Everyone on this website I am sure has much more knowledge about lens and camera characteristics than I do, so I won’t even try to speak about that. But maybe this article is more about the characteristics of people, selfishly myself, and how this has a much greater impact on the nature of my photography in both the images that I make, as well as the tools I am compelled to use.

I have never been fond of anything that I cannot connect with in some personal way- I have always struggled with this, however, as it poses a risk of being too romantic in life. Regardless, I find myself photographing with manual equipment. I think, for me, the feel of the scene, and of taking the picture is different- and this ultimately has an impact on the images I make. The best way I can describe it, being an avid outdoorsman as well, is that the difference can be likened to fishing. I have coached people when they were reeling in a fish, through the ice, on a fly or on a worm- it does not matter and it is very exciting. Even though I am not the one actually bringing the fish in, I am deeply connected to the moment by relaying to the other angler when to set the hook, how much tension to have on the line, when to reel in and when to let the fish run. As amazing as this is, the other angler still acts as a filter and barrier between me and the fish and so it still does not compare to actually feeling the fish hit the line myself, and feeling each and every dart and dash it makes. When the fish takes my line I am in full control, and the decisions that I make are based more on intuition after getting a sense of its personality- because of this I am able to react more effectively, and yes, if I make a mistake, I cannot blame the other angler reeling it in, I have only myself to hold responsible.

Of course, I am not a stickler for sharpness. In fact, I have never admired a photograph for being sharp- I save that admiration for trout knives and musical notes.

I hope that you enjoy these images, and if you would like to see the rest from this set, they can be seen here: http://bootandcanoephotography.com/northern-greece-wedding/

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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

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved
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