New Orleans Wedding Party

 

Pretty self-explanatory. Have a great day!

 

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Belle of Belle Haven Plantation - Leica M9

During the recent Spring Shoot meeting of the LHSA (International Leica Society), we visited Belle Haven Plantation.

 

I've posted some images of the live oak trees at the plantation. (Click Here) to see those.

 

For our visit, one of our members arranged to have Gail come out to the plantation and model for us in period dress. Here are the shots of Gail that I feel are worthy of sharing;

 

 

All were shot with my Leica M9 and 35mm f2 Summicron (v.3) lens.

 

(Click Here) to learn more about LHSA (International Leica Society).

 

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New Orleans' Royal Street - Leica IIIC and Summar 5cm f2 Lens

 

Royal Intersection, by Reed A. George

Leica IIIC Sharkskin, Summar 5cm f2 Collapsible Lens

 

I was scanning a roll of film that I shot in New Orleans while attending the LHSA Spring Shoot 2015 when I came across this shot.

 

This corner on Royal Street, at Rouse's Grocery, is one of my favorite spots in the city of New Orleans. Always hosting live musicians, rain or shine, it's a real crossroads for everyone who frequents the French Quarter - musicians, tourists, locals, and yes, police officers. This image says a lot about this particular place that I love so much.

 

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French Quarter in the Rain - Leica IIIC and Summar 5cm f2

I recently attended the LHSA (International Leica Society) Spring Shoot in New Orleans, Louisiana. One of my favorite places to photograph, I was hoping we'd get some inclement weather to build some mood into my pictures. I was not let down - it rained on and off, sometimes quite heavily, during my whole trip. I loved it.

 

Here are some shots of street musicians playing in front of Rouse's Grocery on Royal Street as a rain storm rolled in and subsequently left.

 

All were shot with the Leica IIIC and Summar 5cm f2 lens. One of Leica's earliest fast lenses, the Summar is infamous for being being soft. I happen to have a clean copy, without a scratched front element, which is rare. I find it to be a wonderful lens.

 

 

Shooting iso 400 film (Kodak TMax 400), I couldn't quite get a fast enough shutter speed to capture the rain as I wanted. I hope that you can see it in images 2 and 3.

 

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Live Oak Trees - Belle Haven Plantation - Nature Shot with Leica M9

During my trip to New Orleans for the LHSA (International Leica Society)'s Spring Shoot, we got to visit Belle Haven, a plantation that has been closed to the public for many years.

 

Our visit was wonderful, and I got to spend a lot of time out wading in the wet grass photographing the amazing old live oak trees on the property. Shooting with my M9, I manipulated the images in NIK Software to get the look I wanted. Here they are.

 

Live Oaks, by Reed A. George

 

All of these were shot with the M9 and either the 35mm v.3 Summicron or 50mm f1.4 Summilux (titanium).

 

One thing I don't like (or haven't figured out) in the NIK software is that if I want the same frame effect on a series of pictures, the frames come out looking exactly the same, including the dark and light smudges around the edges, which are supposed to represent the individual results of chemical darkroom techniques. Each one should be slightly different.

 

Overall, I'm pretty happy with the result. Not everyone agrees with manipulation, but I got the feel from the images that I was looking for.

 

(Click Here) to learn more about LHSA (International Leica Society). The national meetings like the Spring Shoot are great, but there are also many other reasons to join, including a great publication (Viewfinder), newsletter, and local groups and activities.

 

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Walking in the Rain, New Orleans

I met this nice lady one morning at Jackson Square. I informed her that she was wearing the red jacket that every photographer dreams of, especially when shooting on a dreary, rainy day. She actually agreed to walk out into the rain so that I could photograph her under the tree covered in Mardi Gras beads, with the wrought iron fence of Jackson Square in the background. Now that says New Orleans.

 

Walking in the Rain, by Reed A. George

Leica M9, 50mm f1.4 Summilux Lens

iso 800, f3.4, 1/90 sec.

 

She actually emailed me (I gave her my card), and I sent her this image. It's nice to close the loop in that way.

 

My only regreat is that I had to act quickly, and didn't use a fast enough shutter speed to clearly show that it was raining pretty hard at that moment. 1/250 second would probably have capture it well. Of course, that would have meant higher iso and wider aperture, which would have compromised depth of field (I wanted a lot) and digital noise. So, this is the compromise I decided to make.

 

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Live Oak Tree - Lousiana Plantation - From Raw Image to Interpretation

I just returned yesterday from the LHSA (International Leica Society) Spring Shoot in New Orleans, Louisiana.

 

One of our (brilliant) activities was a visit to Belle Haven Plantation, which has been closed to the public for many years. We were extremely lucky to get access. The enormous live oak trees on the property were so beautiful. Here's a raw image that I took of one of them.

 

Live Oak, Starting Image, by Reed A. George

Leica M9, Summicron 35mm f2 Lens

iso 400, f5.6, 1/60 sec.

 

I walked out into a huge puddle of standing water to get this shot. I exposed to keep the highlights from blowing out, knowing that I could recover detail from the shadows with the M9 file. Right out of the camera, it looks underexposed.

 

I decided to do a quick edit on the image in Snapseed, on my iPad. Here's the result.

 

Live Oak, Interpretation, by Reed A. George

 

I'm sure that I can make a nice straight image from this file, but I kind of like this manipulated version. I purposefully added the vignetting around the edges, simply because I like the look.

 

Maybe I'll post the same image processed in Lightroom with much less manipulation. It will be interesting to see which version I like best.

 

If you're interested in the LHSA, check us out by (Clicking Here).

 

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Another Panning Example With the Leica M9

 

Bike Taxi, New Orleans, by Reed A. George

Leica M9, Summilux 50mm f1.4

iso 800, 1/15 sec.

 

As in yesterday's post, I used the panning technique to show a moving subject at night.

 

In this case, I didn't match the camera motion to the subject's speed as well as I did in the shot posted yesterday. However, this picture says more about being in New Orleans. Motorcycles can be seen virtually anywhere; bike taxis are less common. But, there are plenty of them in New Orleans.

 

So, as a travel photo in which I wantedd to say something about the place, this one works better.

 

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Panning at Night

Panning is a technique in which you set your camera to a relatively slow shutter speed and follow the motion of a moving subject. If you follow at exactly the right speed, your subject comes out sharp. If your shutter speed is slow enough, everything but the subject is blurred due to the motion of the camera. It gives a great sense of motion to the image.

 

Here's a panning shot I made of a passing motorcycle in New Orleans:

 

Panning a Motorcycle at Night, by Reed A. George

Leica M9, summilux 50mm f1.4 Lens

iso 800, 1/15 sec.

 

In this case, the 1/15 second shutter speed was slow enough to give decent motion blur to the motorcycle's surroundings. Based on the fact that you can read the lettering on the motorcycle, I must have gotten the camera motion just right.

 

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Heading to New Orleans for the LHSA (International Leica Society) Spring Shoot 2015!

New Orleans, by Reed A. George

 

 

My two plans for traveling this spring happened to fall right next to each other this year. Both are controlled by schedules other than mine - the trip to Japan has to be on my daughter's spring break, and the LHSA Spring Shoot has it's own time constraints. So, while I'm still adjusting to jet lag from the Japan trip, I'm gearing up for my trip to New Orleans this week, to go to the Spring Shoot.

 

What better place for a Spring Shoot than New Orleans? I can't think of any.

 

(Click Here) to read about the program. Everyone's welcome, member or not, so please join us! Hope to see ya'll there (a little Southern touch).

 

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French Quarter Photo Tour

 

French Quarter, by Reed A. George

 

I'm honored to have been asked to lead a morning photo tour of the French Quarter in New Orleans as part of the LHSA's Spring Shoot, April 15-19. I will be leading the Saturday morning group.

 

The Quarter's not exactly an early morning kind of place, but that's okay.

 

Now I have to put my mind to planning a route that will give my fellow photographers the best chances of capturing a Leica moment!

 

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Back to New Orleans

Scooter in The Quarter, by Reed A. George

Panasonic Lumix DMC-LX7

iso 400, f4, 1/200 sec.

 

I just made my room reservations (on AirBnB) for a trip to New Orleans next month. I'll be attending the LHSA (International Leica Society)'s Spring Shoot.

 

(Click Here) to learn more about the LHSA, and the Spring Shoot event. If you're a Leica enthusiast, you may really enjoy the Society. I do.

 

I also have a couple of great friends in the area, so will also get to spend a little time with them.

 

DMC-365.blogspot.com

 

Green Anole - Audubon Park, New Orleans, Nature Shot with Leica Rangefinder

Carolina anole (Anolis carolinensis), by Reed A. George

Leica M9, Leica 90mm f2.8 Elmarit (v.1)

iso 200, f6.7, 1/350 sec.

 

I shot this image of a Caroline Anole (aka Green Anole) in Audubon Park in New Orleans. I used my early Elmarit 90mm f2.8 lens on my Leica M9 digital rangefinder. Rangefinders are not used for nature photography all that often, as you're limited in the longest telephoto lenses that are practical (135mm is reasonable, though very hard to focus). I usually shoot a 90mm as my rangefinder telephoto. Rangefinders also don't have good closeup capabilties, without going to great lengths with accessory lens googles or reflex housings, which essentially turn your Leica rangefinder into a single lens reflex camera.

In this case, the 90mm was a fine focal length, and I didn't need to get any closer than the lens normally allows. In fact, I like the context of the leaves around the lizard. They help the composition. I love how his body is silhouetted from the other side of the leaf. I got the focus just right as well - a 1:1 zoom shows his eye is really, really sharp.

I printed this at about 7.5" x 10" and it looks great. I think I'll make a 12" x 18" print of it.

 

So, use the camera you've got in your hand, rather than worrying about if the gear fits the subject. I couldn't be much more pleased with this shot.

 

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And Here's the Image My Friend Picked from My New Orleans Trip

My friend James did me the amazing favor of lending me his house in New Orleans. This enabled me to spend a long weekend without any responsibilities, to explore the city. When I returned, I shared my favorite images with James, and asked him to pick one to have framed for his place, if he wanted. He chose several, and told me to surprise him with the final selection.

 

Because James felt a little funny about having his neighbors in any of the images, he selected only those without people in them.

 

Here's the one I chose to frame for him:

 

Trompe O'eil, by Reed A. George

Leica M6 Titan, Leica Summicron 35mm f2 v.3 Lens

 

The subject is a Trompe O'eil (Fooling the Eye) mural, accompanied by a bronze statue of a girl. For fun, someone gave her a paper hat from Cafe Du Monde.

 

I think it's a fitting print for James' French Quarter home away from home.

 

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A New Orleans Character

As you may know if you follow my blog, I love to meet and photograph interesting people when I travel. While returning from Audubon Park to the French Quarter on the streetcar in New Orleans, I met Tony:

 

Tony from New Orleans, by Reed A. George

Leica M9, 50mm Summilux f1.4 Lens

iso 200, f3.4, 1/750 sec.

 

Tony was dressed especially nicely, and his black hat and white bowtie really stood out. But, what started our conversation was the stack of (very) old books he was carrying. I asked about them, and Tony proceeded to tell me that he is currently writing a play about New Orleans and the Civil War. The books are family heirlooms, and he is using them to guide his research. On this day, he was on his way to see some remaining slave quarters somewhere near the Quarter.

 

Tony is a very nice guy, and the conversation really added to my travel experience. I only had one opportunity to shoot a couple of pictures of him, but feel that this one came out pretty good. The light was challenging, but I got it right for his skin tone, at the risk of blowing out the background. As it turns out, it's not too badly overexposed, and the streetcar pulling away in the background is perfect for my memory of the experience.

 

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Composition Choices - Tension at the Edge of the Frame

Today I want to demonstrate an element of composition that I like to use once in a while - adding tension to a photograph with an important element near the edge of the frame. Now, it really does add tension, not comfort, so it's not something you want to use all the time, most likely.

 

Here's what I mean.

New Orleans Balcony #1, by Reed A. George

Panasonic Lumix DMC-LX7

 

Now, I like the shot above quite a bit. Very strong leading lines everywhere, and the waitress at left is a very nice focal point, somewhere near the edge, but not at it. I like this shot, but don't love it.

 

Here's another, same place, just a few seconds different timing, with just a little different composition.

 

New Orleans Balcony #2, by Reed A. George

Panasonic Lumix DMC-LX7

 

Overall, I'd say this shot is not as nicely composed as the first. The lines converge more centrally to the image, giving a balance that I don't really like. Except. Except for the gentleman standing at the extreme left edge. He throws off that balance completely. His face is a slightly unexpected element in the composition, and I think he adds just that thing to make this picture better than the one above.

 

I don't think this technique makes for a comfortable, pretty image in most cases. In my opinion, good photographs impart an emotion, not always "oh, that's pretty!" I think the second image does that better than the first.

 

However, if I were picking one of these to hang on my wall, I'm not sure which I'd pick.

 

Opinions? Please share.

 

DMC-365.blogspot.com

 

New Orleans, Latrobe Park at Sunrise

Latrobe park is dedicated to architect Benjamin Latrobe. Located in the French Market, it's on the former site of a waterworks designed by Latrobe. Now, it's a cool place to relax in the shade of a hot day, just a few steps from the Mississippi River, and on the edge of the French Quarter.

 

I was walking through on my morning exploration when the light through this statue caught my eye.

 

Latrobe Park Statue, by Reed A. George

Leica M6 Titan, Leica Summicron 35mm f2 v.3 Lens

Kodak TMax 400 Film

 

Man, I could sure spend more time in New Orleans. Friends who visited a week after me told me of the torrential rains during their trip; not a drop of rain while I was there. In fact, I'd love to shoot the city in fog and rain. Maybe my next trip to New Orleans will be selected for moodier weather.

 

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Royal Street, New Orleans - 13 Strings and a $2 Bill

New Orleans is such a musical city. While I was there, the Jazz Fest was happening, but I decided not to go in. I figured that I can attend a music festival in any city. I wanted to experience New Orleans music, the music that's there every day. I was not disappointed.

 

This is "13 Strings and a $2 Bill," playing at sunset on Royal Street:

13 Strings and a $2 Bill, by Reed A. George

Leica M6 Titan

 

Having a dog along with your act seems to be a real revenue increaser. This guy looked just a little bored, even with Nora tapping away right next to him.

 

Check 13 Strings and a $2 Bill out - (Click Here) to visit their facebook page. Youtube has several videos of them as well.

 

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New Orleans Streetcar Color

 

Streetcar Color, by Reed A. George

Leica M9, Summicron 35mm f2 v.3 lens

iso 200, f8, 1/250 sec.

 

Now this one would not have been as good in black and white.

 

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Under Cover of Darkness

Under Cover of Darkness, by Reed A. George

Leica M6 Titanium, Summilux 50mm f1.4 Lens

TMax 3200 Film, f1.4, 1/30 sec. (?)

 

I shot this through the window of a very dark bar on my walk home from a show on Frenchmen Street in New Orleans. I feel that it's quite mysterious, and knew at the time that it would make an interesting image if it came out. I love the blazing bar light at right in the shape of a lion (or something), and the hands with no visible attached body at left. I also love the eyes of the person on the left looking upward.

 

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