May 242016
 

Hi Steve

My day job is in the photo industry, but in sales, not the creative side. In my early career I was a pro photographer. A staff photographer for the University of Edinburgh, doing varied stuff from Press/PR, graduation, architecture, portraiture, studio still life and more as well as darkroom work and managing an image library. A change of city (following my now wife) to Glasgow lead me into photo retail to pay the bills and now I work for a photo accessories import and distribution company, so my photography is now by and large for myself.

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I still have a varied interest in photography, with my first love being reportage. That said I find that landscape is what I do most. Being a “traveling salesman” as my wife likes to call me, landscape is easiest to fit into my day. I also get the opportunity to do a fair bit of street photography. I shoot with the Sony A7 system these days and I have a set of Canon FD lenses that I haven’t been using as much as I’d like, so I decided to take my 2 sons and dog to the beach near where we live.

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Instead of taking a selection of focal lengths I just took my Sony A7II and the Canon FD 50mm f1.4 with a cheap FD to E mount adapter. I wanted to simplify and restrict myself, which helped me focus on the job of getting the shot. The Sony is easy to use with manual lenses but it was going to be a challenge to nail the focus on 3 and 5 year old boys running amok at the beach. Especially as I wanted to shot wide open at f1.4. The shots are a mix of posed and action and my hit rate was satisfyingly high but I think I’ll need a bit more practice to get more shots of the boys in motion.

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The 50mm focal length was a joy to use and I’ve fallen in love with it having always been more into wider anger lenses. I’m now looking into something fast, 50 and AF but have to say I was very happy with the shots I got. Maybe the recently announced Samyang AF 50mm f1.4. I played around in Lightroom with different post options but settled on black & white as being the best option. I hope you like them.

https://500px.com/ewandsmith

Cheers,

Evan Smith

Apr 152016
 

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Fine Art Portraiture with the Leica Monochrom

by Jan Hartmann

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What is FineArt Photography for me?

Beside my work on commercial projects I am still someone who needs a kind of artistic photography. In Short, Fine Art is only another word for artistic photography. Doing Fine Art Photography allows me to express myself and to get into a creative process. Within in this process i can realize my visions and ideas. What I like most about it that I can slow down and have more time to put the focus on composition, expression of the model and the overall impact of the emerging image. And one important element for this kind of work is the Leica Monochrom. The concept of the camera does not have big menus as other digital cameras and reduces everything to the basic parameters of photography – shutter speed, Aperture and ISO. That’s all you need. So you can concentrate on the main part of your work. The Model, The Moment and the Composition. That is where you have to be and not lost in menus.

 

Working with Models

I am not that type of photographer that is frequently looking for new models to work with. A decisive aspect is that I can establish an identical human level and good communication to the people I work with on a free basis. Consequently I prefer working in longterm corporations with a fine selection of models that share my philosophy of teamwork.

One of them is Amelie Lezcano Mendoza“ with who I have just worked 2 times before this project. We both love the timeless character of black and white photography and prefer a natural and authentic look.

The Location In the tradition of working in a Team Amelie was responsible for scouting locations and selecting one. She had chosen a very nice mansion in the architectural style of 19th century. The rooms had a really esthetic interior and big windows that are perfect for the work with natural light.

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The Monochrom in Action

So the Day came and we were drove to the mansion and went into it. While Amelie started to dress herself and have a final look on her makeup, I checked my to M Monochrom Cameras. Both of them are in silver-chrome.

On the first Monochrom a 50mm Noctilux ASPH f/0.95 is mounted and on the other I use the 50mm APO-Summicron ASPH f/2. You will wonder why the hell I use two 50mm lenses and indeed the most expensive in the whole leica lineup. I am 50mm junkie. The first I owned was the Noctilux, a dream of a lens, of which I had a lot of sleepless nights until I got it. The APO is truly another beast and renders totally different. I use them for different shots and situations.

But there is not THE SITUATION for each of these lenses.

My favorite lens is still the Noctilux. No other lens I used has this special rendering. It turns every scenery into a dreamy and aesthetic look. It is amazing to see these soft and natural skins of the models when using the Noctilux. The 50mm APO Summicron ASPH f/2 is more for the “real world“ shots. It renders like there is no lens. And in combination with the Monochrom the results have a look that tends to medium-format-quality. This is visible in the high amount of details and the areas from sharp and unsharp in the final image.

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When Amelie finished her preparations we just started on one of the windows. The first thing I always check is the right exposure. In this case the histogram is very helpful, because if you overexpose than the whites are blown out with no information. That is the Achilles heel of the Monochrom Camera. You just have always to expose and take care for the highlights. If you do so, the rest is just easy.

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To work with Amelie is a joy. She doesn’t need detailed instructions, only smart corrections. Her posing and facial expression happens very intuitive and natural. What always impresses me is here authentic expression.

This is something not many models have. That is a big advantage and influences the final results in a positive way. The big and bright optical viewfinder is something I like the most about the Leica Monochrom. I just see the whole scenery and so it is a lot easier to frame and make the composition.

The 1.4 viewfinder magnification enlarges everything and this help a lot to set the focus plane where you want it – especially with the extremely thin DOF of the Noctilux 0.95. That is much more precise than working with Manual Focus on DSLRs I used before I went to Leica. One general aspect that makes the Leica Monochrom outstanding is the richness of tones. Especially the middle grey tones are unbelievable. I am a fan of the CCD Generation. For my eye the rendering of the CCD is very much like film and does not look so digital.

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The Relation between the Leica Brand and Passion for Photography

Now it is nearly a year that I started to work with Leica. My initial reason to change was the fascination for the Noctilux. What i noticed when i had been working with Canon DSLRs before that there was no real relation to the equipment. You just used it for its function.

But with Leica it is another game. I really love the work with rangefinders and manual focus lenses. With the Leica Monochrom you just get the essential feeling of photography with the basic elements. And what makes Leica unique in this times is the mix of technical perfection, lifetime-built-quality and the simplicity. I am getting nervous when I can not work with my Leica cameras for some days. This is truly very subjective. But for me it is important to have the equipment that makes you passioned and inspired and this is definitely the case with Leica.

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Aspects in my Fine Art Portraiture Work

The most important thing in my work is the emotional aspect. That means the final images should transport a certain feeling. When I work with models I don’t want to see a program of studied poses performed like a machine. My pictures should get an authentic and natural character. In the interaction with the model I try to bring them to be as they are. So when I look at the image I want to get an idea of the person and the character.

Communication is the base of a successful portraiture project. If I have not the right communication, I don’t get the results I want. And these are important requirements that I can go into a creative process, looking for light, the right framing and composition.

At the end I just want to show you some pictures from the Fine Art Portraiture Project with Amelie.

Web: www.janhartmann.photo
Facebook: www.facebook.com/janhartmann.fotografie
Email: [email protected]

Apr 112016
 
TRAVELINDIADF

TRAVELINDIADF

Travel photography in India with a Nikon Df and Zeiss Otus 55

by Sebastien Bey-Haut

Dear Steve,

It’s always a great pleasure to be featured on your site so I’d like to share my experience on shooting a pretty unusual combo: a Nikon Df and a Zeiss Otus 55.

Why unusual? Simply because both camera and lens seem to follow really opposite paths:

– The Df is one of the smallest (if not smallest) and lightest Full Frame DSLR with a modest 16Mp resolution
– The Otus is the most gigantic and heavy 55mm ever produced for a DSLR and could certainly out-resolve a >50Mp sensor

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So, is it as a stupid pairing as it looks? I actually don’t think so, let’s look a bit further than Mp and weight metrics… Beside its fancy retro design the Df has a strong argument in how its sensor renders colors (brilliantly if you ask me J). And what is the best way to get 100% out of a sensor? Simply put it behind the best possible lens! The Otus is not only about sharpness, it’s also excellent with contrast and colors!

Let’s now forget the technicalities and focus on the user experience: I just came back from a 10 days trip to Varanasi (India) and shot from 6am to 8pm almost non-stop using the Df / Otus combo 90% of the time.

First thing I have to admit is yes, walking >12h a day with an Otus around your neck is painful, really painful. I even had a blister on the finger I use to support the weight of the camera while shooting… That said, travelling more than 12h in economy class from Zurich to Varanasi is also painful, so the Otus weight is just a small additional element of discomfort…

The only thing I really don’t like is the lack of weather sealing… Maybe we’re not so many to use them outside of a studio but still, that would be appreciated Mr Zeiss…

So yes, it’s not a trouble-free experience, but what you get in return is still worth the hassle: the haptic of both the Df and Otus are just pure pleasure and contribute a lot to the fun of shooting. The manual focus is butter smooth and the finishing of the lens is just perfect…. Even if I’m not a big fan of the rubber band on the focusing ring: it’s nice looking and very comfortable but does not go well with strong anti-mosquito sprays (the formula attacks rubber). I managed not to damage the lens but had to be extra careful.

Then of course having the best possible optical performance is also very enjoyable: aperture becomes irrelevant in terms of sharpness (f1.4 is as good as f16), you just chose it according to the depth of field you’re looking for. Manual focusing requires a bit of practice but after getting used to the camera / lens combo I easily achieved 70-80% spot on shots. Moving subjects are a bit more challenging but it’s more a question of shooting style: instead of running behind the subject trying to nail the focus you just chose a good spot, prepare your focus, and wait for something / somebody interesting to enter the frame for 100% success. I occasionally used a tripod but could probably have done without.

Actually beside gear the most important thing simply remains the “access”: I was very lucky to be with a local friend who knows everything (and almost everybody) in Varanasi so it made finding the right spots a lot easier… He’s occasionally offering his services as a guide so feel free to reach out to me via my facebook page if you want his contact.

Enough talks for now, here is the set titled “Varanasi dream” because as a friend said these images show Varanasi as you could see it in a dream.

CLICK ON THE IMAGES TO SEE THEM MUCH CRISPER, MORE COLORFUL and FOR AN OVERALL BETTER VERSION!

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You can find more of my work here: https://www.facebook.com/lumiere.exterieure

Thanks for reading,

Sebastien Bey-Haut

Mar 072016
 

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Of People and Dreams – Portraits

By Pedro Amorim

Hello all! My name is Pedro Amorim and I have been a photographer in Brazil for a few years now. I am a street photographer and portraitist (with some incursions in landscape, when needed), and only use manual lenses. My camera of choice is the first A7. I’ve been following Steve Huff since ever, and he has helped me in many ways.

Lens reviews helped me pinpoint new possible acquisitions, while many articles offered me new photographic insights I hold dear to this day (Thanks, Steve!). 
The idea of creating an area so other photographers would be able to share their experiences was also great, and the user report session became a must visit. It is one of the coolest things out there when it comes to exotic lenses, and I’m very excited to be part of that.

This time, I’ll talk about one of those manual lenses you come across once in a lifetime, the kinoptik Apochromat 100/2, and the reason I took it as my go-to portrait lens. 
The images I picked up to go with this article were shot in three different situations: in a daytime session at Rio de Janeiro’s Botanical Garden; in a balcony, by the afternoon; and against a simple black backdrop, with a single light source in front of the model. There are very different situations, and that was on purpose. 
Last things first, let me put my opinion in the simplest of terms: if you see one of those for a reasonable price, buy it. 
Oh, you can also order one brand new, since Kinoptik still produces the lens today and sells it through their website (it is a little known fact).

Now, let us talk about why

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When I first started with portraits, I had in mind that the pictures I was going to produce didn’t have to be super sharp in that clinical way people praise nowadays. I was taking inspiration from the masters of old, so the lenses would have to be chosen accordingly.

I always wanted to bring that dreamlike atmosphere to my images. It is one of my aesthetical choices provenient of a bigger way of think. Looking at famous photographs by Dorothea Lange, Man Ray, Nan Goldin, Avedon and others, you’ll see that they are something else entirely. I am looking for this something else myself. 
So, the only rule is: no simple portraits.
people are no objects to be simply exposed in full make-up and hard light. Every time someone poses for a camera, he or she brings within his or her history, feelings, ideas, social and emotional context and the will to express them somehow. As a photographer, I want to show these elements as well, as if saying “hey, this image is about someone. Look and feel”.

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My choice for the job was the Kinoptik-Apochromat 100/2 in ALPA-reflex mount. 
Kinoptik is a French manufacturer specialized in high-end photography and cinema. Their lenses were used by many great directors, such as Kubrick, who used a 9.8 Tegea on both Clockwork Orange and The Shinning. 
It is also known that some of the nouvelle vague motion pictures were filmed with Kinoptik lenses. 
Their still photography objectives are rare nowadays, and became collectors’ items, hence the sky-high prices. 
But the images created with them are priceless. 
It has that cinematic feel you get while watching some of the 60’s and 70’s classics, and that’s something I love.

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It’s easy to understand why the 100/2 is one of kinoptik’s most sought after relics. It is an all-around portrait lens, giving you total artistic control over the situation despite its portrait-specific focal distance. Its sharp-but-not-that-sharp rendering and suitableness for both color and monochrome photography, as well as a super-shallow depth-of-field with non-distracting out of focus areas results in a polyvalent glass, good enough for most shooting possibilities and styles. 
Wanna go all expressionist and work on some old-school solarisation?

Worry not, we got your back

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No? you’re more like a film-noir kinda guy? Well that’s also cool:

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It is the perfect old lens. It has a classic 60’s optical design (6 elements, 4 groups; double gauss), is heavy, exaggerated, looks gargantuan on the tiny A7 and performs spectacularly wide open. It has a smashing black kinda-industrial-kinda-French-designed finish. If you imagine the design concept of a Summicron and turn it upside down, you’ll pretty much have this lens.

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It renders one of the most pleasant bokehs I have ever seen, while being quite sharp at f2. However, this is secondary. Really.

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This is a superb portrait lens, with its watercolor-like bokeh contrasting with popping lifelike colors that result from the outstanding color correction. This lens does deserve the “apochromatic” in its name.

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The skin tones are rendered in a natural way, and the images are contrasty but not aggressive. Shooting with only ambient illumination is a delight, and can deliver some very dramatic effects.

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Truth be told, it is not a perfect lens. The 100/2 is a true practical nightmare. As an old lens, the Kinoptik has all those downsides a tele had back in the day. Times ten: 
It is heavy. And I mean HEAVY. You can shoot it handheld, but focusing wide open is hard. 
Handling is also clumsy, since it is not one of the most ergonomically correct lenses out there. So find yourself a tripod and be happy. It’s not like you will be using one for street photography anyway (really, don’t. if you are an M shooter or a mirrorless guy, go get a summicron or a summarit. Even the elmarit or the old elmar 90. There are countless lighter street tele lenses more suitable for the job).

It is also prone to flare. Some say it is a coating issue not addressed by kinoptik, but the fact remains that you’ll have to use a hood while shooting around light sources (which is pretty much all the time).
And find yourself a big carrying pouch, because this beauty is bigger than half of Nikon’s professional-grade zooms.

That being said, I believe the pros (image quality, artistic versatility) easily outweigh the cons. It has character and quality, being a precise and classy instrument (despite its user unfriendliness and clumsiness when handheld). It remains a legend in its own right, even after fifty years from its original debut.

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Much like the right movie from decades past or the right portrait from the depression era, this lens is timeless.

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Thanks a lot for the opportunity, Steve. 

You can see some more of my work by clicking on the links below.


https://500px.com/pedroamorim

http://yourshot.nationalgeographic.com/profile/310427/

Feb 012016
 

The Vulnerability Of Self

by Greg Turner – His website is HERE

Over dinner with some friends recently I was introduced to someone who, while having a successful business career, also described herself as ‘an artist’. The deliberate use of that moniker was interesting and I asked at what point in her creative journey she had finally felt comfortable using that title. She acknowledged the validity of the question and explained that it had taken her completion of an under graduate degree in Fine Art before she finally felt justified in calling herself an artist. Ironically for me as an observer, all it took was a look at her work (she’s a sculptor and an incredibly talented one) to see the artist and not just the person.

Self-doubt has long been a feature of the creative process and of artists in general. For sure I don’t consider myself an artist and until recently the word ‘just’ was quite deliberately used before the self-description of ‘amateur photographer’ on the front page of my website. When asked why by a friend, I explained it was deliberately self-deprecating; I didn’t consider myself good enough to call myself an amateur photographer just yet. That term, to my reading at least, connotes some degree of proficiency and talent I wasn’t sure I possessed. We agreed I would remove after her reassurance that I was more than talented enough. As a graphic designer, she routinely works with and appraises various photographers work so she should know, and yet the doubts still linger…..

‘Tina’

‘Tina’

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I started this project as a way of examining the concept of the person and the three manifestations of any individual. The more photographs I take though, the more I realise that I am exploring that concept from the perspective of self as much as anything else and that process is similarly tinged with self-doubt and vulnerability. I guess I’m exercising my own demons such as they are; the little boy at Catholic primary school who while not subject to physical abuse, was exposed to prolonged and painful emotional abuse. It has an effect that is carried through to adulthood and at various stages in life is processed through different lenses, if you will excuse the pun. The current lens I am using is both metaphorical and literal.

There is a certain irony with using the camera lens to explore that vulnerability and self-doubt. Traditionally, it is the subject that is more nervous of the lens because it’s their vulnerability or self-doubt that is being observed if not exposed. For me, the fear and doubt is as equal behind the lens as in front of it, it’s that mirror phase again with the subject looking back at me, being me.

‘The Film Producer’

‘The Film Producer’

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The three portraits on this blog say a lot on this subject. In the first, ‘Tina’,  it was her tattoos that immediately caught my eye and why I asked if I could take her picture. Her immediate response was to ask for posed quite freely but her pose is at once both vulnerable and defiant. The way she holds her head shows strength, you can see the muscular structure of her neck suggesting that physical strength, the look in her eyes and of course, the obvious hand gesture, which I confess I did not see at the moment I took the picture and initially cropped out. And yet she is intensely vulnerable, after all she has just asked for money because of her situation.

The next picture is the polar opposite. ‘The Film Producer’ shows a man consummately at ease with himself. He knows who he is, he knows what he likes and he is very comfortable with that. There is not the slightest hint of vulnerability here or at least, any vulnerability or self-doubt that may have once been has long since been forgotten.

The last image, ‘The Bike Messenger’, the pose is relaxed but the cigarette and the off camera look show tension; he’s relaxed but not completely. The tension is probably the reflection that he’s just agreed to have his picture taken by some random stranger in Soho. I imagine he’s having second thoughts but isn’t sure how to get out of it. This is self-doubt brought about by the sudden vulnerability of the situation.

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Of course, all this could just be complete nonsense. The pictures could well be no better than something you’d have developed at Happy Snaps and my reflecting on them over intellectualized nonsense (actually that part probably is true; I hope the pictures are a little better than snaps though).

Greg

Nov 112015
 
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The Olympus E-M10. People of Mumbai

By Raviraj Kande

Hello Steve and all worldwide audience of stevehuffphoto.com!

I am Raviraj Kande an actor and stand up comedian by profession born and brought up in Mumbai -India.

After reading most of the real world reviews I went for the Olympus OMD em-10 . I was going back and forth between Sony a6000 and OMD em10. The lens variety available finally made me go for Olympus OMD em10 and it was more stylish looking in the two.

I wanted something smaller yet powerful . Since I travel too for my live shows thought the little OMD will be great enough to document interesting stuff while travelling .

Also read all your reviews of OMD series which were extremely helpful since they were real world based with amazing pics which truly show the potential of micro four thirds system and the Olympus OMD offerings.

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The current lenses I have are sigma 60mm and the 14-42ez kit lens. The 25mm from Olympus is on its way . I had my friend from Australia Rahul Dutta a passionate photographer himself , send me the lenses and camera brand new, since its not readily available in India, and very expensive too.

It might sound weird but for me the camera body must look stylish , because if I love the way it looks I will use it more often . The Olympus em10 is very sexy looking camera with right blend of modern features and retro design .

It has been an absolute joy using the OMD em10 in variety of situations like concert , clicking pics of delicious food in restaurants , street portraits, landscapes ,fashion . It does everything with ease and style.

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I’m here attaching pics taken with the 60mm from sigma, a insanely sharp lens . This pics have been clicked while walking around on the streets of Mumbai . 2 pics are of my wife which were clicked again on street while walking around. The rest are street portraits of common people who work on daily wages basis in Mumbai. Some pics of food and flower too .

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All pics are shot as jpegs and edited on my phone in snapseed and at times vsco cam. But mostly in snapseed. Also all pics are shot in natural available light.

Thanks very much for your passionate in-depth non over technical real life usage reviews which help any body interested in photography make decision on factually basis. Also a big thanks to the community here who share their experiences with variety of cameras and lenses .

Sincerely- Raviraj .

My Facebook id is – Raviraj Kande

And my Flickr page is
https:[email protected]/

 

Oct 012015
 

TGBHJUY

Leica is not just for Street

by Jesus

Hey Steve , love your website. I’ve sent you a few images in the past but never submitted any so here goes…

I recently had surgery for a torn adductor muscle so I’ve had time to do a little web surfing.

Funny thing most articles I’ve read  on the old inter web insist Leica rangefinders are strictly to be used as street photography instruments.

Apparently I didn’t get the memo. I’m a machinist by trade and I think that’s what drew me to the Leica M. I’ve been fortunate enough to own a dozen M bodies and 3 R bodies and around 50 lenses.

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And I’ve never shot street photography.

I’m also amused by the comments that only dentist and doctors used Leica’s so here’s a few images that I’ve been fortunate enough to shoot with friends and live in muses

First Two Images
Betcee

Leica M9 50 MM Asph

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Amber Leica M8 75 APO

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Eva

M9 50 Lux

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And finally
Live in muse and friend
Miki

Leica M7
50 Lux
Agfa 100 APX

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Abrazos ~ Jesus

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

Jun 042015
 
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SEEING RED! The Redhead Days Festival

by Ori Cohen

Hi Steve,

My name is Ori Cohen and I have been following your website for many years. I am an avid photographer, a computer science Phd student, and a graphic artist, but first and foremost I am a redhead, a redhead married to a redhead. As you well know redheads are usually singled out most of their lives and the and it may come as a surprise to everyone, but redheads share this unexplained bond; to a point where you walk down the street, lock eyes with another redhead and instantly there is some connection. You can probably guess why I married a redhead.

Once a year at the beginning of September there is a special weekend for all redheads. In the town of Breda, Holland, thousands of redheads from around the world gather in the redhead days festival. Our first time was two years ago, we went to the festival in order to see for once, how does it feel to be the same as everyone else around us. It is hard to explain the first shock of seeing so many people who kind of resemble you, and in many ways it is intoxicating. In the festival I had the opportunity to photograph a lot redheads; many became our friends and today we have a growing community of redheads on facebook. In fact, last year while travelling abroad, we randomly met a redhead that recognised us from the festival.

Photography wise, I like carrying as little gear as possible. I usually carry several small near-weightless primes. On our first visit I brought my trusty Sony A300 and a Minolta 50mm f/1.4, and on our second visit I had a Sony NEX-7 Sony 16mm\F2.8, Minolta 24mm f/2.8, 35mm f/2, Sigma 30mm f/1.4 and a Minolta 50mm f/1.4. For portraits on a crop sensor I tend to use 30mm, 35m, and 50mm as they allow me to shoot in situations when people are around me. For group shots, crowds, and In doors I used the 16mm or the 24mm, which allows me to get a better sense of the atmosphere in the room.

The festival holds several main events: the pub-crawl, the opening ceremony, and the gathering in the park. There is an atmosphere of friendliness all around, and I can shoot anyone without asking for permission. I usually just aim the camera at random people and they stop for me, for as long as I need.

The pub-crawl provides a wonderful opportunity to get to know new people and capture some of the conversations and playfulness that happens after dark when people are drinking A LOT of beer, and it’s also a wonderful opportunity to get to know new people from around the world.

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During the ceremony I try to find a spot on the balcony, which overlooks a crowd of several hundred redheads, while trying not to lose sight of my wife. I usually don’t need to worry about losing my wife in a crowd, but when everybody has the same hair color as her, I need to keep a watchful eye :). You will be surprise to learn that there are many types of “ginger” genes out there, not just for fair skinned people, even dark skinned people can get a reddish hue in their hair, as seen in some of my photos.

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Immediately after the ceremony, people walk slowly toward the park for the annual record-breaking count of redheads. Two years ago we even broke a Guinness world record. While crammed in one spot, it is a perfect opportunity to shoot portraits of people. My wife thinks that I only shoot pretty redhead girls, but I actually try to do as many portraits as possible (of everyone!).

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The festival is not only for redheads but also for their friends, anyone who wishes to participate can come, in fact the city is crawling with photographers and videographers from all around the world. Everyone is welcome!

Thank you for reading.

My facebook photography blog: https://www.facebook.com/oricohenphotography

Mar 052015
 

 

4DAYS

4 days in the life of a Magnum photographer

by Sebastien Bey-Haut

Dear Steve,

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

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

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

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

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

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

10 selected photographs 

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

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

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

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

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

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

Thanks for reading

Sebastien Bey-Haut

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

Jan 162015
 

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Kolkata India – Shooting the streets and smiles

by Mark Seymour – His website is HERE

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

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

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

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

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

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

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

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

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

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Nov 242014
 

Sony A7 Portrait Images

by Adam Laws

Hello to All!

Since my last contribution in relation to the Sony A7 I have completed my first year of my photography course (It has been strange going back to school in the evenings after 10 years), and now feel way more competent around photography in general. I don’t generally feel you need to take formal lessons in photography but I have found having set goals each week, and most importantly having constructive feedback from my peers and tutor has been very beneficial and far more useful than facebook likes.

Back to the A7. I have previously posted my views about the A7 here and I still find the camera to be very competent since I’ve owned it in January. Not once have I needed or wanted more though I still wish for some new glass to become available with autofocus capability. The Zeiss 55mm has proven to be a great portrait lens it would still be nice to have a longer prime (When doing art nude shots you really don’t want to be within arm’s reach of the model if you want her to feel comfortable). It has also been interesting to see that originally traditional SLR users sneered at the Sony when I arrive at shoots for what they perceived to be an inferior cropped sensor camera, now the same photographers are all now contemplating moving to Sony, Fuji and Olympus. I do wonder what the next reiteration of the A7 and the rumoured Sony pro full frame cameras would be like but I can’t imagine it would be substantially better for me to upgrade for my purposes.

I have submitted a selection of my portrait work for my college assignments and personal work to hopefully showcase the quality of the equipment. Yes some post production has been done on some of the images, but without a good source file, which is produced by this camera you would find that your flexibility to produce ‘your’ desired image would be reduced.

www.AdamLaws.com

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

All the best,

Adam

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Nov 032014
 

Pictures around Egypt

by Mohamed Hakem – his website is HERE

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

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

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

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

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

An Angry leopard in africa Safari park – Alexandria Egypt

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A lovely camp under the milky way in the white desert

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A lovely merchant in Kham El Khalili

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

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A kind man waiting for the prayer

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The king of the desert in Wadi el Rayan

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The Egyptian Owl

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El Max in Alexandria, a simple fishermen’s home

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Moez street in Cairo

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Ibn Qowaloon mosque in old Cairo

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The Fayoum desert – a desert Made for camping!

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Mohamed Hakem Hussein

Oct 202014
 

PORPUBTT

Portraits from the Pub with an Olympus E-M5

By René van Wijck

Hello!

After many years of making photographs I got a little bored by it and I lost my inspiration.

Two years ago I bought myself the Olympus OMD-EM5. This little machine changed my life! It was and is such a pleasure to work with that I have it all the time, wherever I am with me.

I work as a bartender downtown Rotterdam in Holland and started to make pictures of my guests. They all come alone to the pub, and most of the time leave alone.

I gave myself a few rules: no color,no flash,no drinks in the pictures. Most of them I shot with the 45 mm 1.8. I’ll hope you like the results!

You can see more of it on flickr.com/photos/renevanwijck

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Sep 102014
 

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Shooting Ephemerisle 2014 with the Sony A7S and a Voigtlander 35mm f1.2

By Judd Weiss – Visit his site HERE

Most places I go lately, I am the best photographer around. But I come to Steve Huff’s site and community specifically because here I am definitely not the best photographer. I’m learning fast, but I’m relatively new to photography, upgrading from a point and shoot to the original Sony NEX 3 only about 4 years ago. Discovering Steve’s site almost 3 years ago was a major turning point in my photography. I started taking it more seriously when I saw what you guys were up to. I’ve been inspired. The daily inspirations that so many of you have contributed has made me rethink what I’m doing with the camera I’m holding. I’ve never taken any photography classes, but that doesn’t mean I haven’t received an education. This community around Steve Huff’s blog is one of the greatest influences on my development as a photographer. So thank you to all who have contributed their vision and creations here. I am very grateful. (Thank you Judd!! Steve)

I’d like to also make a contribution, from my favorite work yet. I shot this entire set of photos with the new amazing Sony Alpha A7S full frame mirrorless camera, with a manual Voigtlander Nokton 35mm f/1.2 lens. That combo allowed me to achieve low light shots never before possible in the history of photography. Ephemerisle was the perfect event to test out what the Sony A7S can handle in extreme low light. And the Sony A7S was the perfect camera to capture the experience of the dark glowy night that made Ephemerisle shine.

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These shots are unapologetically processed, and I admit I went a bit intense with the colors, but I wanted to, to accurately reflect the surreal nature of Ephemerisle. Some of these photos are a little abstract, but believe me when I tell you those are very true to the experience. What a visual experience! Ephemerisle was incredible. I did the best I could to run around and convey what it was like to be there, over stimulated by this new beautiful foreign universe everywhere you looked.

It’s fair to think of Ephemerisle like Burning Man on the water. Imagine a bunch of RVs at Burning Man connected together, but floating. With dance stage platforms between them.

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I think Ephemerisle was the most exciting and fun time I have had, that didn’t involve a girl, since maybe my college days. I loved running around in that crazy dream world meeting the cast of characters you’ll see in the photos below.

I’m not saying Ephemerisle is better than Burning Man. There’s no way an event of a couple hundred people can in any way rival the scope and all the amazingness of the 50,000+ strong Burning Man festival. But I will say that I enjoyed Ephemerisle more. I loved Burning Man, but the desert is a harsh place. No doubt the sea can be unforgiving as well, but I was very happy to trade an over abundance of dust for an over abundance of water.

No way I would bring my beloved new Sony A7S and Voigtlander lens to get ruined by the intense barrage of fine dust on the Burning Man playa.

 Shot at 12,800 ISO

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Burning Man is incredible as it lights up the middle of the desert nowhere into an epic glorious city; being out in the middle of the water nowhere, lit up only by the most amazing glowy party you’ve ever seen, Ephemerisle too is a bright beacon of a testament to our evolutionary progress, while floating over the type of early ocean microbes of life that began it all. How far we’ve come, to create such a stunning atmosphere. A cool blend of excitement and serenity. Like Burning Man, being at Ephemerisle confronts you to face both our fragility and our promise that can only be truly seen in an intentional community that has left many of the comfortable constraints of modern society.

Stylistically people often compare Ephemerisle with Water World, and you can see where that’s coming from, only this wasn’t dystopian. Whatever was rough around the edges wasn’t post-apocalyptic, it was prototype. This is from the future, clearly. These are experiences our grandchildren will inherit when they are our age. But it’s a beautiful future. When the sun goes down, we light up even brighter. Humans evolved from a state of continual starvation in a struggle to survive among brutal nature, and now we master the harshest environments to throw parties of abundance like this for recreation. Humans have no shortage of serious problems, but it’s things like Ephemerisle that compel me to acknowledge our bright future of possibilities ahead.

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You might think I’m hyperbolizing a little much. And if I hadn’t been there, that’s totally what I would think while reading this. But there’s a reason for these reflections of anthropological grandeur. Ephemerisle is comprised of exactly the group of intellectuals, business leaders, and artists who are focused daily on the topic of our evolutionary potential as a species. These ARE the people consciously working to design a more beautiful future for all of us. What a treat it is to see one of their early prototypes. And I have to say, I’m in love with this particular prototype they call Ephemerisle.

I’ve got to thank everyone involved for coming together to create Ephemerisle. They made these photos. I just captured what I saw as well as I could. Their vision created this reality. Congratulations to all of their beautiful minds. These photos are my humble tribute.

Ok guys, get ready to watch the colors move…………

The full album and original post can be found on my blog here: http://hustlebear.com/2014/09/04/photos-ephemerisle-july-2014/

You can follow me on Instagram at http://instagram.com/juddweiss

I’m on Facebook at https://www.facebook.com/juddweiss

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Note: The widely acclaimed Canon 5D MIII could not have achieved many of these shots. For example: The below shot, while not the cleanest photo in history, was shot at 51,200 ISO (!!) at 1/125 second, handheld from a bobbing moving boat in the dark. It was challenging to stand, and hard to see clearly, let alone to take a clean photo. Try to get anything remotely usable in those conditions with another camera setup.

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Again, the below shot is not perfectly clean and crisp, but it was shot at 32,000 ISO from a moving bobbing boat.

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I love how the camera rendered the daytime shots as well.

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