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

May 192015
 
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Camera? Doesn’t matter, shoot what you love!

By Thomas Rhee

I’ve been a visitor of your site for a number of years now and while it’s not the most polished looking site, the content is what speaks to me. It’s honest and down to earth.

Anyways, I’ve been into photography since my high school days starting with film, on and off again thru the years until around 10 years when I started taking it more seriously. Like you (Steve), I’m also very much into high-end audio, currently mostly Naim gear along with a Mac Mini and a Mytek 192 DSD DAC that acts as my music server.

Recently, my GF knowing how much I love photography, gave me a Fuji X100T along with the WCL-X100 wide conversion lens as a gift for my birthday. Also, my birthday gift to myself this year was the Olympus OM-D E-M5 Mk.II,. My other cameras include the Olympus OM-D E-M1, Fuji X100, Ricoh GR Digital III and a Canon 5D Mk.II. Of course, I’ve been shooting non-stop with my two new cameras so my submissions will be from those two, all of which were taken within the last two weeks.

The first photo is a street photo taken with my E-M5 Mk.II after having dinner at a restaurant located deep inside of a few alleyways here in Seoul, Korea. The image is of a waitress getting hot coals for a table-side Korean BBQ restaurant. The alley was pretty dark but fortunately there was a light in front of her that acted as a spotlight as well as the two open doors (two different restaurants) that brought in some light. Nonetheless, the ISO had to brought up to 3200 to bring up a reasonable shutter speed with the lens wide open.

“Waitress”

OLYMPUS OM-D E-M5 Mk.II, 25MM, F1.8, 1/50, ISO 3200

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The second image was taken on Buddha’s Birthday here in Seoul, Korea. Like most other Asian countries, Buddhism is prevalent and Buddha’s Birthday is a big event where thousands come out to celebrate. This image was taken at one of the Buddhist temples here, nearby where the parade was happening. There was a homeless man surrounded by families, children on a field trip as well as devout Buddhists who came out to pray that day. The homeless man kind of stuck out from the crowd and I captured this while he was eating a popsicle although I have no idea where he obtained it from. The tree in the middle signifies to me a the disparity of how others see him as well as how he sees himself.

“Disparity”

OLYMPUS OM-D E-M5 MK.II, 45MM, F6.3, 1/60, ISO 3200

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The third and last image was taken this past Sunday where my GF and I decided to go to a botanical garden just to have a leisurely Sunday and get away from the hustle and bustle of living here in Seoul. The place was amazingly beautiful and when I came across this scene, with a Juniper tree, decided to take a snap.

“Juniper & The Garden Of Morning Calm”

FUJIFILM X100T, 19MM (28MM EQUIVALENT), F8, 1/1100, ISO 400 (FUJIFILM WCL-X100 WIDE CONVERSION LENS)

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Anyways, thanks for reading and looking,

Thomas Y. Rhee

https://www.eyeem.com/u/tyrphoto

Mar 182015
 

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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.

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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://www.flickr.com/photos/71817058@N08/

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

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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

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

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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

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Jan 162015
 

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Kolkata India – Shooting the streets and smiles

by Mark Seymour – His website is HERE

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

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

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

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

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

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

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

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

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

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Jan 032015
 

Hi Brandon,

I have been a frequent reader of your father’s reviews on this website. and this would be my 1st submission, and hopefully 1st of many.

Over a year ago I gave up on DSLRs, and got myself a Fuji X100s when it was 1st introduced. that camera changed the way I take pictures, I am no longer cautious and concerned about being caught taking pictures in public (this is a grey area in my country, no specific rules, but many got into trouble shooting large dslr in public)

I quickly adopted street photography, loved how the Fuji was small, silent, and no one would take it seriously anyways. it made a lot of sense at that time.

However, I always wanted a Leica and last January I got my hands on my 1st ever Leica, I decided on a black M240 along with 50mm Summicron (V4 I believe), and that set was just perfect, small and discreet, slowly I even forgot about my trusty Fuji, and the Leica became my primary camera.

Attached are some photographs taken with the leica M along with the Summicron 50mm.

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Regards,

Fahad A

Saudi Arabia

https://www.flickr.com/photos/fahad85/

Dec 082014
 

The Zeiss Loxia 50 f/2 on the streets of NYC 

By Tomer Vaknin

Dear Steve,

First let me say how much respect I have for you and the other members of your website, I have learned a lot by exploring the wonderful photos you all shared, equipment reviews and inputs. I would like to share my own personal experience with the Zeiss Loxia 50mm f/2 Planar T* lens.

As a proud and very happy owner of the Sony Zeiss 55mm, I was hesitant to purchase the Loxia. However, after reading your positive impression of the lens in Photonika 2014 and as a huge fan of M mount lenses that I am, I simply had to try the Loxia.

Here are some photos I took with the Zeiss Loxia 50mm f/2 Planar T* in Amsterdam streets, Marken village and Rennstrecke Zandvoort, during a holiday I took with my wife in the Netherlands. I hope these photos, along with my personal impression of the lens, will help some of undecided readers in making the right decision for themselves.

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My personal take on the Zeiss Loxia 50mm f/2 Planar T*:

– Great 3D feel (Check the box shot that was -take on a bed)

– Wonderful Bokeh

– Lovely Creamy look

– Great character

– Great colors and contrast

– Very sharp!

Overall, The 3D look, the creamy bokeh and feel + the very nice tone and color makes it a winner. The shots taken with the Zeiss Loxia 50mm f/2 Planar T* looks like they were taken with the Leica lens.

Altough the Sony Zeiss 55mm is an amazing lens and you can’t go wrong with it, I personally prefer the Loxia.

www.facebook.com/tomer.vaknin.5

Nov 062014
 

Street Photography to Me

by Steve Huff 

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Many have asked me about doing a video on my thoughts about Street Photography. Why I am FAR from an expert on shooting Street, I do in fact enjoy it and I enjoy the interaction with the subjects as well. Not everyone shoots the same way, and me, I prefer to go about it in a couple of different ways. Sp enjoy the video below as everything is explained there :)

Jul 102014
 

The Urban Jungle with an OMD E-M5

By Matt Stetson

Hey Steve and Brandon,

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

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

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

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

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

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

Thanks
Matt Stetson

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Jun 252014
 

Still enjoying my Leica M8

By Jochen Utecht

Dear Steve,

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

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

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

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

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

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

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

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

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First of all I asked for permission to take a picture of these beauties. After a posing picture was taken they immediately went back to watching their smartphones and I could capture the scene I had been seeing before.
Minolta 28/2.8

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Sometimes you get nice results if you hand the M8 to a stranger to have your picture taken. This was on the first of May. I even had to tell that chinese fellow which button to press, but made the settings prior to handing the camera over. It would have been a fun pic if my face had been replacing Mao. I will try that next time. That might not be possible with a rangefinder camera though.
VC 21/4

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I hope you enjoyed the pictures and if you don´t want to show all 6 pictures, feel free to choose three of them.

Thanks, Jochen
5intheworld.de

Jun 112014
 

Take or Make

by David Lykes Keenan

Are you a taker or a maker? 

25_150_Parade, New York City, 2011

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jun 042014
 

Make a List, Make a Wish

by Colin Steel – See his blog HERE

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

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

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

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

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Mar 242014
 

High speed street portraits with the Fuji X-E1 and 35mm lens

By Boris Taillard

Hello Brandon and Steve,

Firstly, thank you for the work you are putting into your website. I am a regular reader and very much enjoy the mix of “real world” reviews and pictures and reports from other readers (and therefore decided to submit my own :-)).

I have been using a Fuji X-E1 for over a year and started doing film photography recently. If you find my submission interesting and would like to publish it, I would be very happy to share my experience using the camera for this type of shots. Also, here is a link to my NEW BLOG.

I have recently joined a street photography group, but have found it difficult to overcome my inhibitions to take pictures of strangers; with or without asking for their permission. As a first step to go beyond this, I set myself a goal to shoot candid portraits of as many people as I could without warning them – and to be gone before they could even realise what just happened. I used a 90 minutes session with my street photography group to give the idea a try in the Dublin city center on a busy Saturday. Another constraint was also to only shoot at 50mm and not to post-process the files coming out of the camera (I only cheated to crop or bump up the exposure for 2 or 3 of them but otherwise all the pictures are OOC JPEGS).  You can see more pictures in this Flickr set, but here are a few samples along with a bit more details of how I did during the shot.

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In addition to gaining more self-confidence, the challenge was also a technical one: the only camera I currently own is a Fuji X-E1 with a XF 35mm lenses, which is definitely not known for it fast operations; especially when it comes autofocus speed. Using the camera in fully automated mode was therefore clearly not an option. Where the camera could shine though is that Fuji is known for their nice out of camera JPEG files, and that manual mode is a joy to use.

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Here are the settings I quickly found were the optimal ones and which were used for most of the pictures:

  • Aperture fixed to F11 (small value to maximise depth of field as I was using manual focus on a preset distance)
  • Shutter speed fixed to 1/500th of a second (fast value to to reduce motion blur as both myself and the subjects are moving while taking the shots)
  • Auto ISO 6400 (so that the camera can adjust the ISO value automatically to get the right exposure)
  • Manuel focus with prefocus for a distance of 1 to 1.5 meter (so that slow autofocus is not an issue, and knowing that I would shot mostly portraits of one person at a time)
  • Astia film simulation mode (gives fairly natural colours and nice skin tones)
  • Highlight +1 and Shadow +2 to increase contrast and give more impact to the pictures
  • Colour 0 to maintained natural skin tones
  • DR400 to preserve highlights and shadows (to cover for a cloudy day with very bright sky and hight contrast settings)

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Of course none of the shots are technically perfect as they all happened very quickly, walking down the street and just raising the camera at someone and pressing the shutter button. There was no way to get them perfectly in focus or to completely avoid motion blur, but having said that I believe I got a few nice ones. It is also quite interesting to capture what people look like when they are just minding their own business and not expecting anyone to look at them (they sometimes do notice you and look at the camera which is good for the picture, but just keep walking and don’t question what you are doing).

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I really like the colours of some of these shots, and while I am not always happy with Fuji’s camera JPEGs, on this particular occasion I think they lived up to their reputation. Another great thing about the camera here is the fact that ISO 6400 shots (most of these) look very clean in good light, which was crucial to capture enough light while maintaining a decent depth of field and being able to freeze movement. The fact that while you are in full manual mode (fixed aperture and shutter speed) auto ISO is still active and can set the exposure right is also great – and I don’t believe all cameras are able to do this.

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On a more negative note, even when it is pre-focused the X-E1 is not exactly a speed daemon. I don’t know if it is shutter lag or a delay with the image refresh on the LCD screen, but I definitely noticed that I had to press the shutter button before the subject had fully appeared on the screen where I wanted it to be. This made taking pictures a bit of a gamble, but with practice it was possible to get it right most of the time.

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Overall, from a technical point of view it was interesting to see what can be done in fast street photography using a not so fast camera. I haven’t used a good SLR or speedy micro 4/3 camera in quite a while, but I would be curious to know if they would cope with this and nail perfect focus in fully automatic mode (comments about this are welcome!).

From a more personal point of view, when you want to get serious about street photography you have to be very comfortable with taking pictures of total strangers – which for a number of people doesn’t come naturally (me included). One way is to take “stolen pictures” like these and the other is probably a more social approach where you make contact with the subject and possible get them to post for you. The first one is probably the easiest one to get away with if you are more technical that social and I am glad I have gone through that stage. I will be working on the second one next :-)

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Thanks for reading, and do not hesitate to post some comments!

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Thanks again and all the best with the website,

Boris

Mar 062014
 

Buying Leica M8 in London – First experiences

by Ruben Laranjeira

Hi Steve, I am Ruben from Portugal and I have 28 years old. I visit your site every day, since late 2008. And you have influenced me to be passionate about Leicas, and Leica look in photos.

So here I am, 5 years later, ready to buy my first Leica. Due to Leica high prices, I have chosen to buy a used Leica M8 in London, and a new Voigtlander 40mm 1.4.

This is a short story about a dream come true.

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Since I began searching for photography and for photo machines, it didn’t take to long until my search got into stevehuffphoto site.

This site amaze me since my first contact with its very best articles on internet about real photography. For amateur/enthusiastic/professional people interested in photography and it’s gear. We can find here very precise technical information, and principally how to get passion about this form of art.

So since 2008 I knew I want a good-looking camera, with strong capabilities to turn my day by day pictures into something memorable. I ended buying a canon 50d and started shooting inside water the surfers riding waves. But I knew one day my little Leica would ended on my hands. This moment appears when I realized that used Leicas on eBay, and no Leica lenses was cheaper than I thought.

So I tried to put all together and planed not to buy that online, but buy than in London.

One month planning the trip with my girlfriend, reading every single day every article about M8 or M8.2, about voightlander wide-angle or 40mm, etc etc… So my plan was first get the lens, and then get the camera, because I can’t imagine have a Leica in my hands for a second with no lens attached.

Ok, voigtlander 40mm 1.4 lens with me, let’s get to the Leica dealer. Two nice cameras to choose, one mint condition 1600 actuation M8 and one 36000 actuation M8.2 with strong sings of use and 200 dollars cheaper. For what I read online, I have chosen the M8.2 with 6 month warranty.

I never had used range finder in my life, or manual focus, but my first shoot wide open, on a LFI magazine was easy and in focus. So I have thought, so far so good! Let’s do the payment and get outside with this beautiful day in London.

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With this camera I really feel the inspiration to record the best moments I will find trough my life, and I can get the camera inside my coat easily with no big monster point to people’s faces. I have found this camera really easy to use, even with the big ISO issues, but you can do just awesome B&W when the colors are not good. I have used aperture priority on almost all the frames and tried to put ISO160.

All the photos have little LR process, some B&W haven’t nothing to retouch.

I found the photos super sharp, and you can see the CCD Leica look, and you can get beautiful black and white pictures. The camera is not perfect but “After all, a photograph that is technically perfect that has no soul isn’t memorable.”

The next photos shows you a little what I got with my very first experience in RF world with the best RF you can get in a big beautiful city with a beautiful girlfriend as a model.

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Curiosity Numbers:

The prices are around 1900$ US for the used Leicas M8’s

Voigtlander SC 40mm 1.4: 459$ New

I bought a new Leica batery for 150$

first day: 66 photos

second day: 59 photos

3th day: 30 photos

Focus missed: 15

 

And here is some of my other work:

https://www.facebook.com/clickbyuriel

Feb 272014
 

Aldeburgh: A Fishing Village with My Leica M By Howard Shooter

By Howard Shooter

At 7.00am at the weekend, when most people would be pleased to have the duvet well and truly wrapped around them, I looked out of the window from my parents house in Aldeburgh, Suffolk and scrambled out with layers and layers of clothes to protect me from the East Coast winds.

Aldeburgh is a beautiful fishing village, famous for its fish and chips and quintessentially, traditional english manner. The coastal views are beautiful and the pebble beaches capture the sentimentality of a 1950’s seaside postcard.

The light is beautiful and inspires photographers to shoot the fisherman bringing in their catches. They rely on the local restaurants and the tourists buying the fish from their huts. The families of fishermen have been fishing for generations. My family has had a connection to Aldeburgh for nearly 40 years and have always gone back to London with the freshest, tastiest Sea Bass, Dover Sole, and Cod.

So anyway, a couple of weeks ago there I was with my trusty Leica M240, Leica’s latest iteration of the rangefinder, all weatherproof and digital, trying to capture my Aldeburgh story.

Here’s the techy bit! I’ve used a couple of lenses, mainly the 50mm Summilux and shoot fairly stopped down. I like to shoot using Aperture priority and use the exposure compensation to refine the exposure based on my chosen depth of field. As a very general rule I find shooting inside needs a compensation factor of about plus 2/3rds whilst outside I often have to compensate by minus 1/3rd. This is the same for Nikon, Leica etc.

The Leica is a tricky beast, with manual focus and a hopelessly poor placement of the exposure compensation button… hopefully future firmware will fix this. It’s fussy about light too. It excels with beautifully bright, clean light. This is a camera which demands that you really get to understand its capabilities. Often the initial use can seem underwhelming, but once mastered, it is a tool which, I think can reward the user with the most wonderful natural colour, with serious 3D pop. The files, as has been mentioned by reviewers, are a pleasure to work with, giving you plenty of dynamic range to really flex the levels and contrast with. For the most part though I don’t like to play too much with the raw files, just allowing a tweak here and there.

So here is my Aldeburgh story, my cold red hands were testament to the 7.00am chill, but the feeling of serenity and quiet light, more than made up for it.

1 We Smoke Fish Here

2 Boat trailer

3 Dawn

4 Hooks

5 Aldeburgh beach

6 Aldeburgh front

7 Ice Cream

8 House on the front

9 Bringing the boat back

10 Fisherman

11 Herring

12 Herring

13 Herring in hand

14 Fisherman in hut

15 Fisherman in hut2

16 Sea Scape

Feb 262014
 

A moment back with my Nikon D7000

by D.J. De La Vega

I’m a long time (and compulsive) reader of the site and am pleased to see it continue to grow year by year! I haven’t sent anything in for a while as I really haven’t been trying anything drastically new worth writing about.

That is until recently when I have found myself doing something I never believed I would really ever do again… I have begun actively reaching for my dusty old DSLR to take out shooting for the day (I pretty much exclusively shoot with my trusty Leica X1 normally).

I’ve always shot Nikon DSLR during my life as a semi-pro freelance photographer. Always carrying one semi-pro camera with a smaller back up: FM2n/F80, D200/D70, D600/D7000. However for my personal work, for years I’ve ditched the bulk and carried the compact. I’ve never once found myself wanting in the image quality department, but speed and the use of a good optical viewfinder are something I crave and it has has been slowly eating away at me.

Here are a few shots I’ve taken recently, most of which would have been impossible with the X1 due to the start up time and focusing. With a DSLR, the speed of spotting something, whipping it to your eye (whilst turning it on), focusing and shooting is literally just a blink of an eye. This is something the new range of CSC’s are beggining to equal, but I can not find one that ticks all of my boxes to persuade me to upgrade the X1. Personally, I would like a Fuji TX1 with an optical or hybrid viewfinder or a down scaled Nikon Df closer to an FM2 size and dials.

Until then I’m happy with my X1 and on the odd days the mood takes me, my D7000.

Thanks for looking

D.J. De La Vega

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

http://www.stevehuffphoto.com/tag/d-j-de-la-vega/

http://www.stevehuffphoto.com/2011/06/22/user-report-a-photographic-road-trip-with-the-leica-x1-by-d-j-de-la-vega/

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