A Nice Candid With the Nikkor 135mm f3.5 Non-AI Lens and Nikon F2SB

Juan and David, by Reed A. George

Nikon F2SB, Nikkor 135mm f3.5 Non-AI Lens

Ilford HP5+ Film

 

Not much to say here. Just a shot I happen to really like a lot. I captured it while Juan and David took a little breather from practicing parkour.

 

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More New Orleans Street Art

I have a thing for artists who make their living sharing creativity on the street. This gentleman was most gracious when I asked if I could take his picture at Jackson Square in New Orleans.

 

Street Artist, New Orleans, by Reed A. George

Leica M6 Titanium, Kodak 400 Color Print Film

 

I honestly can't remember if I was using my 35mm f2 Summicron or 50mm f1.4 Summilux for this shot. I must learn to record my film shooting parameters better.

 

What attracted me to this man as a subject was the combination of beautiful morning light bouncing from his sketch pad and lighting his face, and his intense concentration on his subject. In composing the shot, I got down low, hoping to use the line of the fence to align somewhat with his line of sight. I think I achieved that reasonably well. I was able to get in and out of their way very quickly, and captured exactly what I wanted with the M6.

 

Nope, I'm not ready to give up film yet.

 

DMC-365.blogspot.com

 

 

Afternoon Break, New Mexican Style

This very nice lady allowed me to photograh her on her break from working at the shop next door. Her only concern was "I don't have to look up, do I?"

Afternoon Break, by Reed A. George

Panasonic Lumix DMC-GX7, 14-42mm f3.5-5.6 Series II Kit Lens at 34mm

iso 400, f9, 1/800 sec.

 

I simply had to ask if I could shoot her picture. I found the patterns in the tile steps leading up to where she was sitting irresistable.

 

Once again, I'm finding the new Series II kit lens from Panasonic to be very, very good.

 

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Taking Advantage of the Lumix GX7 Silent Shutter

New Mexico Diner, by Reed A. George

Panasonic Lumix DMC-GX7, Lumix 20mm f1.7 Lens

 

The GX7 has an electronic (silent) shutter feature, which is very nice. The first thing I do when setting up any digital camera is find the controls to make all of the beeps and sounds go away. Permanently. Up until the GX7, all of my Lumix Micro 4/3 cameras have had a mechanical shutter, which is not all that quiet. The GX7 gives you the option of using either the mechanical shutter, or the silent electronic option.

 

The electronic shutter is not always appropriate. It doesn't work with flash (which I use as sparingly as possible, anyway), and it reportedly has problems with specific wavelengths of fluorescent lighting. But, as you can see above, it can really be handy in the right situation. I had the camera on my table, and simply pointed it in the right direction and pushed the shutter release. This was shot wide open at f1.4 f1.7 (thanks to Dennis Gallus for pointing out my typo). The image is right from the camera (unedited jpeg).

 

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Um, Stephanie, Your Bird is Escaping...

Here's a funny shot that caught my eye, posted by colonelpurple on mu-43.com:

Image Source: http://www.mu-43.com/showthread.php?t=57379

(Click Here) for the original post.

 

 

This was shot with the new Olympus EM-1 and spectacular Olympus 75mm f1.8 Micro 4/3 lens.

 

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Following Up On Tips for Shooting Strangers - Wait For It!

Yesterday, I wrote about a post on Digital Photography School's site which gave 8 tips for photographing strangers.

 

One of the hardest practices for me to learn was to take my time and get the right shot, once I'd gotten over the barrier of talking to someone and getting permission to take their portrait. As I mentioned yesterday, many times I used to walk away thinking "If only I'd move a little to the right (or left)." or "I should've bracketed the exposure."

 

Well, I am learning to take my time and wait for the image I want. Here's a recent example. I was in San Francisco, walking around Chinatown with my Leica M6 and Summicron 50mm f2, when I saw this little girl and the woman I guessed to be her grandmother. I rather bravely walked up to them, and asked the older lady if I could take their picture. She smiled, which I took as a yes. As I put the camera to my eye, the little girl figured out what was happening and did this:

 

Oh, No! Not What I Wanted!, by Reed A. George

Leica M6, Summicron 50mm f2 (v.3) Lens, Kodak iso 400 Color Print Film

 

I felt it right on the spot - what a horrible shot I've just made. This is cheesing for the camera of the very worst type. The forced smile turned this sweet little girl's face into an image of stress and tension for me. But, I WAITED. As soon as she heard the shutter click, the little girl relaxed and gave me this:

 

Here's What I Saw in the First Place, by Reed A. George

Leica M6, Summicron 50mm f2 (v.3) Lens, Kodak iso 400 Color Print Film

 

This is what I saw in the little girl's face that drew me to photograph them in the first place.

 

One more note - on asking versus just shooting. Another thing that really drew me to this pair was how the older lady was looking into the face of the little girl (like in the top shot). I really wanted to catch that interaction between them, but while they were looking natural and not posing for the camera. I think you can probably see that in both pictures, on the right side, there are men watching me, rather protective of what I'm photographing. This prevented me from taking the candid that I hoped to get. So, asking directly at least got me the shot. If the situation didn't have this tension, I would have shot a candid first, and maybe then asked permission for a follow-up shot like I got.

 

DMC-365.blogspot.com

 

 

Street Photography Tip - Look for Interactions Between People

People have different definitions for "street photography." Some say it must be taken outside, others say it must include a street(!). I don't get hung up on technicalities. When I say that I enjoy street photography, I mean candid (mostly) images of people, going about their lives. Sometimes I talk with people before photographing them; I would call that street portraiture. In any case, today's example is a candid.

 

Street photography without a human element falls flat for me. I need to see people doing something. Not always interacting with others, but something. Interaction is usually one of the most powerful behaviors to capture in my opinion.

 

What's the Special Today?, by Reed A. George

Leica CL, Minolta 40mm f2 Rokkor Lens, Kodak TMax 400 Film

 

In the shot above, I actually liked that the dining booth seat separated me from the lady in glasses, obscuring most of her face. I think this focuses the attention on her eyes, always the photographically most important feature on someone's face. I prefocused my CL, made a quick guess at the exposure, then anticipated their interaction. I lifted the camera to my face for less than a second, releasing the shutter right as she looked up into the server's eyes. No one took notice.

 

I knew I had captured the exact moment that I wanted. That's not always (or even usually) the case. All I had to do now was wait to see the negative come back from The Darkroom (my favorite film processor).

 

(Click Here) to read about The Darkroom's processing services. I use them almost exclusively at this point for my film developing. Quick service (online images are usually up within a day of them receiving my film), excellent quality, great prices ($10 per roll). Give them a try.

 

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Image Admiration - Mimo Khair's "The gift of sleep"

 

The gift of sleep, by Mimo

Image Source: http://mimokhairphotography.com/2013/05/22/the-gift-of-sleep/

 

I read a lot of blogs and look at a lot of images. Every once in a while, I see one that is worth sharing on its own.

 

Mimo Khair is a Shanghai, China-based freelance photographer who writes a regularly-updated blog and shares a lot of pictures.

 

(Click Here) to go to Mimo's blog "Images and Journeys of a Searching Mind."

 

I really like this image for several reasons. First, I love street photography. I am also very interested in composition, which is especially interesting in this shot. You see, the sleeping subject on the right is almost diametrically opposed to a calendar photo in the top left corner, which shows a family laughing and having fun together. I love that opposition.

 

Finally, the image makes me wonder. I wonder if Mimo planned this composition, or if the subject is on the edge of the image purely because she was concerned with waking her up and being caught taking the photo. I've done that before, especially when using a wide angle lens. You can make it look like you're pointing at something else while including someone in your frame. In any case, Mimo admits that the woman did wake up as a result of the shutter sound. She bought bottled water from her by way of apology.

 

Man, I really love street photography.

 

DMC-365.blogspot.com

 

Learn how to set up the amazing Panasonic Lumix DMC-LX7 for street (and other) photography with my Kindle ebook - only $2.99 on Amazon, or free loan for Prime members

 

 

Skeletons From The Closet - Pentax K1000 Results, In Color This Time

While using my Pentax K1000 during the month of January, I shot mostly black and white film. However, I did shoot a couple of rolls of color print film as well. Here are some of my color results.

 

Winter Berries, by Reed A. George

Asahi Pentax K1000, SMC Pentax 40-80mm f2.8-4 Lens

 

I had never tried this Pentax zoom lens before. It came with some other lenses I was more interested in. However, at f2.8-4, it's pretty fast. And, it has close focus capability. To me, 40-80mm is sort of a funny focal range, but it does seem to work pretty well. Mine is in excellent condition. I was impressed with the sharpness of the lens.

 

I took the camera and lens out for a walk during a break from work. We have a walking path that goes down to the river. The bridge is a common subject for me.

 

Bridge, by Reed A. George

Asahi Pentax K1000, SMC Pentax 40-80mm f2.8-4 Lens

 

On this particular winter day, the sky was clear and bright, making for some interesting reflections of the trees that tower over the river side.

 

Flowing Trees, by Reed A. George

Asahi Pentax K1000, SMC Pentax 40-80mm f2.8-4 Lens

Flowing Trees, by Reed A. George

Asahi Pentax K1000, SMC Pentax 40-80mm f2.8-4 Lens

 

The following images were shot during a Japanese New Year event in Washington, DC. Taking advantage of the fast SMC Pentax 50mm f1.7 and iso 400 film, I did a couple of rounds of the event. I found that people were happy to let me photograph them with the old film SLR. I felt like a kid again shooting with it.

 

Japanese Festival, by Reed A. George

Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens

 

Japanese Festival, by Reed A. George

Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens

 

The shot above is an example where I believe that out of focus foreground objects (like on the right side of this image) help to focus the viewer on the true area of interest.

 

Japanese Festival, by Reed A. George

Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens

 

I love the warm design on the girl's kimono in the shot above.

 

Japanese Snacks, by Reed A. George

Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens

 

Japanese Festival Games, by Reed A. George

Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens

 

Japanese Festival, by Reed A. George

Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens

 

Sometimes I wonder what all of my other gear really adds to my creative pursuit, when I can have so much fun with the first real camera I ever owned, and a couple of lenses. And, the Pentax has capabilities wider than I've explored here. There is a full set of lens options, from very wide to long telephoto. It's a very capable camera system. Of course, other cameras bring different strengths and weaknesses, but the Pentax K1000 is a favorite for a reason.

 

What a blast to get out and shoot mine after such a long time! Not bad for a 35 year old camera.

 

DMC-365.blogspot.com

 

 

 

Fabien Penso's Tour Through India, With Leica

 

By Fabien Penso

Image Source: http://blog.leica-camera.com/photographers/interviews/fabien-penso-an-indian-carnet-de-passage/

 

On the Leica blog, there's a great story of Fabien Penso, who traveled India with a Leica M9.

 

Fabien shoots up close to people, and focuses pretty much exclusively on photographing people. The shot above exemplifies what I think of when I think candids shot with a Leica.

 

Fabien typically shoots a 35mm lens, sometimes a 50. To him, a 50mm lens feels a little telephoto. Interesting.

 

Fabien also feels that you should not have to make equipment choices when traveling, so usually carries a single lens, maybe two.

 

I like this approach. I need to learn from it.

 

(Click Here) to read Fabien's full story on the Leica blog.

 

DMC-365.blogspot.com

 

Candid Portraits - "Commonality of Humanity"

 

Harlem Barber Shop Owner, by Reed A. George

Nikon D700, Nikkor 50mm f1.8D AF Lens

iso 640, f2, 1/500 sec

 
If you don't know who Steve McCurry is, you probably know his most famous image - one of an Afghani girl on the cover of National Geographic magazine.
 
(Click Here) to see the picture(s) and read the story.
 
In this 7 minute video on Petapixel, McCurry and photographers Bruce Davidson and Miru Kim discuss how people photography reflects basics of human nature.
 
(Click Here) for the video on Petapixel.
 
One image critic comments how more than one photographer has commented that they're simply "taking self-portraits," no matter who they're photographing. For Miru Kim, it's literal. She shoots images of herself. For most others, they're saying that people pictures reflect as much of the personality of the photographer as of the subject.
 
In the video, Steve McCurry shares some of his favorite slides (on an old-fashioned light table, surrounded by filing cabinets with paper folders, no less!). He comments on the "commonality of humanity" being reflected in the subject's face, when they're not pulling a pose or wearing a mask for the camera. Interestingly, in his outing during the video, he shoots a Nikon DSLR, with a single, small, prime lens (a Nikkor 35mm f2, I believe).
 
McCurry also describes walking the city, exploring, being completely "in the moment." This is a very common expression in Buddhism and other forms of meditation. It really is great to be able to focus on the moment, and not worry about the past or future. This is what photography does for me.
 
Here's to now, this moment.
 
DMC-365.blogspot.com
 
 

Fear of Street Photography? I Don't Have It, But I Understand It.

 

The Smile, Greenwich Village, NYC, by Reed A. George

Leica M9, Leica Summicron 50mm f2

iso 320, f5.6, 1/125 sec

 
I don't have a fear of taking photographs of people on the street. Of course, there are situations where I decide that someone may react negatively, and in those cases, I don't take the shot. In general, though, I don't have much problem with it.
 
I seem to alternate between taking candids of people without talking to them, as in the shot above, and other times like to talk and get permission. The two approaches give very different feelings. Here's one where I asked permission, taken within less than a block of "The Smile:"
 

Hipster Glasses, by Reed A. George

Leica M9, Leica Summicron 50mm f2

iso 320, f6.7, 1/125 sec

 
I like both of these images, and really neither one better than the other.
 
If you do suffer from anxiety about shooting street photography, you may want to read a recent post by Jim Maher on digital-photography-school.com.
 
(Click Here) to read Jim's post. He's also advertising an eBook. I haven't ordered it, but I may give it a try. I don't know Jim, or have any connection to him or his book sales.
 
Jim suggests seven steps to help get comfortable with street photography:
 

1. Street portraiture (ask permission) - We've already discussed this one.
2. Pick a spot and let them come to you - This is a good strategy, but I don't find it any less confrontational than walking and scouting.
3. Use a small, wide angle lens - I agree that small lenses are less threatening. Be careful with the wide angle part, though. They require you to get very close to your subjects. For street, I generally prefer a 50mm lens, or 35mm at the widest, unless I really feel like getting up close to people.
4. Shoot from the Hip - Yeah, that can work very well. It won't help you get over your fear, though.
5. Pretend you're shooting something else - I do this all the time. Good technique.
6. Be confident - Hmm. Okay. At least, don't look like a stalker or a spy; people will notice you.
7. Choose your subjects carefully - Sure. Of course.

So, get out there and give it a try! The worst I've ever had to do was delete a shot for someone. And that was because I didn't feel strongly enough to stand up for my rights. And, the shot wasn't that good anyway... DMC-365.blogspot.com
 
 

So This Poll Has Me Thinking... Should I Be Planning My Photos More?

 

View Poll Results: Do you stage your pictures?
Yes, I usually do		5	6.94%
Sometimes I move things around or adjust the lighting.		23	31.94%
I shoot what I see.		44	61.11%
Voters: 72. You may not vote on this poll

 
 
Table Source: http://www.rangefinderforum.com/forums/showthread.php?t=122125
 
I found the table above on rangefinder forum. I really enjoy these polls there. I am in the middle grouping, where I normally like to just shoot what I see, but sometimes arrange things a little. I rarely stage a picture. I am beginning to think that this is an area that would improve my range and results.
 
I have been reading a book by Chris Orwig, People Pictures: 30 Exercises for Creating Authentic Photographs.
 
Here is a link to the book on Amazon:
 
 
Chris' book is a series of assignments for exploring and improving your people photography. I have been reading it slowly, over a month or so.
 
In the past, I have had good luck with following assignments in photography books, most notably the book Contemplative Photography.
 
(Click Here) to see my post on that book and the associated exercises.
 
For some reason, I have not actually done any of the assignments in Orwig's book. I think it's a real stretch for me. In fact, he comes at photography from such a different place than I do, he has an assignment that "challenges" the photographer to take an unstaged series of photos.
 
I don't like the look and feel of totally posed photographs. However, I think the trick is in getting the shot set up, then getting a little bit of unstaged emotion from the subject. I don't have any interest in taking high school portrait-style images. But, a little planning can really help. I will challenge myself to actually perform some of the exercises in Orwig's book, and report back.
 
Here's an example of a mildly-staged shot. I asked these girls if I could photograph them as they lay onthe grass in front of the stage at the Floyd Festival. I simply asked them to put their heads as close together as possible, then walked up between them so that I could shoot nearly straight down. I like the result. If I hadn't been nervous and feeling like they'd want me to hurry, I would have added a little fill flash. They don't look like they're bothered by my presence now, do they? That was a feeling I generated myself. Next time, I'll stay a little longer and try to get the perfect shot.

Buddies, by Reed A. George
Panasonic DMC-G3, Lumix 12-35mm f2.8 at 17mm
iso400, f3.5, 1/3200 sec
 
 
So, I'll try to put some focus on planning my shots a little more, and see what develops.
 
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