Sep 092014
 

Using the Nikon DF

By Cosmin Munteanu

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Only for a couple of weeks the local Nikon dealer lend me silver/chrome Df in exchange for a short review about it. Well, the time was not a problem, especially because I have the camera for about three weekends. I had previously experience with Nikon AF system already. The F80 was my first camera and the 50mm f:1.8 AF-D. After it came the Nikkor 35mm f:2.0 AF-D and then the D90 followed by a 24mm f:2.8 and an older Sigma AF tele-zoom lens.

I received the Df with its kit lens, the 50mm f:1.8 AF-S G Special Edition. At first, the camera seems big. And it really is, big and bulky. It can not fit in my Tamrac day by day bag (a Explorer 1 5501). That’s the same bag that can accommodate a Pentax ME or MX with two prime lenses and a medium-zoom or a Nikon F80 with 2 prime lenses and a couple of film rolls. So, I had to leave the Tamrac at home and took my girlfriend’s LowePro backpack. Also, I brought with me my favorite Nikkor, the 35mm f:2.0. Well, as bulky as it is, in fact when I grabbed it, surprise! The camera is much lighter than looks like and sits itself in my hands quite well. It’s almost like Minolta’s x-500 or x-700 but of course with at least a measure bigger, and heavier (~750 g vs. Minolta’s 500 g). The grip, or in fact its luck is not at all a problem. It is big enough for me to hold the camera comfortably.

Now, let’s speak about using it in the real world. At first if you come from a classical 35mm film camera, at least the Df’s top seems very familiar. There are dials for exposure time, exposure compensation and ISO but, surprisingly also an exposure mode switch (PASM). Why such a dial when an “A” on the shutter dial would have been enough? Ah, of course, the new G lenses does not have an aperture ring, so the photographer have to tell to the camera in what mode wants to work. The aperture can be adjusted through the main back dial as on other Nikon dSLRs ar the front dial but I would not recommend that. The front dial is very stiff and can not be used comfortably and quickly because of that. I don’t recommend using this one while taking pictures. If one wants to use the aperture ring to change the f value, first has to make a visit in the camera’s menu. In these conditions the user can photograph like with a film camera. As for the shutter dial, I would have wanted an “A” position. Also the same would be great on the ISO dial too. Now, to switch from Manual to auto iso and vice versa I have to consult, again, the menu.

Other then the retro looking and operating cameras’s top, the camera behaves like a “normal” Nikon dSLR. The viewfinder is big and bright but of course not as big as a manual focusing camera. A split screen would have been a good addition if not necessary, especially for the “Pure photography” believers. I don’t know why they didn’t implement it. This feature would have picked up the DF even more from the “big black dSLR” crowd. The AF system is very good, fast, but struggles a little in low light by not locking on the target. In the same light conditions even the older D90 can surpass it with its central AF point. Shutter sound is short and ferm, not too loud but also not silky smooth as F80’s one. Even if the specifications says that the camera is weather resistant, the kit lens is not, and because I don’t have a WR lens for Nikon I didn’t try the camera in rainy conditions.

The battery life is very good but the door of the memory card/battery compartment is very fragile. Yes, both card and battery share the same compartment which door opens and closes in the same way like Nikon F100’s R6 battery holder.
About the sensor what to say more that I don’t need more that it can deliver. The IQ is excellent, ISO performance outstanding, plenty DR. I can not add nothing cons on this matter.

How would I like to see a future Df2 ? Well, I would keep the sensor, make the camera smaller, by about 5-7mm in deep and around ~10-12mm in height. Also I would like a more sturdy construction, keep the weather sealing and with a much less flimsy battery/card door and a better AF system but not by adding more AF points but by making it more reliable. Also i see a better spread of the AF points on the entire focusing screen’s surface unlike in the case of the present Df. In addition, like mentioned previously, a split screen would be nicer or a better suited for manual focusing matte screen. Keeping the 100% viewfinder’s coverage of course is a must and rising the magnification to at least x0.85 would make the Df2 the dSLR with the biggest optical viewfinder. Despite the cons mentioned the Df is simply put, a daily camera, one that I would always carry with me, paired with one, maybe two small, light and fast prime lenses like Nikkors the 50mm f:1.8, 50mm f:1.4, 35mm f:2.0, 35mm f:1.8, 28mm f:2.8, 24mm f:2.8, 20mm f:2.8 are .

I won’t end this short description wishing you “good light”. In the Df’s case this would be outdated. So I wish you just to be there, where the things happen and don’t worry too much about the selected ISO ;-)
Have fun.

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Sep 022014
 

A Fuji X100S report

By Lachlan Burrell

I’ve been using the Fuji X100S for about 16 months now, and I believe it’s one of the greatest digital cameras ever made! Obviously not everyone is going to agree with me on that, but here’s why I think so highly of this little camera:

Firstly, I’m a die-hard film shooter, and lover of traditional manual cameras. I learnt the ropes on great 1980’s era SLR cameras like the Olympus OM1 and Nikon FM2, and I still find the direct manual controls and simplicity of these kind of cameras such a joy to use, not to mention the wonderful tones and colours I get from film. So I was never quick to jump into the digital camera market. I got some very nice results from Nikon DSLR’s like the D200 and D3; both were and still are great cameras, but were a very different beast to the old film cameras that I loved.

Then along came the X100 and really caught my eye. Could this be the missing link between nostalgia, classic design and a practical, digital tool? Not one to rush into the latest thing, I waited to see how this camera would be received and how it would perform in the real world. Turns out there were some issues, as there often is with the first generation of any product. When the highly anticipated X100S was announced, I thought it was about time I took the plunge.

It didn’t take very long to warm to this little camera, most of the controls were very familiar and intuitive. I started playing around with the RAW files in Adobe Lightroom using VSCO (Visual Supply Company) Film presets that I had tweaked a little. It was then that I started getting a bit excited! Not only was this a beautiful camera to use, with traditional controls I was accustomed to, the images were the closest thing to film I’d seen come out of a digital camera. I’ve used the VSCO Film presets on the Nikon D3, but I’ve never been able to achieve a film look like I can with the X100S. There’s something about the Fuji sensor that lends itself to the tonality and feel of film. Some might argue, why bother trying to make the images from a digital camera look like film? Well that’s fine if you’re happy with a digital look, but to me digital often looks a bit “plastic” and surreal compared to a film image, and the colours don’t always appear to be rendered naturally. For those of you who are interested, I’ve outlined a few key changes I make to the standard VSCO preset settings in Lightroom. I don’t make any drastic changes, but as a general guide using the Kodak Portra 400 preset, for example, I add about 5 points more Saturation overall. Then I go to the HSL panel and into the individual colour saturation I nudge up the reds, oranges and yellows by 5-10 and knock the green down by about 5. In the hue settings I also nudge up the orange hue by 5-10 points, and knock the yellow, green and purple hues down by 5-10 points. In the luminance panel I knock the yellows and greens down a bit and nudge the purple and magenta up slightly. This all helps achieve a more natural creamy-warm skin tone. Another important adjustment I make is in the Split Toning. As a guide I set the highlights hue at about 40, saturation 5, and the shadow hue at about 210, saturation 5. This really gets close to emulating true negative film tonality. Play around with the grain settings to your own taste; for Portra 400 I have it set at 30, 30, 40. I use the Portra presets for most of what I shoot, but I’ve also customized presets for Kodak Tri-X black and white, Fuji Velvia, Fuji Astia and a couple of the Polaroid presets, which can be very interesting and moody. It really comes down to individual taste, but having shot film for so many years, I have a visual target to aim for when customizing the presets.

As far as my personal camera setup goes, I never use the accessory case, it just adds bulk and gets in the way. I also ditched the lens cap and attached the accessory filter adapter and a top quality B+W UV filter, primarily to protect that beautiful front element. I never use a lens hood, as lens flare isn’t an issue for me…I actually like the effect, and the Fuji lens doesn’t seem to suffer from it excessively.

In addition to the beautiful image quality the X100S can achieve, there are other things about this camera that just rock, in my opinion!

1. The exposure metering is superb; it nails it almost every time. And the rare times it doesn’t due to very challenging lighting, the dynamic range of the RAW files is huge, allowing highlight and shadow detail to be easily “rescued” later. The highlights don’t tend to blow out harshly, but fall off very gradually and naturally, something I haven’t experienced with other digital files.

2. The hybrid optical/electronic viewfinder is just lovely to use. I used to be a little irked by electronic viewfinders, but this one has changed my attitude. I still prefer the optical for general everyday shooting, but there are times, particularly when framing is critical or when the lighting is dim, that the electronic option really shines. The ultimate would be to have a true optical rangefinder with manual focusing, like so many popular consumer cameras made in the 60’s and 70’s. I don’t believe it has to remain the exclusive domain of Leica with a price tag to match. I wait in hope for a manufacturer to break the mould!

3. The compact size and near silent shutter is just perfect for travel and street shooting! I don’t believe there’s any other serious competitor for this camera, i.e. compact, light, full manual control, classic styling and design, delivering professional results.

Is this the perfect camera? I don’t think there is such a thing, because the needs of photographers are so diverse, but this comes close for a travel/street/documentary shooter. If I could change one thing about the X100S what would it be? The fixed 35mm equivalent lens can sometimes seem a limitation, but it’s also what gives the camera its unique appeal. I’ve often felt that a 40mm or 50mm standard would be more useful; I’m not a big wide-angle fan. But now with the option of 28mm and 50mm conversion lenses, I think Fuji have it covered quite nicely!

Lachlan Burrell

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Aug 252014
 

My People Pics with a Nikon D600

By Yopin Welly

Hi Brandon,

I’m Yopin Welly and I currently reside in Jakarta, Indonesia. I love taking portraits of people and doing street photography. My current setup is Nikon D600 with 3 set of primes ( 28mm 1.8G , 50mm 1.4D, and 85mm 1.8G), all those lenses are beautiful, did use Canon 5D mark 2 and Nikon D7000 in the past too. I do shoot film occasionally with my Nikon F100.

One day  showed some pics i have taken to my friends and one of ‘em told me “try post it to stevehuff !”, so i decided why not post it in SteveHuff too, after all i do have my online gallery which is www.flickr.com/photos/jonkopinx.

Photo details :

Oh What a Day: Nikon D600 + 28mm 1.8G / ISO 400; f 4; 1/125s

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People Around Us Portraits Series: Nikon D600 + 35mm f2 Ais / ISO 100; f5.6; 1/160s

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People Around Us Portraits Series: Canon 5D mark 2 + 40mm 2.8 STM / ISO 200; f 4; 1/80s

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cheers, YW

Aug 222014
 

Unpolished pictures of unpolished people in unpolished Copenhagen

by Thorkil Brodersen

I felt that I just had to get up from the deep coach, when reading the article from 12. Aug. 14 by Howard Shooter, where he provoked by claiming that Copenhagen is spotlessly clean and beautiful, so are the buildings and even the people.

Therefore I just had to grab down in the picture-pile, to claim he is totally wrong.

Copenhagen, but I have only lived in it and close around it for about 45 years, is a living organism full of life and contrasts, but yes in this our highly praised welfare state, things are getting departed, the poor are getting poorer, the rich are getting richer, and the middle class too. And the poor and “normal” people are getting pushed out of the center while this is getting more expensive, and objects of speculation.

But the city has its own life hidden in the old streets, the old areas, the old walls and the hidden places. You just have to dip your toes a step further down and under the surface. You have to avoid the fancy places. You just have to sense the atmosphere, give yourself time to go inside cityrooms, backyards and old bar’s

Taken with Ricoh GR and GRIV

Best, Thorkil

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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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Jul 302014
 

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My Photo and Camera Journey

By Steven Crichton

The first act: Style and Ergonomics.

I suppose the first time I realised I had a look to my work was when a lecturer watched a group project and exclaimed “That’s a Crichton shot if ever I saw it”. I suppose it was at this point it dawned on me that I’d finally achieved the personal nirvana that so many of us dare not mention to ourselves in our work. I had a style unique to me.

I’ve been involved in photography since about 1996, when a few friends were applying to go to Art School. I looked at their portfolios and said to myself, “I can do that” and that was the point at which I paid £5 for a beaten up Fuji ST501, started to invest my pocket-money and hard-earned cash from a dishwashing job in film. I was abysmal!

I tried every technique. Read every book. I could never stick to one thing and dipped my toe into every known stylistic pattern I could achieve with a 50mm lens and a darkroom. Just the other day I found a bundle of solarised prints, no doubt borne out of a section in a book borrowed from the library on Man Ray, along with a passage in a John Hedgecoe Darkroom Techniques.

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Anyway as time went on I jumped about gear too. As I aged, my credit rating aged, my earning capacity increased and by the end of my initial film use period I was deep into a canon EOS system. With a healthy splattering of M42 adapted lenses. A Russian fisheye and a motor drive meaning I’d achieved 7th heaven for a then aspiring Skateboard photographer. However, around this time I started wearing glasses and this is where the second part of the tale comes in.

I’m left eyed. I wear glasses. Find me any camera designed for eye level use for a left eyed glasses wearing photographer! My right eye had been damaged by spray painting accident as a 5-year-old in helping dad fix the car. An incident where a man underneath a dismantled engine, holding a crankshaft doesn’t sometime have the time to realise he forgot to put the safety cap back on the spray can. I cried yellow and didn’t get the chocolate I was promised. Other than that I became predominantly left eyed and forever the last person the R&D department of every camera manufacturer would think about.

Back to the rest now.. It was about the time of starting university that I gave up taking photos as voraciously as I did before. I stopped carrying a camera and concentrated on playing the Guitar. Also as many camera toting musicians will know if gear is addictive in photography, with electric instruments my word the possibilities are endless to allow your hard-earned money pour from your pockets. Anyway, University ended, I bought a car .. cue next money / energy waste. Then I met a girl! (I had met them before, just not a significant one)

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She was an art student and did a film course. Bang I was back. Starting out with the most beaten up canon F1n you had seen. I alas didn’t get to meet Crocodile Dundee whilst using it ( I later stupidly refused an offer to buy the actual camera from the film ), but I found my love again. This combined with a purchase of a proper film scanner a DSLR and a Seagull TLR camera I dipped my toe back in. Excited as well by the advent of Flickr. A wonderful place where we can all have our backs patted and have a serious amount of paid work time wasted if your then employer doesn’t understand what you really do for a living.

Hasselblads, Contaxes, Leica R’s, Nikons (to which I stayed loyal on the periphery) , Linhof’s. Even a B17 Bomb-door Aero-Ektar mounted into a Graflex to shoot handheld. I jumped about a lot. My nose firmly planted behind the back of each of them. Glasses pressed to the side of my head. Still jumping between a lot of things as formats and my taste changed.

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Then suddenly. Something worked.

It’s that moment I hope all of you will have one day that. The camera comes up and goes down. You don’t look at the screen and you know what you saw you captured as you intended.

It came in the form of a Bessa R3a and a 40mm Nokton. Plus add into the mix Kodak UC 400 and Ilford HP5. I’d bought the hand winder, so no more poking my face winding on. I’d bought the grip to push the winder into my hand that looks like a dildo. Plus I’d actually read and paid attention to the wonderful font of knowledge that Roger Hicks and Frances Schulz bestowed upon us in their book of Exposure. ( for anyone looking at it .. take older sensors as slide film and newer ones a little more like print film)

It’s about this time things became consistent. I found my eye.. I found the lenses that fitted my thoughts. Then got an M2 then an M4-P to use in tandem. Looking back now at work from then it’s almost the same as it is now in the composure, the colour and ways I’ve torn a set of shapes my brain was faced with into a picture to draw someone in or hopefully let them see a little of what I saw in someone.

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The Second Act:

Life sometimes deal’s strange a strange hand to us and I was given the opportunity to study an Imaging masters at Duncan of Jordanstone art school in Scotland. I jumped at the chance, after being so angrily denied previously by my parents.By then video in DSLR’s had hit, I had a D90, I’d wasted countless hours reading about T stops, Focus Pulls, made dubious home-made rigs and all the like. I’d even written my own video editing software as by trade I’m a programmer. I sold almost all my film stuff keeping the M4-P and 2 lenses and hit Nikon hard for a range of lenses, tripods and bags.

The Crunch. No one tells you how much you will hate something when you are forced to do it!

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Creative work for me had been an escape. It now became a battle when I had to justify it with research and abstraction in every way. I wished people would get it ..

“If I think it’s interesting and cool and so do you, why do I need to back reference this to some made up back story or delve into the battle that art has with science”.

As you all can gather in an art school this is like presenting a lecturer with a freshly scraped up piece of roadkill. So I stopped. Completely. I graduated and stopped. 3 years passed and thankfully, the bitter taste of pressure gone, I wanted to enjoy the process of photography again.

Moving to a city such as London, you downsize, rapidly and totally. I went from a 4 bedroom house to a single room, so the loss of equipment was brutal. No more Leica’s, 1 Nikon d300s and an old F3 I had if I wanted to shoot some film. After a year of the city I left, but in the strange hand of fate kept a full-time night job with the Tate gallery, as well as my new full-time position back in Scotland at a Medical School in Dundee.

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I had money!

I mean I had the kind of money you either put a deposit on a house with or you consciously waste on every childhood dream toy you ever wanted. I drove a fast car, toted a Nikon D3s. Had the best zooms, the best primes (according to reviewers) and still had the same style! At last consistency in my work. Alas my nose and my eye hated placing a D3s shaped brick to it, but I went on.

The Final Act:

Then I sold it all. 4 backpacks of lenses bodies, supports, diopters you name it. If there was something in a drawer and it had Nikon or was “compatible” I put it in the camera bags I had and jumped on the train. 8 hours later standing in the North of Scotland I had an M9. Along with it, 4 lenses and the viewfinders needed. I genuinely felt like I had just come back home.

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A bit of time with adjusting the focus to allow for my eye being at an angle to the viewfinder and a soft release to boot I haven’t looked back. Throughout all of this time since getting it my shots look like my shots, I know what to expect and I know how it will all sit together still.

Then all of a sudden I’d expanded this kit a bit. G.A.S struck! Things like the voigt 12mm the summicron v4 etc .. all lenses that are according to the internet “sub par” on an M9. Little do they know .. I don’t shoot test charts and I actually print stuff I like out. I also work to the limits of what they can do. Then came along came Sony!

The crowning glory that Sony have managed, that is ignored by all. Is that the A7 range cameras can use every lens known to god and can nearly accommodate a part Italian Scottish nose when combined with a left eye. People bang on that lens X is awful, and continue to do so. “You need a Leica M240 or if only they had …” I say to you, when you use it does your style show through? Does it fit you? As nothing else matters. (unless it’s a biogon lens then yes they are awful… sorry Zeiss and sorry for the double standards people of the internet these are bad on the A7 ranges even adobe’s DNG light field correction filters can rescue them).

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So what do I grab now? I grab what works. I don’t assume a lens will deal a magic blow and I don’t assume the camera has an automated mode that makes me a grand master selling work for more money than I earn in a year. I grab the M9 or the A7 dependent on weight/laziness/feeling/weather and go out and shoot.
Probably by this time you are all very bored with this and looking for a conclusion. Well it’s in the Title; Style and Ergonomics.

If you can get a style stick with it, keep on working with it. If you can find something that fits you as a human, even if it’s not resolving 100000 lph or has a dash of vignetting and aberration, you will use it more than the 20kg Zeiss Otus that your wrist screams at. For me it’s a badly worn M9 and an A7 with a ragtag bag of lenses and I’ll be keeping it that way for years to come.

http://www.zuikomedia.com/

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Jul 142014
 

Shooting Skateboarders with Micro 4/3

By Tony Zhang

Hello everybody, first of all, I would like to thank Steve and Brandon for providing me with this opportunity to share my thoughts. I am a daily visitor of this site and I really appreciate this opportunity. This is the first time I have written anything remotely formal on the internet so please bear with me and my more than likely boring rant about skateboarding, photography, filmmaking and my gear.

My name is Tony, I am seventeen years old and I live in New Zealand. I discovered photography about two years ago. I am a skateboarder, and about two years ago I wanted to purchase a camera to make videos of my friends and myself skating around and doing tricks. After many hours of internet research later, I decided to shell out my savings on a Canon t4i, kit lens, 50mm f1.8 and a 6.5mm fisheye. My primary interest was video but I inevitably found my way to the world of photography. I eventually sold my kit lens and 50mm and sprung for a Canon 17-55mm f2.8 IS. I was convinced that my setup was good enough(not only in terms of image quality, but also usability, size and weight) for both my video and photo purposes, until I discovered mirrorless and micro 4/3rds.

I feel that skateboarding photography is very different to other forms of photography. For good results, much knowledge about the activity is essential. Knowing exactly what time to press the shutter button, by the millisecond, when shooting a particular trick is essential, a photo early or late by milliseconds is often the difference between a keeper or a throwaway.

Unlike other sports photographers, who are often seen with a behemoth of a DSLR and 100000mm telephoto lens, firing non stop in continuous autofocus mode from the sideline(no offense intended), a skateboard photographer shoots and skates with his friends, he is often down on the ground or up on the roof, in the blazing sun, struggling almost as much as the skateboarder trying to land the trick. The photographer is almost part of the action.

You may notice that for many of my ‘trick’ photos, I use a fisheye lens. The fisheye is a staple in the world of skate photography and it is used to get the camera up close to the spot and skater, to distort the environment, often making the ledge, rail, stair set or other obstacle involved in the trick look much bigger, and hence the stunt more impressive.

Camera rig

Many amateur and professional skate photographers frequently use external strobes and off camera flashes to help freeze the fast-moving action and to light the subject up better. Many amazing skate photos are taken with many external flashes. However, I have never used off camera lighting. Mainly because carrying around so much equipment while cruising around town on a skateboard is a pain, but also because it is a laborious process which somewhat takes the fun out of shooting. (I will also admit that I am a bit intimidated by off camera lighting because it all seems so confusing)

I love skate photography because it captures the life, adventures, talents and efforts of myself and my friends. It is a difficult and special form of photography. I also enjoy the pressures of skate photography, waiting for the skater for hours to land the trick, hoping that the lighting does not change rapidly, getting up high or down low into uncomfortable positions to get the shot, the risk of injury or damaged equipment (my fisheye lens has been hit multiple times by skateboards as a result of being too close), and the chance of getting told of by security, these factors are all parts of skate photography. It is never a controlled environment and I truly enjoy these challenges.

Air(g6)

Backside heelflip(g6)

For the first few months, I was very satisfied with my camera setup. However, after learning more, filming and shooting more, I developed the feeling that something was missing, the ergonomics of a DSLR was not ideal for shooting video, mainly due to the lack of an electronic viewfinder, I had to use a large and cumbersome stick on viewfinder when shooting video. A video mode with 60 frames per second is essential for skating due to the need for slow motion at times, and Canon DSLRs only have 60fps in a softened 720p mode, filled with moire and aliasing artifacts. Despite being an excellent all round lens, the size, weight and front/back focusing issues of the 17-55mm f2.8, was irritating. I longed for a smaller camera with an electronic viewfinder and clean 1080p video in 60 frames per second.

There are few mirrorless cameras with aspc sized sensors that provided clean 1080p 60fps video, good video and stills ergonomics, a good, wide enough fisheye lens option, and an external 3.5mm mic input. Enter micro 4/3rds, after months and months of internet lurking. I decided that the Panasonic g6 would be the best all round camera for my purposes at a good price point. At the start of 2014, I sold my entire camera setup but kept my external microphone and homemade handle which I use for filming ‘lines’ (a video clip in which I am on my skateboard, following a skater with my camera and fisheye lens low to the ground and close to the skater, filming him do several tricks in a sequence.) I purchased the Panasonic g6, the Bower 7.5mm f3.5 fisheye, the Panasonic Leica 25mm f1.4 and the Panasonic 14-140mm f3.5-5.6 zoom lens. For me, this was the best all round compromise for stills and video that I could afford. I chose the g6 over the gx7 due to the external mic jack and overall ergonomics, and the gh3 due to the price difference. I find the difference in stills quality between the g6 sensor and my past Canon DSLR sensor to be negligible, and in fact I find contrast detect autofocus to be more reliable. However the difference in video quality and ergonomics between the two setups is worlds apart. I prefer the electronic viewfinder for both stills and video. The touch pad AF function on the g6 is perfect for my style of shooting, this, along with the accurate contrast based autofocus and the 25mm f1.4 makes shooting much more enjoyable than it was on my Canon. I do not require lightning fast tracking autofocus because when shooting tricks, I prefocus on a spot and lock the focus. Nothing else I shoot moves at a fast pace, and contrast detect autofocus works perfectly for my needs. The 7fps burst rate is very useful and I have the camera set to burst mode almost all the time.

Chill(g6)

Frontside noseblunt(g6)

Kickflip(g6)

I love the Panasonic 25mm f1.4, I try to use it as much as I can. The depth of field is shallow enough for me and I love the rendering and micro contrast of the lens. I often shoot wide open, and the 25mm is very sharp wide open. I also purchased a polaroid variable ND filter for about $30 USD so I can shoot video wide open during the day, the quality of the filter is excellent for video, there is a slight compromise for stills but I am not at all bothered by the incremental reduction in sharpness. The fisheye lens is compact, sharp and solid, however I do wish that it had a slightly wider field of view and increased barrel distortion. It is noticeably less wide than its aps-c DSLR counterpart which I had. I purchased the 14-140mm zoom planning to just use it for video, but its stills capability is also very decent, I find depth of field at the long end to be very adequate for portraits given that there is enough working distance. The OIS works amazingly, I can sometimes shoot fairly steady handheld video at the very telephoto end. I use it mostly for zooming video shots (unlike in usual filmmaking, many traditional skateboarding clips have some sort of zooming action in them, so video nerds please don’t rip me to shreds), however, I still wish I had a typical camcorder style zoom rocker.

Mum(g6)

Nollie crooked grind(g6)

With my birthday money, Chinese New Years red bag money(haha many of you will know what I am talking about), and addition chip ins from my parents for doing surprisingly well in my SATs first try, I purchased a Ricoh GR. I originally had my eye on the Fuji x100s, but it was not pocketable and cost too much. I wanted the GR because of it’s tiny size, ergonomics and it looked fun to use. It is a camera that fits in my pocket, I take it with me almost everywhere in the weekends, often without the intent of taking photos at all. The GR is the camera that allows me to get candid photos of my friends and out skateboarding adventures without me having to take out my big(ger) camera(and often removing it from my homemade handle.) I was originally worried I may not have been able to adjust to a 28mm prime lens and expected myself to frequently use the 35mm crop mode(which by the way is excellent), but I quickly found it to be the perfect ‘storytelling’ lens, wide enough to include many elements in the photo putting the shot into precise context. I also find the 28mm equivalent perspective very dynamic and lively, unlike many telephoto focal lengths which appear distant, compressed and flat(but this is good for many things). I usually shoot in TAV mode with the aperture wide open or at f5.6, and use it typically up to ISO 3200. Much to my surprise, I found the in camera raw developer to be very useful and fun to use, I especially like the positive film effect. The low light performance of the GR is great, the handling and interface are amazing, the sharpness is incredible throughout the aperture range., it is built well and most of all, it is fun to use. The 28mm and 50mm prime combo I have is great for most of my purposes when it comes to stills.

Ollie(trick) - Wynyard quarter(g6)

Portrait(g6)

However, nothing is perfect. Despite all the benefits of my new camera setup, I can still find some noticeable flaws, no deal breakers though. Firstly, the build quality of the Panasonic g6 is questionable. Being part of the entry-level range, the buttons feel slightly flimsy and often have a slight delay, this is especially noticeable when I want to scroll through photos, or quickly change the aperture or shutter speed. It is not a big deal however, just takes some getting used to. I wish there was a flatter picture style for video so I could squeeze out some more dynamic range when filming. When in manual mode, there is no constant exposure preview in the viewfinder and screen, the viewfinder always displays a correctly exposed image, this is frustrating as one of the main benefits of an electronic viewfinder is to have a constant preview of the exact exposure. The eyecup of the viewfinder is also very hard and uncomfortable, and I am unable to tightly press it against my eye for stability, much better than nothing though. The 25mm f1.4 is almost perfect, but I do wish it were a bit smaller and had a reversible lens hood, with the hood attached it is quite big. Chromatic aberration is also a concern, however this is easily removed in Lightroom. When filming with the 14-140mm, I sometimes notice slight shifts out of focus for milliseconds before coming back to focus while zooming, even when in manual mode, meaning that it is not a true parfocal lens. This is usually not an issue, but frustrating at times.

Push(g6)

Squat(g6)

The Ricoh GR, for what it is, is close to perfect, however there is a risk of sensor dust attraction. After about a month, I noticed a slight speck of dust on the sensor, it is noticeable when I shoot a picture of a white wall, however it cannot be seen in most situations. It is annoying but usually not an issue. I also wish that there was a manual video mode, I know it is a camera completely designed for stills but some sort of control in video would be nice. A slightly faster maximum aperture would have been nice, I really like the surreal look of wide-angle photos with shallow depth of field, however I understand that the size of the GR would have been compromised. A pop up EVF would be amazing, I have gotten used to shooting with the screen and it is fine, even in sunny conditions, but after seeing the Sony Rx100 iii, I really wish my GR also had one. Perhaps I am asking for a bit too much here.

Backside smith grind(gr)

Lastly, for those who care, here is my homemade camera rig/handle I have mentioned a few times. It allows me to shoot much steadier video due to the extra weight, as well as to film ‘lines’ due to the top handle. Prior to this, I had the Opteka X-grip, but it felt flimsy, was too big and wasn’t really efficient. I drew a few sketches of what I wanted on paper, then purchased various parts off eBay to put it together. The camera slides in and is connected by the hotshoe screw at the top as well as the quick release plate at the bottom. The height is adjustable and the frame can extend enough to fit some entry level full frame cameras. There is no frame on the left side so my LCD screen can flip out, and I mounted my external microphone(sony ms908c) upside down on the side so the rig fits in my bag without me having to take it apart. The quick release plate is a recent addition. With the plate added, it takes about 3 seconds to take the camera on or off the rig, without it, that time lengthens to about twenty seconds. If anyone is interested in the pieces. required, I am more than happy to send you a list of parts and how to put it together. By the way, the photo of the rig itself was taken on my Ricoh GR, wide open at ISO 1600 in raw and then processed in camera with the positive film effect.

Here is my Flickr- https://www.flickr.com/photos/87200229@N04/

Instagram- http://instagram.com/t_zhangg

Youtube channel- https://www.youtube.com/user/TonyZhangsChannel

I would really appreciate it if you could view my photos follow me on instagram and flickr, I know I don’t have much content, in fact, hardly any, most of my work is kept to myself. But rest assured that I have been steadily uploading more and will continue to put out more content.

Most of you will probably have little to no interest in skateboarding, but it would mean a lot to me if you could click on my channel and watch a few videos, it would really help me out, even better if you subscribe!

Once again, many thanks to Steve and Brandon for this opportunity, as well as to all of you who have taken time out of your day to read my article. I apologise for my rambling and heavy digression into video. I really enjoyed writing up this user report, it has allowed me to thoroughly rant about my thoughts. I hope that this report has been informative or useful to some of you who may be considering the Panasonic g6 or Ricoh GR, despite all the flaws I pointed out, they are excellent cameras(Trust me, I could tear any camera to pieces). Being able to carry around so much camera gear but still have the overall weight and size of it all being fairly minimal is amazing, especially when I skate around town with everything in my backpack. However, in the end, it is not about the equipment you have, but how you use it and your creative vision. No matter how good your gear is, there is always room for its improvement. People have create amazing images with mediocre gear, so try not to be like me and go crazy about gear, instead focus on the actual process of taking photos and your final product. But let’s be honest, talking about gear is pretty fun :)

Cheers,
Tony

Filming(gr)

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Lurk(gr)

Sunset(gr)

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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Jun 262014
 

Shimmering Light in Venice with the Fuji X100

By Drew Raitt

Hey Steve!

Maybe your readers would be interested in my recent trip to Venice.  The shimmering light of Venice is extraordinary! I live in North Devon U.K. overlooking the Atlantic ocean and here the sea is normally cool grey or blue. But in Venice, in April, the water is a translucent green, reflected, subsumed and suffused into every nook and cranny of this lovely city.

As a landscape photographer it took a while to adjust to shooting buildings and canals where there is no horizon. Sure I took loads of shots across the lagoon but the inner alleys and waterways are where the best images are found. Here the light works magic, although colours are subdued every building seems to glow , faded paint and pastel shades come alive, in every shadow there is a glimmering, a warmth that feels unique to me. I carried only my brilliant Fuji X100 (purchased thanks to great earlier reviews by Steve and others on this site). I know things have moved on in the Fuji World and now I am hankering for maybe the XT1 with a 56mm lens but for Venice the 23mm on the X100/s is superb.

I shot pretty much in programme mode and even in the deepest dusk managed to grab the image I wanted. I felt I needed to take time over each shot, savour the light and the atmosphere. In the early morning and late evening Venice is subdued, like the light, calm and quiet and around every corner is a painting waiting to be explored. I only use the electronic viewfinder which to me seems clear and precise whatever I throw at it. With the back screen off I avoided the temptation to ‘chimp’. The exposure compensation dial is incredible, easy to access without taking your eye away from the camera and instantly responsive in the viewfinder. So plus or minus two stops enabled me to fine tune the image I wanted to take. Using Astia mode for a more natural look, plus raw mode, I shot 260 images in four days and still had plenty of battery power left. The enclosed shots are all Jpgs with shadows,highlights and tone curve adjusted very slightly in Lightroom 4. I suppose it is obligatory to visit St Mark’s Square where there are a thousand others making their images. I have never seen so much camera gear slung around, it seems, every neck and in every hand a smart phone. I am no street shooter, the concept is alien to a rural photographer, but I felt so inconspicuous with the tiny X100 every thing became possible. In this shot five Policemen walked across the square which seemed to empty for a second, one of them stopped for a moment so I took the opportunity to photograph him. The other images I enclose I believe speak for themselves about the wonderful beauty of this place. many regards and thanks for such a great website.

Drew Raitt

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Jun 252014
 

Still enjoying my Leica M8

By Jochen Utecht

Dear Steve,

It has been a while since you published my latest “inspirational” email (http://www.stevehuffphoto.com/2014/01/14/daily-inspiration-494-by-jochen-utecht/). This time I would like to share a few images taken with my Leica M8, which I love and hate at the same time. If I had to decide which camera to keep, it would be the Fujifilm X100s. But the M8 is capable of outstanding quality. It only is a slow and quirky device, which sometimes is a good thing.

You can hardly push the ISO beyond 640. There is too much noise showing up. Focusing often takes too much time for snapshots. But prefocusing can make looking through the viewfinder obsolete. Compared to the X100 it is a heavy piece of metal. But it feels soo good!

I don´t have Leica lenses, because I am by no means rich if money matters. But I could get hold of a few nice lenses second hand:
Voigtländer 21/4, VC 15/4.5, Minolta 28/2.8 and Minolta 40/2.0. The Minolta´s are the same in quality as Leica glass. And the 15/4.5 is fantastic. Very sharp lens. I use the 21 and the 28 most of the time.

Usually I shoot RAW (DNG). The wide-angle lenses from Voigtländer get a treatment with CornerFix first. Then I develop a bit with Photoshop (Camera Raw). After that I go into Picasa and make some adjustments to the jpg´s. (First I try the I´m-feeling-lucky-button) That works well enough for me at least.

VC 21/4, edited in PS (correction of converging lines)

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They don´t earn much money, but are really childloving people.
Minolta 28mm/2.8, prefocused image.

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The forbidden city is always a joy to walk around. I usually hate images taken from behind. They are cowardish and mostly don´t say anything than that the photographer was there and didn´t have the guts to ask for permission. But sometimes you cannot do anything else and the picture still works.
VC 21/4.

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The same goes for this one. This Panorama was also with the 21/4. I stitched it from 6 portait-style images. There is barely any distortion in the VC21/4, so PS didn´t have problems putting it together. I don´t mind that some people appear as doublettes. Next time I might bring a tripod and blur the people.

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First of all I asked for permission to take a picture of these beauties. After a posing picture was taken they immediately went back to watching their smartphones and I could capture the scene I had been seeing before.
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Sometimes you get nice results if you hand the M8 to a stranger to have your picture taken. This was on the first of May. I even had to tell that chinese fellow which button to press, but made the settings prior to handing the camera over. It would have been a fun pic if my face had been replacing Mao. I will try that next time. That might not be possible with a rangefinder camera though.
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I hope you enjoyed the pictures and if you don´t want to show all 6 pictures, feel free to choose three of them.

Thanks, Jochen
5intheworld.de

Jun 132014
 

fridayfilmibraar2

Friday Film: Hunza And Gojal

By Ibraar Hussain

Part 2: NAGAR, HUNZA AND GOJAL – See Part 1 HERE

The farther north one goes, the more magnificent the Karakoram scenery becomes. Leaving Shina speaking Chilas and Gilgit and the green Alpine Himalayas behind, with only backward glances revealing Nanga Parbat dominating the southern horizon and the line of the Himalaya.

North from Gilgit along the Karakoram Highway one follows the Hunza River, flanked on either side by the Hunza and Nagar Valleys. These valleys are absolutely gorgeous, full of tall graceful Poplars, Cherry, Walnut, Mulberry and especially Apricot trees.

The way is dominated by Rakaposhi, a 25,551 foot snow Giant, and flanked by His peaks, including Spantik or Golden peak, Diran, Ultar and Lady Finger Peak. The people of these valleys speak Burushuski along with the lingua franca of the North – Shina.

Hunza is famous for it’s Apricots, longevity and lifespan of it’s people and the astounding beauty of it’s country. just as Vigne described Nanga Parbat 150 years ago as ‘the most awful and most magnificent sight to be met with in the Himalayas.’ The Greats Eric Shipton, HW Tilman and Francis Younghusband along with Lord Curzon all acknowledged (amongst other explorers) that Hunza was probably the most beautiful country in the world.

From Karimabad and it’s Baltit and Altit forts one crosses the KKH until it joins the ancient Silk Route and they merge into one through Upper Hunza or Gojal where the people speak Wakhi, and onto Gulmit and Passu where one has to ford the Atabad Lake by boat. (This is a new lake caused by earth quakes, as the mountain sides collapsed damming th e Hunza river, and destroying the KKH and villages in the process).

This area is dominated by the Passu Cathedrals; a line of unclimbed jagged peaks which are a thing of exquisite beauty. Photographs cannot do this area any justice at all.

 

Faces from Hunza, Nagar and Gojal
Contax G2 45mm Planar T* Kodak Ektachrome e100vs
Rolleiflex 3.5F 75mm Planar Agfa Ultra 50

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The Atabad Lake and River Hunza, Gojal
Contax G2 21mm Biogon T* Fuji Velvia 100

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The Passu Cathedrals, Passu, Gojal, Upper Hunza by the Karakoram Highway/ Silk Road
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The Altit Fort and The Hunza Valley from The Baltit Fort at Karimabad.
Rolleiflex 3.5F 75mm Planar Agfa Ultra 50

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The Hunza Valley and Rakaposhi
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The Baltit Fort and Ultar Peak Hunza
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Atabad lake, Gojal, Upper Hunza. Rolleiflex 3.5F Agfa Ultra 50. lab Scan

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Jun 112014
 

Take or Make

by David Lykes Keenan

Are you a taker or a maker? 

25_150_Parade, New York City, 2011

I had the pleasure of meeting photographer Robert Herman recently in my new home of NYC. We were meeting to compare notes about self-published vs. artist-funded photography books. These are probably the best two (the only two?) ways for artists not-already-famous to publish books of their work these days.

Robert, by the way, has self-published his book The New Yorkers to much success and acclaim. It’s been a ton of work for him but he’s now into a second printing which is almost unheard of for a self-published photography book.

During our talk, Robert suggested I find a book that has long been out-of-print. “You can probably find it on Amazon,” he said. He was right. My copy was either legally or illegally lifted from the University of South Carolina Museum of Art library and sold to me for $1. Only the library pull card was missing. The book is Mirrors and Windows: American Photography Since 1960 with an introductory essay by John Szarkowski, an untouchable if there ever was one, in the world of photography.

I usually just look at the pictures in a photo book, I call this the National Geographic Effect, but in this case, I read every word. My first impression was how timely to 2014 it felt even though it was written in 1978.

The first part of the Szarkowski essay focused on the impact that Robert Frank (and The Americans) and Minor White (and Aperture magazine) had on American photography after the 1950s.

The point of the essay (and the theme of the book) was to demonstrate how photography could be divided into two camps that Szarkowski referred to as “straight” (Frank) and “synthetic” (White). He was very careful not to draw to firm of a dividing line, leaving that open to artistic interpretation, but went onto discuss the new generation of photographers who emerged in the 1960s and how they were influenced by Frank and/or White to find themselves representatives of either straight or synthetic photography.

The photographs in the book are divided into two sections with many examples of each form. The names associated with this collection of photographs, we now recognize as a Who’s Who of iconic photographers. Erwitt, Winogrand, Friedlander, and Meyerowitz on the straight side; Capanigro, Uelsmann, Warhol, and Hass on the synthetic side. Among many others.

By the time I was nearing the end of the essay, the title of the book had completely slipped from my mind. In the closing paragraph, Szarkowski tapped his seemingly endless knowledge of the history of photography when he looked even further back than the 1950s and suggested that the father of straight school to have been Eugene Atget, and the synthetic to have been Alfred Stieglitz.

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Then everything about the book, about mirrors and windows, came completely into focus (pun intended) with the final sentence of the essay. “The distance between them (Atget and Stieglitz) is to be measured not in terms of the relative force or originality of their work, but in terms of their conceptions of what a photograph is: is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?”

As I wrote earlier, change some of the names, add about 30 years to the dates, and Szarkowski could have been writing about photography of the 21st century, the essay would have a very contemporary feel. These two camps of photography haven’t gone anywhere.

I certainly have experienced this is my own photography and I strongly identify with my camp. I think this is why I found the Mirrors and Windows essay compelling enough to not give it the NatGeo treatment. I just never thought about it using the terminology adopted by Szarkowski, that is “straight” and “synthetic”, which does have a rather dated feeling in 2014.

I’ve always thought of this photographic divide to be between photographers who “take” pictures and those who “make” pictures.

As a street photographer, I definitely take pictures. Landscape photographers take pictures. A fashion photographer or a commercial photographer make pictures.

Of course, as Szarkowski was careful to point out, overlap is allowed. That, pardon my editorializing, ridiculous $7 million photograph of the Rhine River by Andreas Gursky was a made landscape.

Try as I might, any personal attempt at crossing over in the make camp has, well, not been pretty. My mind and/or photographic eye just doesn’t work that way. It’s not a good thing or a bad thing, I remind myself, it just is.

So, do you take photographs or do you make photographs? Are your photographs windows or mirrors?

David has been photographing seriously since 2006 when he left his software company in capable hands and has not set down his camera since. Presently he is managing a Kickstarter campaign to publish his book of street photography entitled FAIR WITNESS. You are encouraged to check the campaign and make an investment to assist in bringing FAIR WITNESS to the bookshelves.

From Steve: Please DO check out David’s Kickstarter and if you like what you see feel free to help get him to his goal. These things are tough and I applaud and respect those who go out there and make efforts to get it done. You can see his video below, great and passionate guy:

Jun 102014
 

blackvalen

Yogyakarta Black Valentine with Ricoh GR

by William Christiansen

I’ve been using Ricoh GR for almost a year and the camera has always been in my bag. There’s no reason to not bringing the camera because it’s so small yet very capable. I use it alternately with the Leica M9 especially when the condition is so dark which requires me to bump up the ISO or use the flash.

On 14th of February 2014, which was supposed to be Valentine Day, Mount Kelud erupted. The mountain sent its ash and grit to nearby cities including Yogyakarta, my hometown. Coincidentally, it’s also the last day of Chinese New Year celebration which supposedly to be the biggest event as it’s the closing ceremony. It’s really a special day of the year.

Usually I will bring Leica M9 with 35mm Summicron ASPH with me when I go to the street or travelling, but this time I felt that the camera was not suitable for the current condition, so I brought my Ricoh GR to the street.

Ergonomically, the camera is so right on my hand and with the condition, dusty and gritty, because I need to hold the camera by using only one hand while the other hand mostly covering my eye to prevent the grit coming to my eyes.

I set the three customisable user slots to these settings:

Setting1 – For taking picture during the bright light – Aperture priority, F/8, ISO1600, Auto-focus.
Setting2 – For taking picture indoor or relatively dark condition – Aperture priority, F/2.8 ISO3200, Auto-focus.
Setting3 – For taking picture using flash or when the there’s almost no light – F11 , 1/10, ISO1600, Zone focusing set to around 1.5 meter.

For me, these three settings have already covered all possible lighting condition I might encounter. In the morning until afternoon, I will use Setting1, and then afternoon and night-time, I will use either Setting2 or Setting3. The auto-focus of the Ricoh GR is quite good especially when taking photo in the bright light but when the light is lacking, sometimes it will focus on the background rather than the object. It is the reason why I use the Setting3, to take photo quickly in the dark condition without relying on its auto-focus at all. I will surely miss the photo opportunity of the hungry cat if I had been using the Setting2 because there’s almost no light when I took the photo.

I always shoot in raw and process later in Lightroom. I am quite surprised seeing the files from this little camera because it’s really sharp. I converted all the images to black and white in Lightroom and even added some grain to bring more emotion to the images because at ISO3200 the file is relatively clean.

In conclusion, the Ricoh GR is a great camera if you are used to stick to the 28mm focal length. The flash metering is really great, the ISO capability is more than enough and it tooks a really sharp image. It is a really great secondary camera considering it is so small and quite light (you have no reason to not bringing it) and even as a primary camera (highly printable, sharp and great manual settings).

If you want to see more photos from my travelling and street photography, you can visit my website at http://www.touristwith.camera

Thanks, Steve!

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Jun 102014
 

Tibet with my M9

By John Kurniawan

Hi Steve/Brandon,

I am a frequent visitor of you side after I got my first M9+cron 35asph. I have not using rangefinder type of camera for 20+ years since my FM2 rest inside the drawer as I am busy building up my business.

Around 10 years ago when I got a second daughter I start to get D300 and shot occasionally not seriously yet till last Jun we are on a vacation trip where I have to carry bag pack, a DSLR+zoom lens and for sure shopping bags…..

Leica M9 has been my dreams since it launch but back and forth hesitate to get one as have the mind-set difficult to focus, everything else must be manually set, so last August I took the plunge and get a pre-owned M9 from a friend. The first 2 weeks quite frustrating to get use to it, but I determined must get over it and since then every where I travel only one cam and one lens to off some of the load.

Herewith I attached some shots of my recent trip to Tibet, hope all of you enjoy the colorful Tibet.

Cheers

Gangway

Prayers

MonksDebate

Nannie

Jun 042014
 

Make a List, Make a Wish

by Colin Steel – See his blog HERE

Where does photographic inspiration come from? Well for me it is usually triggered subconsciously through some innocent event or encounter that makes me think and see in a particular way. A good example of this is this City Diary set from the marvellous city of Rome which I visited recently for the second time. The trigger in this case was a visit to the excellent Pasolini exhibition that showcased his controversial life in Rome through letters, photos, video clips and stills from his movies.

I didn’t realise this effect at a conscious level and it was only when I looked at the shots from the weekend that I began to see the influence that the show and Pasolini had on me and the subjects and framing that I chose as a result. I think that it’s fair to say that this works best if you try not to rationalise too much and simply shoot what creates an emotional response or interest for you, no matter what the subject matter might be. I also find it best not to look at the photos as I shoot and often leave it for a day or two before I edit them afterwards. One thing that I do consider essential for this kind of fun shooting is a small, compact camera that is flexible and easy to use.

I have been using a Ricoh GR a lot recently and it absolutely excels for this type of City shooting with its snap focus and close focusing macro capability that I find very easy to use and control. At the risk of stating the blindingly obvious, it goes without saying that the more you use and know your camera then the more you can shoot ‘internally’ without the conscious thought required to fiddle with controls and focusing. Finally, the real beauty of this approach is that you don’t necessarily have to travel to exotic locations to practise it, although in all honestly that is a huge part of the fun and motivation for me.

See Colin’s last poast HERE. Well worth taking a look at if you missed it! TRUST ME!

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