Category Archives: Dreamcatcher

Dreamcatcher, Philosophy of Street, Street Photography

August 18th, 2017 … Memory or The Decisive Moment … Finale … almost maybe…?

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There are a few Decisive Moment scenarios. One is when your working and something starts to happen. There is no set rule on Inspiring the Decisive Moment. This can happen in many ways and that in itself will create some type of masked confusion or a cloudy Decisive Moment. The normal DM kinda happens a dn you make the exposure because you were so inspired by internal or external stimuli or a combination of each. This is mostly a conscious experience.

The hopefully there in an experience that seems like all the rest of the DM’s but……something happens at exposure or at processing that marks a real moment. There is a dormant awakening that comes to light usually at sight of the image in editing or processing. With this image, wakes the recollection of the the Decisive Moment but….there is an awareness of the experience as an observer and participant at the same time. It’s like your seeing yourself, watching yourself making the photo. Maybe this is like the deja  vu of photography. It doesn’t happen all the time and not everyone gets to experience this. Not because they are at a level that prohibits the awareness but because they are not tuned into the frequency that this experience lives.

“The best images are the ones we don’t remember making.” Perhaps there is some truth to this saying. At my age, 67, I have learned that there are not many truths in life. Even the ones we tend to hold dear sometimes end up with shades of gray to them. What’s clear to me is that clarity is the resting place for the eye, heart and mind. We don’t often achieve clarity so we make photos. When we make photos we have an intent. Our intent is controlled by our knowledge and passion and our gear. Yes, the camera is a crucial element to our work.

There in most definitely a difference between the Moment and The Decisive Moment.

When I was a grunt in Nam, I carried a Leica M4. I made b&w photos. I met a photographer from Australia named Jock. He was older then me and very wise but tuned into the moment. I didn’t know that that meant back then. I suppose he was a Mentor for me and I needed the mental and emotional reinforcement. We were all sitting around smoking weed and Jock was with us and making photos. He said to me, “JIngles, where’s your camera?” I looked at him and he nodded his head. I reached in my sack and got my M4. I had made many photos of the guys and missions, everything. But now, at this moment, I had a realization that was life effecting. I understood for the efirst time the difference between the MOMENT and the MEMORY.

I understood the INTENT of each. I understood the importance of each as an individual intent and combined. The moment or decisive moment will lead to photos that add to the creative juices. The moment will lead to photos that inspire you, or maybe fill a void in the self, or even satisfy the artistic energy or maybe do the same for a client. Just realize that your most important client is you.

The memory. Wow this is the hard one. It’s the hardest intent to actually realize and do. Back to the guys and Jock in Nam. I was making photos because the subject matter is amazing. Everything was working. I was hammering the decisive moment. Then a slight calm came over me. All the sudden, the decisive moment wasn’t so important. I looked at the guys and slowly made photos of most of them. Not one but many of each. I was totally aware that I wanted to, NO….Needed to make a lasting memory of my friends, my brothers in arms and the experience. I got close to a few and asked them to look into my lens. I made many exposures. I wanted to make a portrait or photo that would outlive them and me. This intent of so fragile of a moment was MEMORY.

So realizing the difference of the Decisive Moment and the Moment of Memory is the driving force and also the force that will make or break you and your work. All you have to do is know the difference and practice it.

Be blessed everyone………Doc is letting me out of my room for the weekend……..seeya

Dreamcatcher, Inspired Eye, Philosophy of Street, Street Photography

June 2nd, 2017 … a Matter of Perspective … True Confession … Fuji X-Pro2

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Ok, first off I will explain that I do things in a semi deliberate manner. That also means that I do things in a semi un-deliberate manner.

Flashback to 1970. I have my M-4 with a 35mm Cron on it. My M-16 at the ready. WE are going thru a small village near Chu Lai and I’m snapping away making photos. There’s some press corp guys with us cause they wanna see where theB52’s dropped their load and how close it was to the village. Click, click….yup, I’m working. Jock is about 25′ away from me. Jock is a tall guy thin stature and from OZ. OZ = Australia. He works for the Press Corp for France and OZ. We became friends and I looked forward to him being around because it gave me the illusion that I might survive this shit hole.

Jock comes over to me and  says “Jingles, why don’t you use your 50mm more?” Eureka! I replied that I wasn’t comfortable with the compression and the crop of the frame. I wanted to portray the scene the best I could and a 35mm was perfect. … it dawned on me at that moment that I should try the 50mm and be serious with it. With all the film I shot over there, I don’t think I used 2 rolls with the 50mm. It just didn’t click with me.

Inside me, I had this nagging feeling that Jock was implanting in me to use the 50mm. Flash forward to the mid 70’s and I shooting the street with my 35mm Cron and of course my trusty 50mm Cron in the waste pack. it’s been years since Jock mentioned the 50mm to me. I still have that nagging feeling that I need to get the 50mm and use it.

Yeah sure, sometimes I’d use the 50mm just to do it and prove to myself I can. Then another year would pass and I’d have it with me but not use it. If I did use it, I didn’t have a sense of being with it.

So, the issue for me is to adapt my aspect and frame to the 50mm FOV. Let’s get something straight from the get go. PERSPECTIVE.  There are 2 perspectives that we deal with in photography. The first is, stance. Where you stand sets your perspective….but really the position of the camer is setting perspective. Set your camera on a tripod and then move all around but leave the camera where it is and the perspective changes for you but not the camera. When the camera moves, the perspective changes. If you hold your stance and then change the lens on the camera, the perspective stays the same but the Field of View changes. If you change aspect ratio, perspective stays the same.

So, the reason for me to wrestle with the 50mm is not perspective but the FOV crop. I guess most take it for granted that just changing lenses is an easy thing and requires not much thought or practice. Lucky for them, for me it’s like a new set of eyes and a new way to think. It challenges me to see the world thru different eyes and to think and work differently all the while protecting my 35mm FOV.

So I’ve had many cameras and many lenses that wore the 50mm crop. I was not comfy with any of them until the Fuji X-Pro2. When my lady friends gave me the camera and the 35mm = 50mm lens, they knew what they were doing. They knew I would love working with the camera and they also knew that at last, I’d be able to use the long lost love, 50mm FOV.

So, it seems that it took decades for me to find mt stance with this lens and I did. I have to telly youse that for me, the Fuji X-Pro2 is the finest camera I could ever with to work with.

Whenever I get a brain fart, I can always use the Fuji X100F.

seeyas after the weekend my friends…… peace

Dreamcatcher, Philosophy of Street, Street Photography

May 5th, 2017 … Seeing Your Way Thru The Masses … Fuji X-Pro2

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….so as a follow up, what does it mean this ….”Personal Work”…?  Ok ok, isn’t everything personal work. I mean I do things and take it personal, so what’s the difference, personally I’d like to know. Interesting and don’t take this too personal but maybe a little personal.

Bob Dylan wrote a song named, “Ya Gotta Serve Somebody”. What this means to photography is exactly what it sounds like. When a client calls you about a gig, ya get excited and know that your gonna make money and your cameras etc are now tools. Hate to tell ya this but you are now a tool also. Perhaps a past client or friend of a client etc recommended yo to the new client. Nice. Confidence is high. We got this and the Pro attitude kicks in. This is all good but you must remember the reason for you getting the job, the reals reason.

…..the reason is because you are the total package. You know your craft, have good communication abilities with people, turn out a good produce and know how to make all satisfied. There’s other things involved but this is the crux of it. So you are focused on your intent, presence and objective to make a great job and your client happy. Wait, wait, wait….something is too easy, something could be amiss. Well, your right, the inverse square law says less is more and more is less. There’s another law that gets to play and here in Philly it’s called Murphy’s Law. See this law states that if something could go wrong, it will.

C’mon, what can go wrong when your at the top of your game? Mother Light has never shed her Grace upon a shooter that never had problems at one time or another on a shoot. It’s true I tellya. There’s a bird flying around, we don’t always see it but it’s there. It’s called the Blue Bird of happiness. When this bird flies over you and ummm, well…drops a poop bomb on you, your supposed to be blessed and all things in your existence for 3.5 seconds are perfect.  Well, it’s true too but at second 4, things go back to normal and ya have bird poop on your head. Not so happy any more.

So there’s the basic idea of working for bucks. You will serve others then yourself. You get paid and that’s the reward. What about working for yourself and there may be some other reward? The heart and soul of your photographic existence relies on your INTENT. You work to satisfy the client inside you. Of course it’s nice to have people like your work but at this point, that can not be the motive for your work.  There is a life force that insist on living inside us. We dare not ignore this force. For most, we can’t anyway. This force is the very essence of our heart and soul. It is the only client wee serve for our work. “It is not the ego that drives us. The ego is a byproduct of the essence of the force of our creativity.” When we finally recognize this force, hopefully we can then see our work as the preservation of our existence.

So, it seems to me and I’m writing this, that there are to clients if you may, that we will serve. The business client that gives us the money to survive. The personal work client that gives us the will to breathe.

How do we keep the 2 in check? That’s the trick. I think that we need to observe and manage our intent. Kinda like multiple personalities. One is the money client and the other is the personal client. There are missions and ways to perform the missions that are similar. This is where we get lost. It’s extremely important to observe your stance on both clients. Know which is which and also know how to feed each. There are to driving forces and we must see that and accept it. The first is the money client and we focus on that and get work, make money, make clients happy and inside us hopefully there lives a little shooter that says, we made it, we can pay the bills, feed the kids etc.

Then there is the second client that is your personal work and it screams out in horror. What about me, don’t forget me. I’m dying. See, this is why you need a dual personality. You need not give up either, just embrace it with all in the moment and perform as focused as possible. Shed the guilt of being one or the other.

Wait a minute dude. What if I’m a carpenter or exec in a business. Hey, maybe I make burgers at McDonald’s. Yo, I am a CEO of a telemarketing firm …and I am a Medical Research Doctor. The point is that you can be anything you want or need to be. Ya know how ya get in the here and now and the the moment when you are shooting? Well, that focus must be in everything you do in life. You absolutely must not resent your work for money, just embrace the beauty of it as it provides the path that is clear for your personal work.

There was a really famous circus and the new owner was walking around meeting all the people that worked for him. He came across the elephant tent and there was a guy shoveling elephant shit and stacking it in a pile. The owner started talking to the man and they had a lengthy chat about politics, medicine, finances etc. Finally the owner asked….”You are so intelligent, why do you shovel elephant shit, you could work anyplace?” “The man stopped shoveling and looked the owner in the face and said….”What and give up show business?”

Life is full of many wondrous things, We all get to chose and observe some of them. The ones who have a focused intent breathe and are excited to do so because they are in the here and now even shoveling shit. The ones that aren’t in the here and now, well… they become lawyers and politicians.

We are gifted with the Grace of Mother Light. This blessing enriches our soul and we need to be aware that we are not alone but we serve ourselves but not only ourselves. We need to share our thoughts, our images and our lives.

If you don’t agree with me, kindly move on and if you do…pass the shovel.

Dreamcatcher, Philosophy of Street, Street Photography

May 4th, 2017 … The Struggle to Survive … Fuji X-Pro2

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A few conversations have come up about being true to yourself vs being true to the $$$. This has been food for the devil forever. Back in the late 70’s, I was married, 2 kids, house and apple pie. I had a good photography gallery in old city. We did ok. I wasn’t cutting it financially. My friend asked me to do a studio with him. So we set out to make a killing in the photo market. Long story short, after about 14 months, I felt lost in America. I looked at my inventory of personal work and was horrified. I has less then 20 roll of film exposed. I couldn’t breathe. I felt my essence had died and I knew what had to happen.

I told my partner friend that I need to do something for money. We split and I called my grand father and uncle. See, we had a Hardwood Flooring Business since 1905. I dreaded going back into the business but hungry wives get pretty sore, and kids even more. I always carried my M4/35 crom.

I made photos all the time. One day my grandfather and I were driving to a job and he said…. I know how much photography means to you and I’m glad you are doing something with it.

Then he said, during the WW1, I wanted to be a lawyer. I studied and a firm said they would help me. I had 7 siblings and they had to eat. So I was enlisted to work and take care of my family. “I really wanted to be a lawyer Donald, you be what you want.” Well, I don’t cry much after Nam. But I sure as heck had tears inside hearing about pop like that.

Ok, here’s the point. I tried endlessly to find work as a paid shooter. I did some weddings, events, news paper stuff but never enough to really make it. I always looked at my work and I could see photos I liked. So I did hardwood floors. I worked very hard and was proud of the jobs my family turned out.

Photography was happening all the time but it was different then what I had my preconceptions focused on. One day Mrs ISL banged on my head and told me to focus on the here and now. See, Mrs Inverse Square Law knew what I was thinking and how I was wrong.

In that law which governs photography, it shows that less is more and more is less. So as I was working hard at the floor business, my shooting and processing time was limited. I had less time to do it. I had more productivity then I expected. See, the struggle to survive is what gives the flavor to life. That flavor is what we need to appreciate.

I know of many shooters that work as a paid shooter. They make their money and they are professional but, there is a lacking and longing for the personal work. Yeah, yeah, I know, some even say….”My work is my personal work.” BARF! There is a need for the SOUL to feel nourished. Most won’t feed their SOULS with money. The ones that try hard, don’t have a SOUL anyway.

So ya get a job as a paid shooter. Yippee! Ya work hard and make the ducketts and have nice cameras. Then the day is over and ya go home and do what? Many drink beer and watch sports. Nothing wrong with that and in fact, it’s some of the best anti-politician therapy made. But for a shooter doing personal work, ya got a problem.

So it seems even if your born to a family with all the advantages, emotionally and aesthetically, your on common ground with every single shooter ever born, ever will be born and even the ones that don’t know they are born. The idea of being a paid shooter and still doing your personal work without restrictions of any kind seems easy enough but yet, it’s the elusive butterfly. The idea of doing personal work and getting paid for it is also an elusive butterfly. Just remember, even butterflies may be caught with the right bait and net.

I won’t speak for anyone but myself and that’s not always the right thing. For me, I would rather do menial labor then lose the inspiration and desire to shoot for my self. Ya know how opposites attract, well this does too. When I was doing hardwood floors I was always dusty and dirty. Then I would get almost sterile and go to the darkroom. it’s polar opposites that were working.

There once was an amazing shooter and his name was Ralph Eugene Meatyard. He made the most bizarre photos but I loved his work. I was lucky to acquire a half dozen prints and I still love them. Anyway, he was an optometrist by trade and photographer by love. Closely related but in the heart and soul, I don’t think so. The dichotomy of a dual life is the driving force that could save one from thinking ….”oh, my job sucks and ruins my life”. There is always a saving Grace and we need to appreciate that and also to break the walls that bind us to our own preconceptions.

When I figure out how to do it, I’ll post it here…..

Go in Peace my friends, but go with a camera………….

Dreamcatcher, Inspired Eye, Philosophy of Street, Photography

May 2nd, 2017 … On Vision … Seeing With the Fuji X-Pro2

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There comes time that I have to take inventory of what and why I am doing what I am doing. It’s not about justifying gear or computers, software or any tangible items. It’s about Intent and the Fulfillment of Intent.  Believe me, it’s a heck of a lot easier to justify buying gear than it is to check your motivators and what drives them and the hunt for satisfaction. I mean, I could say, I need a new lens, save up the ducketts and get the lens. Case closed.  Yeah, I want the New Fujicanikonlei camera. Save up the money, (no ducketts for this camera)….get it and once again, case closed.

What comes to me in this thought train is….what is the common denominator? There is one and that’s what needs to be addressed. Perhaps Olivier was right when he wrote his piece on GAS, Gear Acquisition Syndrome. So, if gear is a deterrent for close evaluation of the work and the process, what is it hiding? What is the TRUTH that we all need but yet fear?  Why do we fear this TRUTH and why do we not address it?

When I was an ADMIN at Amin’s forum, M43.com, many many members would ask about gear in the open threads. It was and still is the most user friendly forum still in use. There would be many opinions raised and facts that sprang forth and all was settled because everyone had that in common, gear. Some knew that I had  a long history in photography and with galleries etc. So, sometimes I would get a message or email requesting a conversation about someones photos. I loved it and always responded quickly.

The point is, not that the questions were asked but…..the fact that they asked me in private and not in the open forum. I found that very interesting. It means that with gear etc, all can chime in and no feelings get hurt. Then when they wanted my opinions about their work, that became very personal and also very touchy. So we would do sessions in private.

I sought the common denominator above and truth of what that is. It’s vision and the judgement of such vision. Everything a photographer does or thinks about is about VISION and the PHOTOGRAPH. We can buy gear, read books, collect images, buy software and take workshops, go to universities and it all comes down to VISION and the IMAGE. Everything, every single thing you think about or manage to do can be used as a deterrent. It also can be used as a means to an end providing you stand in the face of your work, recognize that work, recognize that you are the maker and the one accountable for that work.

Keep in mind that there are many masters to compare to, many friends and many you don’t and never will know. There are photos plastered all over the world. Yours are just some in the mix. There are shooters that work and get paid high bucks, many that work hard and get little bucks. Many shooters are in it just to have something to do, many want the fame and sometimes fortune that may happen. There are those among us that want to use photography as a tool to meet people.

The motivators are to many to fathom. So, what we need to do i stop hiding from our work. Stop running from the fear of acceptance or rejection.

What matters not just in the end, that implies that the journey is over, but what matters is you standing with full accountability in front of the mirror of yourself and your work and say…..

I am the one who saw and made these photos. Good, bad or indifferent, I am proud to be accountable for this work and my life in photography. Regardless of what others think or say or feel, I will not be controlled or sidetracked by them.

I stand naked here with my photos and recognize the fact….hmmmm wait a sec. Don’t stand naked around and have your photos… I think I might understand but spouses and parents and siblings and mostly…. shrinks will never get it.

Be blessed my friends. Remember, what you do and think is in your photos. Find and make them interesting for YOU. The others may or may not get it but you need to.

 

 

Dreamcatcher, Street, Streetshooter

April 13th, 2017 … Philly Streets … Observations with the … Olympus Pen F

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OLYMPUS DIGITAL CAMERA

Perhaps it’s because I have a love affair with seeing and photography that drives me to continue my journey. One of my companions is Serendipity the Olympus Pen F. There’s something about really fine cameras that not only inspires me but also creates a sort of freedom for my thoughts and emotions. I suppose that thoughts and emotions are the foundation of creativity. When I work the streets, I want to feel free to do as I wish without intrusion from my mind or any source of energy. Maybe that’s why I get attached to cameras. The fact is that the right camera at the right time can be a life raft in the sea of uncertainty. In my life so far, there’s been very few things or people that have allowed me to be as I desire. My cameras do that. So with respect to my process, I name my cameras.

OLYMPUS DIGITAL CAMERA

Seeing photos is the first step in making them. For me there’s a few ways that the seeing works. Sometimes I am walking and a scene triggers me and i make a photo.  Sometimes, I feel something inside and I try to find it outside. Sometimes, I see a photo or the basics of a photo in my mind and then I try to make it visible to me. The photo above is just that.

I have been in combat and experienced things that killed me but left Don alive. I kinda got freaked out about the conflict in Sierra and especially the chemical attacks. The the MOAB that was dropped. In my heart and mind, I felt the need to see visually what impact this had on me. One thing is the kids. The Orphans of Love. The Forgotten Innocence. Well this photo conjures the feelings I have and displays it for me.

OLYMPUS DIGITAL CAMERA

The detachment of the social being intrigues me to no end. I made selfies like anyone else but in time they started to mean more to me than just a selfie. Above, makes me see that I am the observer and the one that captures the moment. There exist an internal connection that we are harbor but sharing that with others is unlikely. Maybe that’s at the core of my being for being a shooter.  I find it easier to observe than to be a participant.

OLYMPUS DIGITAL CAMERA

I was at Independence Hall and I saw this crowd, detached as usual. The this guy and his son came into view and I realized that maybe the detachment is not with everyone. Is it possible that I have created a trigger to seek the detachment? Is that why these two stand out from the crowd?

The reason I made this post is to maybe shed light on a way to develop a vision that becomes personal and even if the photos don’t strike a chord with too many, at least for us, they reverberate inside our being. They could feed the reason to work. They could provide that creative energy to get things flowing.

OLYMPUS DIGITAL CAMERA

Photography creates a great illusion of being detached or attached, your choice. The way you feel is not necessarily the way you work. We have options to carve the path for our journey or to go over the steps of those whom went before us. Being an observer doesn’t mean that I am detached  same as being a participant doesn’t mean that I would be attached.

Being in the moment and being aware of the difference is what makes the attentive shooter. I learned years ago that I make my work for me and some others that respond to it. I had many exhibitions, many collectors, galleries and museums and what means the most to me is, having my camera with me and being in the here and now.

OLYMPUS DIGITAL CAMERA

I will not be sad to die because photography has been my companion all my life. My cameras have names because they deserve the respect and love that they have given me. I will lay in the ground for all eternity and not be sad. What would make me sad is to be alive without photography. That my friends is a fate worse then death.

……………………………….I’m outta here……………………………

Color, Dreamcatcher, Street Photography

March 25th, 2017 Raw? … Color? … The Fuji X100F Made Me Do It! … Part 1

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Part 1 … The hand that rocked the cradle.

It was a normal Pre-Spring day. You know the kind of day. The sun is shining, temp about 58F, mild wind. 2 cups of Kona and I know I can run the 6 miles to down town faster then the Train can get me there. Ya know, I figured, I should take the train so they keep their jobs. I don’t want to put any one out of work. Andre the Fuji X100F thought that it was a good idea also. I was excited to be out and about again with Andre’. I wanted to do a visual experiment on some photos that I would make and see the Raw file and a JPEG ooc. I felt that I should do the JPEG in color because regardless of what any camera gives me in B&W, I’m gonna cook it my way anyway. With color, I am less likely to change the recipe the camera gives me.  So off I went to the unknown horizon where color is dominant. I turned around and saw the B&W energy fade away to the deep dark tone of Zone 1.

I said to myself, self, it’s a good day to be alive and a better on to have Andre’ the Fuji X100F in me hand. Me, myself and I all agreed.

I have been a raw shooter ever since it was born. I have been a DNG converter since DNG was born and in fact was at the launch in NYC for Creative Cloud. So, I love processing my RAW files and sometimes going to the extremes to get what I feel and need to see. I am very familiar with JPEG’s because exporting a photo usually makes it a JPEG. So I felt I had enough technical and esthetic and emotional knowledge to do this experiment.

Well, I made some exposures with the awake intent that these photos would  be the anchor for this experiment. I didn’t expect any ground breaking results and wasn’t planning on making any either. This will be just a simple experiment that will show me what I am not using or what I am using and compare them against each other. I expected to get some results that would satisfy my curiosity.

There are times in our life that a revelation comes along and not only challenges our preconceptions but changes them to a more acceptable approach to what we do by habit. This is one of those times. I set Andre up to RAW & JPEG F. I changed my LR import button to place the files next to each other on import. I imported about 20 images, now 40 files. They looked really good and of course me being the old shooter, I immediately forgot that I was doing an experiment. My eyes gazed upon the images on the screen. I have my LR viewer to not show any details. All I see are photos, two of the same with differences in the pop for lack of a better word. I am looking and starting to decide when image I care for and would want to process to my emotional state of it.

I chose one and clicked to to Develop Module and was gonna work and then I saw that it was a JPEG. I said to myself, Dude, you made a mistake dude. Let’s do this over. So I went back to the catalog module. I turned on the info for the photos and GASP! THE HORROR!, every photo I liked the look of was a JPEG. Ok, I got a few or more exes that send me gremlins  some times. Like, I’m sitting on the toilet and, low and behold, no paper. I’m in the shower and all soaped up and ready to rinse and low and behold, the water is cold like from the Arctic. Gremlins I tell ya.

So I know the gremlins are here in my LR and playing tricks cause there’s no way on the earth that a JPEG could look this good and I don’t want it too. I want to be like my old self and just have RAW files. I even eat my clams RAW. So I look around the room carefully to make sure that no one is here but me  I’m alone and even the gremlins left. I can’t believe me eyes I tellya. The photo on the left is like just capturing me and the one on the right is like, so be it.

Funny paradox. Every photo that I am turned on by is a JPEG. How can this be and why is it at all? I don’t want to change anything at all. I am a creature of habit and I think I like that and I am too damn old to have Andre’ the Fuji X100F make changes in my emotional state and my thinking. I said to Andre’ … you are a very bad camera Andre’, very bad and I shook my finger at him. So I felt I needed to explore the dark side of JPEG vs RAW. I did many side by side comparisons.

I felt like decades ago when I wanted to try color. I did countless hours of processing and film samples. After all was said and done, I liked Ektachrome for late afternoon and evenings and Kodachrome for early morning and early afternoons. See, the Ektachromes did very well with the blues and Kodachrome did well with the reds. After spending a small fortune getting the gear to run my color film I settled on the chromes because the lab does the processing cheaper than I can.

So after testing Andre the Fuji X100F with his film simulations, it was an executive decision to use Cc which is Fujifilm’s simulation of the chromes. Truthfully, it’s Ektachrome.  Not only is it Ektachrome but it’s much better for a number of reasons.

Back to the RAW vs JPEG dilemma. It is said and widely accepted that  a raw file will open itself and give us the most flexibility for processing. It is also said that a jpeg constrains the parameters of the image and realistically, can’t give an image equal to the same as from a raw file.

Well the proof is in the pudding. I have’nt a clue what that means but it means something. I started processing a jpeg. Remember I have VA shrink and itsbok if I go off the wall cause he’ll attempt to get me back to a shared reality. I load the image in Develop module fully expecting and perhaps wanting it to fail and fall apart. I lower the exposure 1 stop… me poor eyes opened… no breakup, no noise to worry about… shadows holding… minds and highs not getting that gray tone….

I take a deep breath and slowly start to dive to 2 stops. OMG! It can’t be I tell ya….she can’t take two. Hold on tight Hooper, Chief grab the he wheel take her upmfaster… just spacing out… it’s a Jaws thang.

Continue reading March 25th, 2017 Raw? … Color? … The Fuji X100F Made Me Do It! … Part 1 →

Dreamcatcher, Inspired Eye, Street, Street Photography

March 7th, 2017 … The Light From Eden … Fuji X100F

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Sometimes in the galaxy of our life, things seem to come together. At this time, it feels like we are on the right path and that we are recognizing to ourselves that we may have found a place within us that is like a sanctuary for our heart. What does this have to do with photography? Well, I feel that each photo we make is a part of our portrait of our self and our life. If it’s true and many have stated that this is true, that all our work is a culmination of our life experiences and the photos are records of our passing breaths.To fully grasp the importance of this requires one to be at one with ones self and process. I guess it’s a good reason to think of your camera as a friend. I do and actually, more of an extension of my soul. There’s something that happens when I am with the right camera. For example, the Fuji X100F because he’s the new kid on the block. I don’t think these thoughts are too esoteric and in fact, I feel that they apply openly to any real serious shooter. When I go to work what happens is that I get into a mode of operation that calls forward the entire photographic process as I have adopted and caressed it. I pickup Andre’ the Fuji X100F and we are now united in the quest for the light of life. There’s an energy that awakens when Andre’ is in my hand at the ready and I am aware of it and cherish it beyond normal feelings.

Maybe I’m a romantic. Maybe I just experienced too much death and long for the Light From Eden. There is a way to make photos that one goes and takes photos. Then there is a way of living as a shooter with a respect for the process of collaboration. This collaboration happens when one makes photos. Just the act of making assumes that a collaboration is happening. You are in a specific time and place and life is your partner in a collaboration in making photos. Portraits are the perfect source of strong collaboration. I have a friend for well, long time and he’s about the finest portrait photographer around. Check out Milton Perry’s photos. https://www.facebook.com/milton.perry.14 You will see that there is an essence in the photo. That essence is the joining of Milton and his subjects. He doesn’t see his subjects as stagnant vessels of frozen emotions. He forms a collaboration with his subject and the photo becomes a record of the life experience of both at the moment of exposure.

Ok, so I hit Market Street again for the well, can’t count that high but it’s well over 40 years. When I teach, many of the students ask me how I stay excited working in one city most times. That’s a fine question to ask and all I can say is, I love Philadelphia and truthfully, I love it more with Andre’ the Fuji X100F. The more I use this camera, the less I even think about any other. There’s something about the way he configures real simple and fast. Like, I start off in AF mode single shot. I am in M Mode and Auto ISO, topped off at 6400. I use that as a2ISO. I can go higher or lower or just set the ISO myself. I really like Andre’ to do some work also. I mean, I’m walking and holding him, and he’s like doing  something in my hand like sending energy to my eyes.

This procedure will not happen if you do not name your camera. It will not happen if you do not love photography with a passion that is undefinable. If you do, pay attention because your partner in the collaboration of your photographic journey will work with you. You don’t have to believe in Magic, you just need to believe in you.

The funny thing is….I notice differences the way I use the X100F vs the X100T. Essentially they are the same camera. I mean the way they work, essentially…but not.

With the Fuji X100T I mostly used the EVF or screen. I think it’s in part because I used the Pen F along side it so, that makes the EVF compatible between the two. So it probably was the way the cameras worked together. Now with the Fuji X100F, I have no interest in any other camera, yet. I feel satisfied but the point is, my method of operation is different. I use M Focus a lot on street scenes and of course monitor the distance in my feelings. I also seem to prefer the OVF again and that interest me. I’m liking 2 eyes open also.

Just to rehash something youse already know. With the EVF, we are seeing things flat in 2 dimensions as it will appear in the photo. For me, I even see the b&w of the photo and we see 100% of the recorded image. It’ss very nice and accurate. It’s difficult to use 2 eyes wide open. The juxtaposition is not easy to adjust to. As we move in and out of the scene, the EVF adjust with us and accurately.

With the OVF, we see approximately 92% – 94% of the recorded image. The beauty of the EVF is that you can keep both eyes open and see what is surrounding your subject matter and if something is entering or exiting the frame, you can see it and anticipate the shot. Also, you get a feeling of seeing 3 dimensions. Back in the day, well way back in the daze  it was said that a SLR you see at the photo and with a M camera, you see thru the photo. For me the best way to work is to flip back and forth as the circumstance demands. Usually the OVF is on and when I am working close or need accuracy, I use the EVF.

I’e read where some posted the AF is not that fast. Well, if your shooting a black dress against a black background, I guess AF would struggle.  Like the above photo. I had 2 choices for AF. !st was the woman in the foreground and the 2nd was the woman on the wall. You get the idea that you need Contrast for AF but I will say, I have had very few instances where AF didn’t lock. It’s accurate and fast. Just find contrast and if you don’t, blame your skills not the X100F.

The Fuji X100F is very responsive. Maybe I should say that Andre’ is as I can’t speak for every X100F but generally, I’m sure Andre’s siblings are. What I mean is, when your working and come up with an idea, you can configure the X100F quickly. It’s very intuitive and allows you to FEEL what the photo may become.  I am normally at 1/250 f/8 auto ISO, no EV Comp. When I move around thru the Light of EDEN, I change settings according to the way I feel and the way the subject is communicating to me. Obviously here I dropped to around 1/10 sec. That will let things blur and mess the high values up. There’s an ethereal quality here that I feel but can’t see in reality unless I make the photo.

So emotionally the Fuji X100F is a great companion. There are things in this world that we feel and yet can’t really see. Does that mean we are Members of Congress? Does that mean we are not receptive to the emotional quality of life and vision? I hope not. I try to live my life by seeing and feeling life all around me. I make photos because I must. Many of my photos are documents of a life I live and love.

I believe in Magic. I believe in Love. I believe in the LIGHT of EDEN that penetrates me and allows me to make photos and share my vision with others.

I believe in Andre’ the Fuji X100F because he believes in me.

 

Dreamcatcher, Philosophy of Street, Street Photography

March 2nd, 2017 … Finding My Way … Fujifilm X100F

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Many think I’m crazy or weird or things I don’t even know. I guess they are right and I let it go. What I do know is: that I want to be me and know whom that it is. I don’t want to be a stranger to myself. I don’t want to sell myself out so that I win popularity polls or get lots of likes. I want to be me and confident and aware of that as much as I can. Photography was never foreign to me. I never felt out of place or felt the struggle. I’m not saying I don’t struggle, I’m just saying I don’t feel the struggle cause I LIVE photography. I will cease to exist without it. I mean it, really. I am 67 giving 68 a run for the money. I’m a Libra. The advantage I have over younger shooters is that I accept what do and constantly push the envelope.

So how does one assume a stance of identity and maintain it. What does this require anyway? Well, I have worked with a number of shooters and I’m proud to say many are well accomplished now and understand the inner self they live with. A voice yells out…. Shooter, what does this have to do with the Fujifilm X100F?  Relax voice, this is what I’m talking about.

The X100F is highly configurable. If you need good settings, check out Kevin Mullins. http://f16.click/gear/fujifilm-x100f-settings.html

Kevin does weddings, family and street and probably other things too. He’s an X-Shooter and had the camera  for a few months.

So youse can all figure out the setting and I won’t get to deep into that part. What I do is life on the streets. So I realize that once the camera is setup, very rarely do I need to change anything. When it comes to working, I do have preferences.  I use a base exposure outside of 1/250 f8. I use Auto ISO 99.99% of the time. That’s set from ISO 200 – 6400 and shutter speed @ 1/125. so on the streets usually I like Manual focus and set focus distance at 10.9′ but ya can’t get the .9′ so just a nudge past 10′. That’s about hyper-focal distance for this camera at f8. That means that anything from about 5′ to infinity is in acceptable focus. Bear in mind, that hyper-focal distance works but it’s also true that things in front of the near point of hyper-focal distance, it’s doesn’t just cut off. It’s a gradual decrease in sharpness. I also use f11 a lot and there we have focus point of 7.7′ and from somewhat more then 3.5′ to infinity will be in focus.

There’s another way to do this but maybe not as efficient. I have the AEL/AFL button to lock focus point. So, I could lock focus anytime at all and even set hyper-focal distance if I wanted to measure on the street to get the required distance. I use that button when I’m working and setting a scene and I lock focus so I can anticipate the shot. I’m  not concerned about distance here, just locking the focus until I’m ready to release. The major difference between this and hyper-focal is that with the button, your locked at a set distance and if someone move out of that range, poof. With hyper-focal, you have a zone of focus and is someone moves out of the exact focus point, they are sill in acceptable range of focus.

It’s imperative to understand and use Hyper-focal distance with any camera on the street. Fortunately for us, The X100F makes this procedure very quick, accurate and painless. There’s a focus scale and it’s very accurate as all Fujifilm cameras are. So, hyper-focal distance and Auto ISO are the most required parts of a camera for the street.  Something to pay attention to. When you set Hyper-Focal distance or any distance that locks the focus, the frame box locks also. So you may need to watch the frame as it doesn’t move but you can always use the EVF if your working close. That’s always accurate. The OVF is also but that box won’t move once you lock focus. Not a biggie but I always pay attention to my frame edges.

On the streets, I really like a screen. It’s thee most accurate way to work. The X100F has a great screen and you can set the brightness to where you want it. With the screen, your holding the camera out and seeing a 2 dimensional image surrounded by 3 dimensional reality. No, sorry, not the same using a finder. The screen allows both eyes open, if you have 2 and that’s a blessing. All that being said, I love the finder on this camera. I am not talking about any other camera I have, or ever used, just this camera named Andre’ the Fuji X100F.

I remember walking with Winogrand and we are talking and looking at ladies and he would take his camera up and out and never look at it, just at the subject. I asked him, “Garry, how can you make a photo like that and not see”? He said that it’s about eye contact. If the camera is at the eye, the subject will see it right away. If the subject glances at the camera and it’s off face, then they immediately draw to your eyes. I understood what he meant and even felt after I saw photos he made like that. I decided to forget about that but couldn’t. Now, the X100F makes that an easy task. Just leave the screen on and that’s it. You get to make photos that you can’t ever do if the camera is at the eye.

The finder on the X100F is nice because you have 2 coices of vision. Obviously the most accurate is the EVF. The OVF allows me to use 2 eyes when I’m working.

I like to see from my left and frame from my right. There is a scale difference from the left eye seeing vs the right eye seeing thru the camera. It’s not bad at all. Most will tell you that the OVF allows you to see around the frame. It’s true but with both eyes open, you see a lot more around the frame. Suzanna my friend is an Eye Surgeon and she uses both eyes even with the EVF. I can’t and she says cause I’m old and stubborn. Probably right.

I have my camera doing B&W Acros +r. That’s doing a JPEG. I always used RAW in LR but the more I use this camera, the more I don’t care about Raw. I just love the responsiveness the X100F gives me. It’s a very satisfying experience. Anyway, I’m done for now and will try to do some more over the weekend.

Peace to all………….shooter out…………………………………………..

 

 

Dreamcatcher, Philosophy of Street, Streetshooter

February 28th, 2017 … Wants vs Needs … Fuji X100F

19 Comments

Thanks everyone for reading the blog and posting comments. I am honored and humbled that you would do that. The reason I’m doing the blog and now writing about the Fuji X100f is not about recognition. I know Fuji would never choose me as an X shooter. I also am not doing this for money or fame and fortune. I do it for love.  L O V E.  That’s a big word and even bigger feelings and thoughts. So where most approach writing about the camera from a work ethic or financial standpoint or a step to a higher level of fame, I am doing it because I love photography and I adore this camera.

So, let’s cut the crap out the X100F and get it out of the way. Dang it…. why didn’t Fuji put a tilt screen on it? Duh… it don’t need it. It’s not just a street camera but a camera that guides us in a way to think and a method of discovery of our subject. What I mean is, regardless of the task you are doing, the X100F becomes an ally or maybe it just bonds with you and forms a synergism that magically adds to the experience of making photos. Here in NE Philly on Montour Street, it’s called Mojo.

See, the idea about making photos is to always be in touch with yourself while working. Just being able to see, think and feel is the ZEN of life that is required to give life to your work. I’m not saying I can do it, I’m saying I understand it and try to maintain the stance so that it can happen at times and I can write about it. So, having the awareness that you are a part of something wonderful means you have to accept the mechanical things that get used in your work.

I was out for a walk with Andre’ the Fuji X100F and I bumped into Dude. Dude has a unnamed Silver Fuji X100F. We start talking and I’m feeling almost comfy because we share the streets together and we have the same camera and then…..OHHHH! Dud is complaining about the lack of a tilt screen. He doesn’t like the way the camera fits his hand. I’m starting to get fidgity.  Andre is in my hand and I feel him burning up. His battery is getting hot because Dude is basically insulting Andre’s sibling. Anyway Dude tells me about 7 things that he feels should be on the camera. Inside I need my shrink cause I’m laffin’ and afraid o let it come to the surface. So I said I had to go because life was calling me and I can’t stop life.

As I walked away, I had a kinda sick feeling in my gut. I mean, I’m feeling this camera perfectly as is and would rather go with positive energy. I realized that things are never perfect and I don’t want it perfect. I want to learn myself with this camera and see what we can find mutually.

Photography is about being an observer or a participant. I like to live as an observer most times and that means having a camera that will not intrude on my vision. That’s an absolute must. I know I’m crazy and I get random racing thoughts. I know that Andre’ is like my partner on a journey that I choose to live and must do to breath. So, here’s a few things I did. Mind you, normally I have the camera and an extra battery and a lens pen when I work.

Andre’ the Fuji X100F is sporting a neck strap, a soft release and a lens hood and a B&W UV filter. I have an ACMAXX on the screen for protection. I never use a hood. I never use a filter. I never use a soft release. I am in testing phase and bond so I will go crazy. Oh my, a lens hood.

This photo up top is worked on in LR. The idea was to see what the JPEGs can handle. It’s amazing how much I blew the highs and mids because that’s how I feel and see it. So I’m seriously considering not doing raw for a while. The JPEGs from this camera are the finest I’ve seen from any, bar none. It amazes me … look at the whites and they are not wasted. Even the shadows are holding details. Yeah, yeah, the original file is very nice but I want to see how far I can push the envelope.

I am getting a slew of emails etc and will answer each one as quick as possible.

Ok ya’ll….. seeya tomorrow. They are calling for rain here but I might get out anyway. Peace and be blessed…………………………………….