Sep 162015
 

Shooting the streets with my Pentax

by Lukasz

Hi my name is Lukasz. I’m from Poland but I live in Ireland since 2005.

My childhood is a period of communism. That was hard time, and the cameras usually came from the Soviet Union, from our “friends”. When I looked at the photographs when I was young, that was another world, sometimes escape from reality. At the beginning I thought not about to take pictures, I just liked the watch them. Later, after the change of regime when it was already much easier and cameras were available, I lost interest in photography. When I get older I bought my amateur camera, and that was the start of my passion. When I started the adventure of photography I did not think about the lenses or the full frame. I did not have a favourite photo subjects, but after some time I became interested in street photography and street portraits. Generally decisive moment speak to me the most, ordinary people in an ordinary world, tired faces of everyday life. Maps of life written on their faces that everyone interprets differently. For me the most power in photography is multiplicity of interpretations. No one can tell another person what is good and what is bad. Everyone has an opinion and can defend it. With curiosity I look at people and their kind, which I try to capture in my photos. Each portrait is different, and each moment is unique, so I try to photograph so as to capture what at the moment is the most unique and unusual.

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I used pentax k20, but now I use k-5 and usually my favourite lens pentax 77mm ltd. 1.8 but sometimes 35mm 2.4.

Greetings Lukasz.

My facebook page: https://www.facebook.com/pages/Photography-by-Luca/588506824581547?ref=tn_tnmn

Sep 162015
 

Ireland with the Olympus E-M1. A Photographic Journey

by Tom Ohle

My name is Tom and I’m from Ireland. A few years back while visiting my beautiful fiance in Canada I kicked my love for photography into over drive!

Your site is fantastic and largely responsible for fuelling my love for photography. For me it’s the equivalent of a great cup of coffee first thing in the morning.

These next two images are from my favourite place of all. The west coast of Ireland in Co. Kerry just off of the Dingle peninsula at a little place called ‘Inch Strand’. It’s a spectacular part of the world with huge wide beaches as far as the eye can see.

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“The Kite”

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“Misty Beach”

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The west coast of Ireland (particularly Co. Kerry) is known around the world for its spectacular cliffs. If you ever make it to this part of the world check out Sleigh Head.
This next one was shot overlooking the peninsula. I set out not knowing what to expect and stumbled across this huge hill that overlooked the main peninsula providing a stunning view. I improvised a quick fashion shoot – lighting was very overcast – perfect natural soft box!

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“He left me in Ireland”

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For the most part I like street photography and travel portraiture but I try not to pidgeon-hole myself into a particular genre. I’ve taken my camera and lenses around Ireland and the great white North in Canada. From portraits of random people on the street to portraits of wolves and wolf dogs I generally always have a camera in my hand.

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“We need to talk”

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I find that the images that I am most drawn to from your other writers tend to have people in them. Either obvious images of people directly or may not so obvious images of landscapes that show the mark of peoples involvement. In more recent times having read some of Neil Buchanan Grants posts here I’ve been inspired to approach my subjects and subject matter from the perspective of a travel photographer. Even in my home town I try to ask ‘ what would be really cool and interesting about this place that I could show somebody in a completely different part of the world ‘.

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“Who are you lookin at?”

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“Violinist on the street”

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Busking and street performing are very popular and a large part of Irish city culture. A walk down Dublin’s Grafton street on a Saturday afternoon is an explosion for the senses. Stilt walkers, dancers, acrobats doing back flips, fire breathers – it’s got it all. The shot of the busker was taken in Co. Cork – many of these performers are very street photo friendly and do not mind you taking their photo once you acknowledge them. No better way than by throwing them a few euro :)

“Rebel without a cause”

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Dublin has a bunch of really cool locally owned coffee shops. Unfortunately we are seeing more and more big chain coffee shops pop up about the place but thankfully the locals still support the local businesses. Many of these coffee shops make a cool studio for european style impromptu photoshoots!

Sunset in (not on) the Liffey!

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For me, a photo has not completed it’s journey until it has been developed and printed. The printing aspect is a recent discovery and I have very much fallen in love with this aspect of the creative process. I now shoot for the print.

Fine art giclee prints on fiber paper are gorgeous. I spend hours trying to get the balance between the choice of edit, the type of paper, texture, color calibration etc… holding a finished product in my hand is immensely satisfying.

I’m very much a learner with a lot yet to learn but I’d hope to have my first article published and open to constructive criticism and feedback from the community. Thank you for taking the time out of your day to look at my photos and I hope that you enjoyed them.

My flickr is : https:[email protected]/

Thanks,

Tom.

Aug 212015
 

Shooting from the Hip

By Mohammed Hakem

My website: http://www.hakemphotography.com
my FB page: facebook.com/hakemphotography

In conservative cultures street photography is an absurd dream. It’s very hard for people who haven’t seen enough tourists to accept being captured. The reason behind this is not related to privacy issues, but a stereotype that everybody with a camera is a journalist who will fake some news and speak badly about them. It actually happens a lot that people take random pictures of poor people and insert them into articles related to drugs and crimes. These people might be poor but they all have dignity that matters more than their lives, that’s the main reason why they become so aggressive.

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To take pictures of these amazing people you either have to build a relationship and let them trust you, or have the balls to shoot candidly. With a DSLR it is impossible to do the second, but with a mirrorless it can be done.

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I am a travel photographer and taking pictures of people naturally is part of what I do. I prefer not to let people notice I am there, I know I may be violating a copyright or bypassing privacy space but this is ART and I am not doing anything with the picture afterwards other than revealing lovely places and people to others. Every once in a while a photographer should get out of his comfort zone and shoot something different to what he is used to. Landscapers should go for streets, Fashion and portrait should go for travel photography and so on, it helps you a lot understanding other aspects.

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The technique here is to shoot from below. I use the tilting screen of my Fuji XT-1, disable the eye-senor and put the camera on top of my shoulder bag in front of me. People see me as a tourist and they are not frightened but still I don’t know their reaction if I pointed the camera directly towards them, especially that I am not the personality who can talk to strangers fluently so I won’t find a way out if someone yelled what are you doing. I adjust the Aperture for the depth of field and let the camera do the rest. I point to the target and quickly compose the picture from the screen.

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To be Honest I am amazed by Fuji’s V.4 auto focus system, it’s like a totally new camera. To those who don’t know, firmware upgrades in the mirrorless world is a real Firmware! not just solving bug issues that will affect 0.01% of your shooting the firmware introduces exciting features and upgrades the autofocus as if it’s a new camera!. Most of the pictures are shot with the 56 F1.2 lens on F1.2 in Egypt, the country I’m proud to be born in its culture. please make sure to like my FB page and take a look on the website :)

Jul 272015
 

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Dare to be, so People can see

by Wijnand Schouten

Hello Brandon and Steve.

Since 2 years I am working on a project called ‘Dare to be, so people can see’. Portraits are my favourite thing to do.

When I started I noticed the attitudes and patterns people have. In general life and for sure when a camera is involved.

That’s how ‘Dare to be, so people can see’ was born.

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When you show how you feel in the now, without smiling, and looking straight in to the camera, you give a moment.In this context I get a picture instead of taking one.

For me the idea behind it is that the world is filled with plastic glamour. By showing how people can look without the glamour it might help an other person to feel more in the now too.And accept their selves.

All this without being pretentious.

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For me its an attempt to contribute tot the awareness that every moment in life is worth to exist and be seen. Not only the smiles. I am always happy when I go home with a portrait on my memory card and edit it the way I feel.

Not all the people are happy with the results. Sometimes I find a picture beautiful and I don’t get the permission to put it on the internet because they don’t like the result. Then I don’t do that. Although I still see the beauty of it.

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greetings from the Netherland and keep up the good job you are doing.

If you want you can follow me on instagram:

https://instagram.com/wijnandschouten

Jul 222015
 
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LIGHT AND CONTRAST

by Michiel Faro

Time to get some of my own work out there, to be commented on and be criticized, instead of it all going the other way.

A bit about myself: I’m 62, Dutch and live in Holland, married, a stepson of 18 and two lovely two-year old girls. I work as a lawyer in Amsterdam. I have two potentially time-consuming hobbies: riding racing bicycles (I rode competitively for 25 years) and photography. I’ve been photographing since I was 14 or so.

My late father taught me everything, darkroom work included, though we never progressed to colour. I started with a Werra, which is more or less the most simple and wellmade camera one can think of. A Zenit slr was next, then a Yashica TL Electro (great camera), until a Nikon FM2n followed in 1990; a body I still have and use with great pleasure. FE2, an FM3a, a Contax RTSIII and a collection of used Nikkor and Zeiss primes round-up my analogue stuff. Digital started in 2008 with a D200, then a D700, then a D800 and now a D800E (both the 800 and the E can be underexposed routinely by almost up to a stop without any noticeable loss in image quality; a real bonus) with the 24, 35, 58 and 85 1.4G’s. I like the SLR form factor, prefer OVF’s over EVF’s and displays, dislike tiny camera bodies that may be light but have infuriating ergonomics and no viewfinder, and once you’ve gone full frame there’s no going back to a smaller sensor. Oh, and I don’t buy the next best thing every time it comes out, which can be quite frequent. Learn the stuff you have thoroughly, and that’s complicated enough in itself.

My photography can be divided roughly into three main categories: portraits (close, and possibly intrusive), situations/geometry/shapes, and emptiness. That last category is even more frustrating than the others and might be suitable for another post in the future. For this submission it’s situations/geometry/shapes and portraits.

Near the place I work in Amsterdam are two photo museums: FOAM and Huis Marseille. I try to go there on my lunchbreak every month or so. There’s always something to see. I may not like a particular exhibition or image, but it always sets your mind working: what is it I don’t like, what is it I do like, could I emulate it, could I approach that level of perception and technique, what sort of gear was used (ha!), etc etc. On the net, apart from the usual gear sites it’s AmericansuburbX and Lensculture I have a look at quite frequently; always something interesting to see.

Foremost in my mind (subconsciously no doubt) when taking photographs is light and contrast. Light because of what the infinite varieties of light can do to what the human eye (and film or sensor) sees. Contrast because of the inherent, subdued or loud, tension I wish to see in the images I take. Interest, tension, something that makes you wonder, makes you ask questions, is what I’m looking for. Always.

So here is a selection of B&W film images, made with cameras like the Contax RTSIII, Contax RTS, Contax S2, Nikon F2AS and Nikon FE2 and a variety of primes, usually Tri-X and HP-5, and colour images, made with the D800 and D800E. Two of the three portraits were made with the Nikkor 58/1.4G, an amazing (and sometimes frustrating) lens; the third one with the 85/1.4G, another gem.

The 58, to dwell on that subject briefly, is attractive as an everyday walkabout lens (I have a camera with me always; 1.4/35 this week) for its (comparatively) low weight, but you have to account for the almost “short tele” like focal length. It really shines as a portrait lens in ambient light. I think it is, for all it’s failings, a classic in the making that has to be used frequently to be fully appreciated.

Captions for the images are as follows:

B&W Situations

1 Man in FOAM museum: camera and lens unknown, TRI-X

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2 Man with hoodie: Nikon F2AS, Nikkor 2.0/35 AiS, TRI-X

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3 Man at Terry O’Neill exhibition: Contax RTSIII, 1.4/35 Distagon, TRI-X

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B&W Portraits

4 Cor: Contax RTS, 2.8/85 Sonnar, HP5

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5 Olivier: Contax S2, 1.7/50 Planar, TRI-X

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6 Rob Regeer, the artist and his art: Nikon FE2, Nikkort 1.8/50 AiS, TRI-X

 

 

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Color Shapes

7 Nikon D800E, Nikkor 1.4/58G

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8 Nikon D800E, Nikkor 1.4/58G

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9 Nikon D800E, Nikkor 1.4/58G

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Color Portraits

10 Ed de Jong, photographer, with waitress held napkin reflector at his insistence: Nikon D800, Nikkor 1.4/58G

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11 Jan Maaso, friend, Nikon D800, Nikkor 1.4/85G

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12 Wessel, colleague, Nikon D800E, Nikkor 1.4/58G

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Thanks to Steve and Brandon for posting this and, more importantly, for keeping this podium alive for many to post on and for even more to comment.

Best regards,

Michiel Faro

 

Jul 142015
 

In praise of the Voigtlander Nokton 35 1.2

by Fahad

Last February, I went to Istanbul for a quick visit, of course along with my camera and lenses.

As soon as I arrived, and started taking few pictures, I noticed that my Summicron 50mm (the one i used in both previous articles) is out of focus on all distances, after a full day of testing, I was certain something is wrong.

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Luckily, for that trip I had space to bring along the nokton 35mm 1.2, which I rarely use and was thinking about getting rid of it, the weight was the major disadvantage, and 35mm was just too wide for my taste.

So I had no other option but to use the nokton for now and buy another 50mm lens once the shops are open.

Well, that quick walk using the nokton changed my mind. now its my favorite lens. and I just appreciate the luxury of having f1.2, as for the weight, I just got used to it.

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I found that the 35mm is more versatile for the streets than the 50mm, with the 35mm I can shoot few building then go back my normal photo subjects without changing the lens. only now I understand why most photographers prefer the 35mm range.

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One last observation, the focus ring is smooth and you can feel so confident with this lens’ build quality.

attached are a few images.

my flickr: http://www.flickr.com/photos/fahad85/

Fahad A

May 182015
 

The Aesthetic of Lostness: Inside Iran with the Fuji X100s

 

By James Conley

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Iran. Although home to one of the world’s oldest civilizations, (dating back more than 5,000 years), since 1979 Iran is most commonly known for the Islamic Revolution that toppled Mohammad Reza Pahlavi and took 66 Americans hostage, holding them for 444 days. Iran is daily in the news, with its military activities in Syria and Yemen, its support of Hezbollah, endless negotiations over its nuclear program, and its detention of reporters like the Washington Post’s Jason Rezaian. “Death to America” is a chant heard in televised demonstrations in Tehran, setting the outside view of Iran as a hostile one to the West.

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In contrast to this public view, I’ve been fortunate to know many Iranians who live in the United States, as well as abroad. Without exception, they love the United States and the common theme among them is a love of life and all it has to offer. With these contrasting experiences in mind, I determined to make a trip to Iran.

Getting into Iran as an American is no easy task. Reams of paperwork, multiple passport photographs, and multiple visits to the Iranian Interest Section in Washington, D.C., are required. Iranians work on a different time scale, and waiting (and waiting, and waiting) are part of the process. The government of Iran is suspicious of one’s prior travel, and does a thorough investigation into who you are. (It’s possible to go with a tour group, but tours are heavily monitored by the government and I wanted freedom of movement.) In the end, it took me over a year to obtain permission to visit Iran.

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Visa in hand, I scheduled a flight. Since 1979, Iran has been subject to a range of economic sanctions, including ones which eliminated direct flights from the United States. Iran is not a close destination. My flight took me through Istanbul, Turkey—with a 7 hour layover. Layover included, total travel time from Dulles to Tehran was 20 hours.

Arriving in Iran was a bit of an emotional let down. Based on my experiences with Iranian officials in the United States, I had expected a high degree of security and curiosity about an American’s arrival. At the airport, I found only a single disinterested official at Passport Control. A glance at my visa, a scan into the computer, and I was on my way without even eye contact or a single question about the purpose of my visit. (I have reason to believe that the arrival experience is highly variable, and your visit may go a very different way!)

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My first experience of the country was an extremely long drive from the airport to my host’s house in northern Tehran. Tehran is one of the biggest cities in the world, with more than 17 million people. It is spread out over more than 200 square miles, and the airport is more than 30 miles south of the city. It was an appropriate introduction to a city and country that are impossible to pigeon-hole, with variety and diversity which are difficult to comprehend.

 

Being inside Iran is much different from hearing about it from the outside. While not an easy country to absorb or function in, the people are warm and welcoming, and there is a vast range of poverty and wealth among a people who have been isolated from much of the West for more than a generation. (Although only the United States and Canada have official sanctions against Iran, the complexity of those sections affects travel, banking, postal services, and foreign businesses who also do business with the United States.) Despite all the international conflict concerning Iran’s political role and its present history, the people within Iran continue to flourish in an environment that’s all their own.

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Working as a photographer in Iran is beset with challenges. I was based in the northern part of Tehran, making day trips to other parts of the country. Each place presented unique difficulties and opportunities.

The primary challenge I try to address in any place is blending in. As a street photographer, my goal is to be an observer. This means being as unobtrusive as possible while maintaining enough involvement to understand and appreciate unfolding events so that I can time decisive moments. In most western countries, these needs are solved by being mindful of one’s dress and manners, and generally taking the “when in Rome” approach is enough that I can fade into the background. Not so in Iran. One can’t blend bone structure and skin color. Although there is a fair bit of ethnic diversity in Iran, it’s all diversity from within the region and, unsurprisingly, I was immediately identifiable as a foreigner no matter where I went, simply because of the color of my skin, hair, and the structure of my facial bones. No matter my efforts to adapt, I was regularly approached by strangers who started every conversation in broken English. Being mistaken for a local wasn’t going to happen. While this interfered with my ability to blend, it also led to some opportunities for interaction which otherwise wouldn’t have taken place.

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Photography inside Iran is not common. I occasionally saw some Iranians at famous places making images with cell phone cameras, but I didn’t see any DSLRs, mirrorless cameras, or film cameras, except a camera carried by a German tourist. Carrying a camera definitely singles you out.

I work as unobtrusively and quickly as possible, and make it habit to have only one camera out at a time. I try to carry only a single camera with lenses in my pockets, or at most carry only a small courier bag. I use Fuji X-Series cameras, which are smaller and quieter than a Leica, and to the uninitiated appear to be amateur pocket cameras. I wouldn’t advise carrying a large DSLR with a zoom lens because you’ll appear to be a journalist (read: spy). That said, most Iranians had little to no reaction if they saw the camera.

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The images here were made with the X100s and its Wide and Tele companions. This set up of 28mm, 35mm, and 50mm (equivalents) allowed me to do 90% of my work while remaining extremely unobtrusive. The Wide converter stays on my camera most of the time, so I was able to carry just one lens, a spare battery, and a spare memory card. In a place where you want to stand out the least amount possible, this was a great kit. It is also relatively fast to change lenses without attracting attention.

 

A few shots required pulling out the X-E1, however. Architecture in Iran is immense, and even the 8mm Rokinon ultra wide angle (12mm equivalent) that I carry struggled to pull in the details. (None of those shots are included in this post—these are all X100s. Additional images can be seen here: http://fjamesconley.com/iran)

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Traveling to places where one doesn’t speak or read the language is not uncommon. Traveling to places where one has little chance of grasping the culture, however, is rare. It’s extremely stressful and overwhelming, taxing one’s creativity as well as one’s emotions. But it’s also liberating to be lost. Removed from even absentminded awareness of so much of what’s going on, the mind has little choice but to double its efforts to observe and make sense of things. Lost, it’s easier to perceive humanistic patterns. Lost, it’s easier to put attention on the gestalt. Lost, it’s easier to let your deeper self emerge.

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The aesthetics of lostness have a quality of their own. The feeling on many levels is one of isolation and disconnectedness. Like any state of mind, these aspects are revealed in the work. My interpretation of the images I made in Iran reflect this: isolated moments; overwhelming scale; and a puzzlement of things. I endeavored to embrace the lostness, however, because the alternative was to find a false narrative which would devolve into stereotype. In the lostness, I sought the commonality of humanity instead of looking for the superficiality of difference.

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Iran is a country, and not a political entity. Whatever its government’s present role on the world stage, Iran’s people and the country itself are magical. I look forward to returning again.

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Additional images can be seen here: http://fjamesconley.com/iran

Here’s my contact info:
website: fjamesconley.com
twitter: @Philatawgrapher

May 152015
 

Film Friday: Riots and Zeiss Biogon T* 2.8/25 on Leica M6

by fiftyasa

Steve already wrote a good review of the Zeiss Biogon T* 2.8/25 back in 2009 (http://www.stevehuffphoto.com/2009/11/18/the-zeiss-zm-25-2-8-biogon-lens-review/), but the lens does not seem very common among Leica M shooters, especially if compared to other Zeiss lenses like the Planar 50 or Biogon 35.

I recently picked up one copy and tried to shoot some street action in the city of Hamburg where every year peaceful demonstrations and riots take place as a tradition on May 1st. Mounted on a Leica M6 loaded with TriX 400 and TMAX 400, I made my way through the “urban guerrilla”…

Shooting from the hip while walking and pre-setting the focus distance seem to work OK with a bit of luck (although the agents seem to smile at me, I don’t think they realized that I took a photo of them shooting from the hip):

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But the lens is wide! It seems you are never close enough… In the following 2 pictures I pre-set the focus distance, walked as close as I could and used the viewfinder to (guess-)frame.

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In the picture “you are never close enough” it is interesting to see that the 2 subjects did not notice me despite I was at less than 1 meter from them, while the young guy and the woman behind were probably asking themselves what I was doing so close…

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Unfortunately most of the copies of this lens bring up the 35 mm frame lines on the M6, M9 and Zeiss Ikon ZM. This is a bit distracting for me. The 28 mm frame lines would be a better choice (but not perfect, this lens is substantially wider!) if the external viewfinder is not available, but, at the time the lens came to the market, it targeted the M8 where the correct frame lines (35 mm equivalent) is triggered.

It is known that the lens can focus down to 0.5 m but the rangefinder disengages at 0.7 m. So if you want to use it from 0.7 and 0.5 m, you’ll have to guess the distance. I would also like to mention that, despite some websites state that the Zeiss Ikon ZM can use the rangefinder to focus down to 0.5m, this is not true. I have a Zeiss Ikon ZM and the rangefinder disengages at 0.7 m like the Leica M6 and M9.

Being the angle of view so wide, the Biogon 25 is an ideal companion for landscapes and cityscapes

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Or to give a “wide angle effect” to your shots:

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Or to capture a lot of things in one frame:

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Yes, the lens is sharp. In the picture above you can actually read the street sign next to the last flag on the right:

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Three more attempts to get closer to the subject:

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These pictures are digitalized by photographing the Kodak negatives with a Sony A7 mounted on a copy stand and equipped with bellow and macro lens Apo Rodagon-D 1x 75 mm. Negatives are inverted with negfix8 and post-processed (mainly tone curve adjustment only).

If you like to see more, please visit https://fiftyasa.wordpress.com

May 152015
 

Between Leica Monochrom & iPhone for street photography 

By Brigitte Hauser

I like looking at street photos and street portraits. That’s why I started to try myself.  I did these streets with following cams.

The Sony RX 1 is my good friend 

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I take it for travelling. The smoking guy is taken on the Azores island San Miguel and the blond lady in the Fernand Léger museum in France. The rx 1 is small, has a silent shutter and an outstanding image quality. It’s an astonishing versatile cam. I like also its macro mode and the high contrast b/w filter. If I had to choose only one  cam, I think I would take the RX1. 

Now a few with the Ricoh GR

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I have a lot of fun. I take it with me almost everywhere, working, shopping, walking with the dog. The coffee shop in the rain and the young man reading Richard Dawkins are taken in Zurich, my home town. The GR is so small, so nice to touch and so easy to use. It’s a joy. You don’t attract a lot of attention if you shoot in the streets with it. Focal length of 28 mm is perhaps a little bit wide for me. But you can set it on 35 mm.

About a year ago I had the opportunity to buy  a Leica Monochrom with a 50 mm summicron lens

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I call it my soul and bitch cam. The IQ is great very sharp  and it seems to me photos have a kind of an artistic  old-fashioned look. For street photography  I’m often not fast enough to compose properly or I miss the focus. But I adore this diva of cam.

The opposite of Leica MM is probably my iPhone 5

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The good thing for street photography with the mobile is: it’s always in the bag and you can really go close. People are not aware that you are taking a photo of them.  But  I just don’t like the experience to take photos with a phone. It’s also not a very courageous way to take street photos.

Thanks for looking
Yours
Brigitte

 

 

Apr 242015
 

Street Photography in Dublin Ireland with Film

By Fergus Fitzgerald

Hi All,
I hope I am familiar to most of the regulars here as I post a lot as a commentator but never before as a contributor. I suppose you could call me a street photographer in as much as most of my photography seems to take place on the streets. My interests in photography these days is in street photography and those photographers who are regarded as being talented in this genre.

I do not take myself too seriously. I think street photography is valuable in the sense that it is entirely without an agenda which is its strength.

I realise this is a gear orientated site and I am definitely not a gear head though most photographers who say that are actually not telling the truth ! How can I explain this ? You see we all start out with an ambition to produce a great image -the image that is in our heads – if we do not succeed we will try again and again always seeking that elusive image. If you have experienced this feeling and know the frustration and remain faithful to that image in your head -then you are a photographer simple as that.

We can try all kinds of ways to achieve our goal -most of us (myself included ) at some time or other will succumb to the allure of the apparatus. If only we could get that new piece of equipment -that would make the transformation for us . In time we learn that the secret is to just keep shooting with what you have and try to become enthused more by the images you are creating and not the apparatus used. Mind you, I am more than willing to concede that gear can and does inspire people. So once you don’t go too crazy, what’s the harm in enjoying a new Nikon Canon Sony or even a Leica ? Not all at once of course !

I have used many cameras in my day and finally settled for Leica for many reasons -firstly they are beautiful and minimalist in the extreme and have superb optics. Secondly I like the European heritage -not to mention a desire to be a bit different.

I think of my images as being snaps for the thinking snapper. I hope anybody who recognises himself or herself in one of my photos will have the sense of humour to just have a laugh as I would never take an image to show a person in a bad way -though I will not allow my photography to become anodyne either.

These images are mostly from my M6 with 35 and 50 Summicron lenses on Ilford XP2 film scanned on my Nikon Coolscan V ED .  The images are just incidents I happened upon as I walked around where I live which is Dublin Ireland . For example the girl walking in costume reading the book was an actress rehearsing her lines during a break at the Samuel Beckett Theatre festival.

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I tend to shoot mostly with the 50mm lens and do not get too up close. Despite what Capa said I feel you can still produce good pictures from a slight distance. I cannot for example imagine myself ever using a 28mm or wider for street -though many do this magnificently.

I traded my M6 for an M8 seven or more years ago and occasionally I get a Lumix G1 on loan from a friend .I used this to get the image of the old lady bemused by the two guys reaction to whatever was on the laptop screen. I actually like the G1 a lot as it is nice and compact and produces good colour images -though I’m not a big fan of EVF’s Actually none other than Saul Leiter used one at the latter part of his career!

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The photo below was taken in Moore St Dublin where traditional traders still sell from stalls and many have family roots going back generations:

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The old gent looking through the view window is in Temple bar which has nice bars and restaurants and is a great spot for street photography. My favourite haunt there is “The Gallery of Photography “where I have seen such wonderful exhibitions as Genesis by Salgado. Keen eyed photographers will see this is not a film scan -it’s actually from the M8.

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Luck and happenstance play a big part in street photography. One day I was in the old Animal Museum in Dublin known to the kids of Dublin as the “Dead Zoo” with my nephew when I snapped a photo of him looking in wonder at a Moose. When the film was processed it turned out to be a different kid altogether as my nephew had wandered off to view something else! Years later myself and friends would visit “Yellowstone Park” in the US and I would have a very similar reaction to a live Moose -Wow they are big!

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When I got the M8 I shot almost exclusively in colour but now I mostly shoot in black and white . I love the way Leica M digital cameras render black and white. I have not seen better. Strangely I now seem to be shooting Black and White on digital and colour on film which is the reverse of a lot of photographers I know. Kodak Portra film has a lot to do with this as I love it‘s subtle pastel like colours. I have now resurrected my ancient Pentax K1000 and a few Takumar lenses for colour.

Hope you like the images.

Rgds Fergus Fitzgerald

PS might post a few colour street photos from the M8 in the future…….? Thanks Steve and Brandon.

Apr 032015
 

Punjab part 2 – with the Contax G2 and 3 Film selection

By Ibraar Hussain – His flickr is HERE

I thought I’d just add a Part 2 to my Punjab trip here for you and for stevehuffphoto.com viewers and lovers.

I really enjoyed shooting with my Panasonic Lumix GX7 with the couple of lenses I had with it. But as usual whenever I travel I take my Contax G2 along with me.  Unfortunately, out of a 15 day trip, 9 days were rained off so I was unable to go where I wanted to and shoot the exotic things at the places I had in mind and planned.

I was able to expose 3 rolls of Film though and experiment with my seldom used lens – the 90mm Sonnar T*. Now this is a lovely portrait lens, great contrast and sharpness and a perfect portrait length – there is one problem though, shooting wide open with it is tricky as the focus on it for some bizarre reason doesn’t always hit right. When nailed the results are spectacular, but more often than not most people have difficulty with this lens. I have hardly ever used it in the past and then not often at f2.8 so I decided to give it a bit of liberal use.

Family of beggars
GT Road
Sarai Alamgir, Punjab
Contax G2 45mm Planar T* Kodak Ektar 100

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My usual lenses are the unparalleled 45mm f2 Planar and the 21mm f2.8 Biogon, but this time I was after portraits of local people in villages around the town of Sarai Alamgir in District Gujrat, Punjab.  The town straddles the Jhelum River and lies close to the city of Jhelum – Ancient Hydaspes of Alexander The Great fame.

I decided to shoot a roll of some different Films than my usual Kodak Ektachrome e100vs and Fujichrome Velvia. I had two rolls of The Original Fujichrome Astia 100 (not the later inferior 100F) my rolls were procured from eBay at a high cost as allegedly they had been frozen and gave accurate colors. I managed to shoot one of these.

My other roll was of a rare Film by Adox – Adox Silverman 21 at 100 ISO. This is a German made B&W Film which allegedly has a high Silver content and gives some unique results. And finally a roll of Kodak Ektar 100 people tend to rave about.

Shoe Shine and Repair Man
GT Road
Sarai Alamgir, Punjab
Contax G2 45mm Planar T* Kodak Ektar 100

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My results were a mixed bag. The 4mm Planar shots were nailed as usual and keepers.  The 90mm Sonnar T* shots wide open at f2.8 were hit and miss. I had as many off focus shots as nailed ones and I was very disappointed with this lens. Sure, the nailed shots are beautiful, but I want to be in charge and not subject to the whims of a focussing system. Anyway, the Astia 100 was pretty nice, not as nice as my beloved Kodak e100vs but not bad. The Adox Silvermax I shot with and without a Hoya Orange filter. I gathered the higher contrast Filter may give some good effects outdoors.

Kashmiri Child
Sargodha, Punjab
Contax G2 45mm Planar T* Kodak Ektar 100

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I developed the Adox Silverman in Rodinal 1+50 and scanned everything using my Plustek Opticfilm 8100 scanner. I cleaned up the scanned Astia Slides in Photoshop (rid dust and spots), resized and gave them a border – hardly any post processing. The Adox Silverman results were very pleasing, I did foolishly drop the negatives after drying and there was hence some dust but very nice tones and feel – I’d love to print these. I used Photoshop Layers to dodge and burn and levels, then resized and border applied – not USM at all here!

The retired Soldier
Jhelum, Punjab
Contax G2 45mm Planar T* Kodak Ektar 100

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The Matriarch
Jhelum, Punjab
Contax G2 45mm Planar T* Kodak Ektar 100
90mm Sonnar T* (bottom)

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The Kodak Ektar is a nightmare. I cannot understand why people use this stuff. In almost all respects it is Inferior to a decent E6 Slide film – the only reason to use this would be latitude and I had no need of such huge Dynamic Range. So this is the last time I will use this or any other C41 Colour Film (unless forced to). Give me Slides, BW or Digital any day. A royal pain to scan and to get the colours and contrast right – at least Slides (and in camera Jpegs) give me everything as I want with no fluffing around – shooting C41 is worse than RAW capture (which I find to be a total waste of time and effort and of vital minutes of ones life).

Anyway, enough ranting, here are even some samples. The others can be found on my Flickr.

Cheers!

Punjabi Widow
Near Sarai Alamgir, Punjab
Contax G2 90mm Sonnar T* Fujichrome Astia 100

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Old lady with a Hukkah pipe
Near Sarai Alamgir, Punjab
Contax G2 90mm Sonnar T* Fujichrome Astia 100

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Jatt Villager
Near Sarai Alamgir, Punjab
Contax G2 90mm Sonnar T* Fujichrome Astia 100

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Jatt Village women
Near Sarai Alamgir, Punjab
Contax G2 90mm Sonnar T* Fujichrome Astia 100

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Happy Village child
Near Sarai Alamgir, Punjab
Contax G2 90mm Sonnar T* Fujichrome Astia 100

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Blind Kashmiri Gent
Near Sarai Alamgir, Punjab
Contax G2 90mm Sonnar T* Fujichrome Astia 100

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Retired Village Gentleman
Near Sarai Alamgir, Punjab
Contax G2 45mm Planar T*
Adox Silvermax 21
Rodinal

Adox1

Man with Motorbike
Near Sarai Alamgir, Punjab
Contax G2 45mm Planar T*
Adox Silvermax 21
Rodinal

Adox25

Old Matriarch
Near Sarai Alamgir, Punjab
Contax G2 45mm Planar T*
Adox Silvermax 21
Rodinal

Adox21

Servant Girl
Near Sarai Alamgir, Punjab
Contax G2 45mm Planar T*
Adox Silvermax 21
Rodinal

Adox15

Punjabi Matriarch
Near Sarai Alamgir, Punjab
Contax G2 45mm Planar T*
Hoya Orange Filter
Adox Silvermax 21
Rodinal

Adox24

Brothers
Near Sarai Alamgir, Punjab
Contax G2 45mm Planar T*
Hoya Orange Filter
Adox Silvermax 21
Rodinal

Adox13

Retired Village Gentleman
Near Sarai Alamgir, Punjab
Contax G2 45mm Planar T*
Adox Silvermax 21
Rodinal

Adox6

Kashmiri Village Girl
Near Sarai Alamgir, Punjab
Contax G2 45mm Planar T*
Adox Silvermax 21
Rodinal

Adox3

Mar 262015
 

Infiniti Showcar Run - Austin, TX

USER REPORT: The New Sony 28 f/2 on the Sony A7S and A7II…BAM!

by Chad Wadsworth – his website is HERE!

Last week the FedEx guy delivered a box on loan from Sony containing a couple of much-anticipated new FE primes. The 35/1.4 is as good as Steve reported – a near perfect balance of center resolution and bokeh – but what about the little FE 28/2?

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I’m a big fan of the 28mm fov and have owned a few highly regarded lenses (C/Y Zeiss 28/2.8, Zeiss 28/2.8 G, M-Rokkor 28/2.8 & Minolta AF 28/2) and film compacts (Minolta TC-1, Ricoh GR1), so there was a personal expectation for Sony to deliver a modern equivalent of the Minolta AF 28/2.

After a few days shooting and editing, a few things are clear: this little guy is shockingly sharp, renders out of focus transitions smoothly and transmits color with pop. With a price tag under $450, compact size and quick AF, there is little fault to find with. You will notice some minor distortion that should easily be handled by a PS or LR profile, but other than that…no complaints. (Pre-Order it Here at Amazon) – (Pre-order it HERE at B&H Photo)

Early web samples had some forum “experts” calling the bokeh nervous, but my results indicate a good amount of “cream” especially in the foreground. A 28mm is never going to draw the bokeh of a portrait lens but what this lens does produce is attractive to my taste. Samples here are from RAW and processed in LR – most are shot wide open. Stopping down quickly improves the corners but even at f/2 the subject sharpness is just amazing. (From Steve: I also have this lens now and it is just as Chad Describes..a MUST OWN for any A7 series shooter)

With this kind of price/performance level, I hope users reward the FE 28mm with big sales and Sony takes note of the demand for compact, high quality f/2 lenses at reasonable price points. Up to now, I’ve held onto my Minolta AF 28/2, waiting to see if this new FE 28/2 could replace it – I think it is time to let it go…

click images for larger and much better and sharper view!

1st FOUR were shot on the A7II, rest were A7s

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Mick Jenkins - Lifestyle

Venue

Mick Jenkins - Lifestyle

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Mar 182015
 

P1000509

Panasonic Lumix GX7 and Yashica Makro-Planar in the Punjab

by Ibraar Hussain

I took a two-week trip to the Western Punjab (the real Punjab) in Pakistan and have just returned.  Most of my 14 days were rained off so I couldn’t go to where I had planned and use my Rolleiflex with my Rollienars. What I did do was shoot with my new Panasonic LUMIX GX7. I had initially decided upon the Fuji XE2 but I couldn’t justify the price difference.

IMG_7713

I actually bought it after much research as something to compliment my Rolleiflex and Contax G2. I could also use my Yashica AF lenses with it and could use it to photograph birdlife too. I find the use of adaptors exceedingly useful, and decided to buy one to fit my Yashica AF lenses.

I chose this over the Olympus OMD series as:

a) It’s cheaper
b) Handling was more to my liking – the OMD EM-5 and 10 have a terrible grip and I wasn’t too keen on the overall design.
c) love the tilting EVF and LCD so I sometimes use it like I do my Rolleiflex – with a waist level finder.
d) it’s made in Japan rather than China

Took me a day of playing around at home to get used to it and I managed to set it according to my requirements, I set the Function buttons to what I want, with 1 focus point and Centre Weighted metering.

My weapons of choice were my Yashica AF 60mm Makro Planar f2.8 (this lens, I have been informed by many reliable sources, is a rebranded Contax Zeiss 60mm Makro Planar so Sshh… don’t tell anyone and pick up a bargain – superb lens which doubles as a nice short tele and portrait lens) the Fotodiox adaptor has the aperture control on the barrel which I am so happy with as another niggly hindrance is the jog dial to change the F stop which is cumbersome and slow.

My other weapons were the compact metal, Made in Japan 30mm Sigma AF fit and the Yashica AF 210mm f4 zoom . I left my other Yashica lenses including the 24mm Distagon type at home as I didn’t think I’d need a standard lens as I was aiming to shoot portraits and Birdlife.

Anyway I shoot mostly in the 1:1 square format and I shot some portraits of Punjabi people, young and old, rich and poor, in villages, town bazaars and shrines and enjoyed the experience.  I visited the colonial city of Sargodha, and took a long train ride on the 5’6” Indian wide gauge Railway. Trekked around the villages and fields near Sarai Alamgir near the City of Jhelum by the Jhelum River. And visited the Shrine of the Muslim Saint Pir-e-Shah Ghazi, Dhamrian wall Sarkar, Kharri Sharif, Kashmir.

In a two-week trip I only shot 260 odd exposures with it and most were keepers.

Beggar Kid, at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8

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Beggar Kids, at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8

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A Malang or Fakir or Jogi at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8

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THOUGHTS

This is an excellent camera, and bar some niggles I will explain later, almost perfect in many ways. It looks great, the flip LED and EVF are excellent ideas and so useful. Lovely size and feel, and very quick to start up. Excellent picture quality and very good smooth ISO 800 speed for portraits of people indoors with natural light. Function buttons can be set, so the advanced user can have all at his disposal. 1:1 square ratio mode Takes good video too. Can use other lenses with adaptors. Focus peaking is very effective for MF.

A Malang or Fakir or Jogi at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8

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A Malang or Fakir or Jogi at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8

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DRAWBACKS

I find the constant computerised settings messing around annoying and it tends to get in the way, and things keep happening if I accidentally touch the screen which is sensitive.
Having too much is a hindrance too – sometimes I’d rather just make do with a certain ISO speed and work around this, rather than spend ages pondering what speed to set it at.
This needed dedicated buttons for most things, the Function buttons were ok though.

I find the lack of a dedicated concise Exposure Compensation dial a hindrance, I was constantly having to press the appropriate F button, push one of the toggle dials in and then change – whereas a dedicated compensation DIAL would’ve been perfect.

Changing aperture using the toggle Dial is very annoying and lacks the precise feel and involvement a lens barrel mounted aperture ring gives.
and I think the EVF is a tad small though it is bright.

Beggar Kid, at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8

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Jatt Villager saluting, near Sarai Alamgir, Punjab, Pakistan
Yashica 70-210mm f4

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Jatt village Girl, near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8

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Jatt village Girl, near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8

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OVERALL

I prefer the use and feel of my Contax G2 for this type of portrait and people photography and the look and feel of 35mm E6 is way beyond what this M43 can achieve, but even so,Great camera with great results and the 1:1 ratio coupled with smooth ISO 800 are great to have.

I cannot see any reason to buy a budget APS sized DSLR or other camera any more, the picture quality is about the same, with the advantages of being compact, well-built and very quick.
All my images were JPEG fine and resized with border added in Photoshop – I don’t shoot Raw.

Some photos are soft, this is because focus is manual with the 60mm and focus peaking though very helpful isn’t flawless and I’m also in my 40ies so half blind!

The Yashica 60mm lens by the way is stellar – wonderful rendering and contrast and pin sharp if focussed correctly.

The 210mm is soft wide open and the 30mm Sigma is a tad long to be a standard lens but wonderfully sharp.

Ultimately though, pictures are as good as the person behind the lens, and I think I would’ve got more or less the same results with any Digital Camera with any sized sensor.

You can see some of the others I shot at my Flickr https:[email protected]/

Rail passenger. Sargodha to Mandi Bahaudin
Yashica 60mm Makro-Planar f2.8

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View from the Guards window, Sargodha to Mandi Bahaudin
Yashica 60mm Makro-Planar f2.8

P1000481

Mr Shahid, in the Guards cab, Sargodha to Mandi Bahaudin
Sigma 30mm f2.8 DN

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Deaf Lad, in the Guards cab, Sargodha to Mandi Bahaudin
Sigma 30mm f2.8 DN

P1000456

Hijra’s, Eunuchs at Sargodha Station.
Yashica 60mm Makro-Planar f2.8

P1000445

A portrait.
Yashica 60mm Makro-Planar f2.8

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Kashmiri Village Girl, near Sargodha, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8

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Kashmiri Village Boy, near Sargodha, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8

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A ‘Sain’ boy, respected as divinely gifted, at a Cigarette and Pan stall
Sarai alamgir, Punjab, Pakistan
Sigma 30mm f2.8 DN

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Jatt Village children at play, near Sarai Alamgir, Punjab, Pakistan
Yashica 70-210mm f4

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Nain village Child, near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8

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Kashmiri Village girl, near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8

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Kashmiri near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8

P1000060

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

2014_05_Kodak DCS PRO SLR N_55mm Nikkor f12_iso160_Mikkel Munch Fals

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.

***

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

2014_06_LeicaMonochrome_50apo Summicron_iso320_beach

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.

***

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

2014_07_LeicaM9P_35mm Summilux_ISO160_Barcelona

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.

***

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

2014_08_8x10_Polaroid_sinar_p2_36cm_heliar_iso640_herod

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.

***

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

2014_09_8x10_directpositivepaper_Kodak master view_210_mm_sironar s_iso5_undergang

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.

***

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

2014_10_5x7_Sinarp2_21cm_Voigtlander_iso2_when the silver runs dry

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

2014_11_SonyA7S_75 Summilux_iso1600_Ruth Storm

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

2014_12_Panasonic DMC-GF5_1inch Taylor-Hobson f19_iso1600_trine tree

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 022015
 

Travel Photography with Medium Format Color Film

By: Logan Norton

www.seeingthelightworkshops.com

As someone who has done quite a bit of photography oriented travel, I have experimented with many different gear configurations in search of the most suitable solution for my travel needs. I have found that using medium format (120/220) color negative film (c-41) offers me the most versatility while ensuring that I can achieve the “look” that I desire. I know that many of you will probably have serious doubts about the practicality/convenience/wisdom of this choice, but I can assure you that I have tried just about every other format and, for me, this is the one that fits the best.

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Knowing that the digital vs. film debate will inevitably arise from this post is, I would like to address that a little before we get any further. This is not meant to be an endorsement of film over digital. I don’t believe there is a universal truth that one format is better than the other. They are both tools with advantages and disadvantages and the beautiful thing is that they both exist. You have a choice as to how you will achieve the goals you seek through the use of one or the other, or both. I have taken a Nikon D800 and a Think Tank bag full of lenses on a two week Costa Rica trip. I’ve spent a week shooting in Austin, TX with a Fuji X100s and I took a Leica M9 and a 1950’s 50mm summicron on a roadtrip up the west coast for two weeks. Recently I spent a couple weekends in San Francisco with nothing but a Leica MM Monochrom and a 35mm cron and these days, the majority of my shooting is done with a Leica M2 loaded with Kodak 400tx and an older 35mm summicron – a setup that I love for its simplicity.

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The point I am trying to make here is that I have enjoyed an assortment of equipment configurations, both film and digital, and I have been able to create wonderful images with each, despite that fact that all of them have unique challenges. Anytime you seek to find the most appropriate tool for a specific job you have to weigh the negatives against the positives for each option. I spent quite a bit of time doing just that before a recent trip to San Miguel de Allende, Mexico. I wanted to simplify my travel setup; I didn’t want to carry multiple cameras with different film format, battery or memory card needs. I wanted something that would not distract me from enjoying the process of traveling and photographing.

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The first question was film vs digital. I realized that I didn’t want to be tempted to spend my evenings poring over the thousands of images I had downloaded into my computer, or to spend my lunches thumbing through pictures on my camera screen. It was important to me that I enjoy the experience of traveling while also taking pictures, rather than being preoccupied with the pictures I was taking on my travels. I also knew that I didn’t want to be reliant on batteries as I often spend long days shooting without any opportunity for charging. Another consideration was that a huge amount of travel photography occurs during the brightest part of the day in very changeable light conditions. Film is able to handle these changes more consistently and pleasingly than any digital format I have experimented with. The latitude that film allows, along with its ability to smoothly control transitions between shadows, mid-tones and highlights makes it a more effective tool for mid-day shooting, in my opinion. I also considered the difference in the way I work with film as opposed to digital. With digital I have a tendency to shoot everything knowing that I have virtually unlimited capacity for recording.

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When I’m using film, however, I find my process slows substantially. I search each setting/situation for the right moment, knowing that my shots are limited. I find that film forces me to really get into each moment and to stay there longer, something that I find incredibly important when I travel. In the end, these considerations led me to choose film as the medium for my travel photography needs.

Next I had to settle on the format. 35mm would allow for smaller, lighter gear and many more shots per roll. Medium format would give me incredible dynamic range, detail and latitude while forcing me to be extremely critical while shooting. In the end, the technical advantages of the medium format option won out over the convenience of 35mm. I knew it was going to be medium format film, and because I was going to the amazingly colorful town of San Miguel I knew I wanted color film. I chose to bring Kodak Portra 400 as my only film stock as it affords exceptionally smooth renderings at low iso while also providing excellent push-ability, fantastic highlight retention (imperative for the bright Mexican sun), and great colors. It also translates very well to black and white Continuing my theme of keeping things simple, I chose a Fuji GW670ii rangefinder camera for the trip. These “texas leicas” are all mechanical so there was no battery life to worry about. Since rangefinder cameras are mirrorless, they are nearly silent in operation and they allow the user to utilize slower shutter speeds with less vibration than slr cameras. These cameras all feature a fixed 90mm Fujinon lens that is incredibly sharp with fantastic bokeh characteristics and color rendition.

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Armed with my newly simplified kit I headed off to San Miguel de Allende for 12 days of exploration and shooting. I would be lying if I said I didn’t immediately question my decision upon leaving the rest of my gear behind, but after the first day I was convinced I had made the right choice. The Portra performed as well as I’d hoped in capturing the beautiful colonial architecture and brightly colored haciendas of San Miguel. When shooting in the mid-day sun I was able to rate it at 100 iso without any need to pull the processing when I got home (which was critical while using the Fuji which has a top shutter speed of 1/500) and it produced amazing results pushed as high as 6400 iso at I spent countless hours walking San Miguel’s beautiful cobblestone streets, sampling the local cuisine, meeting locals, and capturing amazing images. I found it to be one of the most welcoming and warm environments for travel that I have ever experienced. My days were spent exploring the magnificent el Charco del Ingenio Botanical Gardens; the el Tianguis Tuesday Market, a huge bazaar that features a little bit of everything; and the central square known as El Jardin that sits right next to the beautiful Parroquia de San Miguel Arcangel cathedral, the main architectural landmark of the city. During my trip I was privileged to witness two daylong celebrations in and around this immaculately maintained square, as well as a traditional Mexican wedding at the church. These events provided further insight into Mexican culture and afforded me some amazing photographic opportunities.

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Spread around the city are a number of other spectacular cathedrals, as well as a number of other squares where people gather. I could not help but fall in love with the uniqueness and beauty of the city and its people; and I returned home with 53 rolls of film filled with amazing memories from my time there. I cannot wait for Ultimately I was incredibly happy with my decision to simplify my travel photography setup. I believe that the careful process of selecting the right tools afforded me the ability to be in the moment more during this trip than any other before it.

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