Category Archives: Street Photography

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………….

Photography, Street Photography

April 28th, 2017 … Philly Street … Fuji X-Pro2

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So after a long deliberation I decided to sell off some stuff and get the X-Pro2. I had the X-Pro 1 and an XE2 and other things. Fuji didn’t see fit to make me an X shooter so I did it myself and I answer to no one. The X-Pro2 is now my interchangeable camera. The job was taken from Serendipity the Olympus PenF. I love buying cameras and gear but hate to part with them. This is not GAS, it’s DSG. Oh, DSG = don’t sell gear. Truth be told, it’s important to shake the cage some and rotate cameras regardless of how you feel for them.

I think the Mother Processing Computer at USA Central Headquarters, Weather Control Unit has also made changes. In a few days we went from rain and chilly to sunny and 84F.

See, sunlight is necessary for shooters because, well I think we all have our own reasons so I will let that one go. What I been going thru is validation. I mean I have to accept what and why i am doing with photography. So, like I go out and make photos and I need to validate everything. It’s about commitment and acceptance. Those elements are not active without intent. So I been examining my intent and the after work of it.

I had breakfast with a small group last week, also the reason for no post in a week), and we were discussing things like intent. One guy had an attitude and was riviting a youg woman about her work.

She was getting upset and almost in tears and I jumped in  and tried to rescue her from despair. So, I said…..leave her alone as you are no authority. Right away he lashed out to me. (now I must admit, I am not good at holding back but there was 3 woman at the table so I didn’t curse but invented words that meant those curse words.) He said, Don, I don’t care for much of your work. I think you are wasting time doing photography. I smiled. So I leaned back and said, ****. listen, I will put orders in to the international congress of photographic rules and guidelines. I will state that every shooter and every one that will be a shooter or that will be born and become a shooter, learn your guidelines and rules and esthetics and all, every single one get your stamp of approval for their work. The the whole FUC**** world can be to your satisfaction. Will that satisfy your ego?

After he stood up and left, the crowd clapped and we had a much better time without him. (note, I called him a day later and we talked and he didn’t apologize but kinda backed off. The call was tense and I could feel it. So, to break the tension, I said… I know the issues for you. You haven’t figured out how to check every ones work in a good manner. We both laffed and I expect him to return to breakfast next trip.)  So this hit home base for me and I realized that …. to quote Dylan…”One should never be where one does not belong.” What that means at the moment for me is, that if your working for something other then your own satisfaction, it’s issues that will arise.

What makes a good client shooter is not the gear so much. It’s discovering your client’s wants and needs and then finding a way to satisfy them. So in a way that could mean that you are a formula shooter. You have recipes that work and then decide which one or mix gets the job done. Then you get paid. The reason you got the job was because you understand your client’s needs and wants.

It’s the same but even more intense when you are your own client. So we need to discover motivation, obstacles and intent to start. It sounds simple for real but the underlying reasons and motivators could be very intense. When I was doing many workshops, it was a period of complacent satisfaction. UI was teaching what my students wanted to learn. One day long time ago, I realized that my ability to help my student uncover the obstacles that created blocks is what was really appreciated. This certainly isn’t an easy task. It requires drowning in ones emotions and intent and swimming to the surface and seek solid ground to build upon.

 

….gotta go but will continuw this on the weekend………………………………………………………

 

Philosophy of Street, Street, Street Photography

April 6th, 2017 … Thoughts, Photos & Mojo … Fuji X100F

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David inducted this to Flickr Explore…. Thank

Many cameras will do the job that is required of it. I don’t dispute that. Many cameras are excellent for reasons that are built into it. Andre’ the Fuji X100F does all that but also has MOJO in him. Let’s not tell Fujifilm or the X-Shooters about this cause then we will have to start paying for replicated MOJO. I did not have to send Andre’ to Louisiana and get MOJO installed. Ok, come close and listen up for a min. Closer, closer….we ain’t a wantin’ others to learn about this MOJO stuff. See, photographic MOJO is when you are aware that everything at the moment you are experiencing is at one with you and you with it. Some call this being in the moment but it’s really part of the MOJO. What makes it MOJO is that the camera adds to the extended experience of making photos. Mojo is Magic Of Just Observing = MOJO. Lot’s of thing may provide mojo but for me, the camera has to support this while we work.

I was on North Broad Street near the convention Center. I’m walking South and I saw these doors, no signs, nothing. I kept walking and then in my head, I saw the doors transform to b& w and have some kind of a sinister feel. Like there’s some powerful being like the wizard making things happen. Yeah, I’m telling ya true. I stopped, closed my eyes and then turned around and walked the 1/2 block back. I stood there and framed in my minds eye and thought, well, this is like The wall or Paul Strand and then I heard Pink Floyd in my head. I looked right and left, many people walking by but no connection. Then aall the sudden, this gut walks closer, closer, and then he kinda hunches down…….Click! I felt invisible and the man never saw me, just another brick in the wall………….

I like Andre’ on a neck  strap but I can’t because shortly my shoulder and back start to hurt. So he’s on a wrist strap. Not just any strap but a Luigi’s. There becomes different methods of working like this. I don’t do blind hip shots anymore but I do things with Andre, cause he’s in the hand. The way you work and respond is effected by how you carry the camera. A neck strap supports blind shooting and also shows you are not trying to sneak up on people etc. A wrist strap forces you to see and work differently as you are more stealth. I don’t care about stealth as I just am working and if two drug dealers are doing a deal, well, I’m not likely to both with them. Business is business and I have my own to attend to.

Back in the 70’s George Krause  https://georgekrause.com/and Ray Metzker http://www.laurencemillergallery.com/artists/ray-metzker worked the streets in a way not attempted before. The thing is that they both did images here in Philly and City Hall was a point of interest. I stay aware of this work as it has influenced me for decades.

Andre’ and I were walking thru the underpass in City Hall. I love the light in and around it and it captures my vision daily. I used to walk around City Hall with Edmund Bacon and that was a lesson in human architecture not learned in college.  Ed showed me many things that made up the bldg and where stone masons put signatures and things for the generations to come.

I was walking thru and saw this woman coming in from the light. She’s walking with a comfort in safety and looking as innocent as any woman can look. Then as she drew closer, this guy stands up from the dark shadows and I looked …..Click. What does this have to do with a wrist strap vs a neck strap? Draw your own conclusions.

I have a thing for juxtaposition. Finding and seeing and making the relationship between things and people always fascinated me. As I continued South on Broad Street I noticed a window and the reflections kinda grabbed me. I looked at it and felt a photo was there but needed someone or thing to make it right for me. No one is around but Andre; the Fuji X100F and me. his disciple. I was ready to walk away and Andre’ kinda made me breathe and wait. I knelt down to tie my shoe and as I got up, besides the back pain….Click. I mean that fast, she was there and I had a fraction of a second. Andre the Fuji X100F was at the ready and we made it. I don’t care who likes this or not, I do. Go mess with your work in your head and don’t bother me.

No comment deeded. I love this and stand by it. This is not a comment, if it had been a comment I would care what the comment was but it is in fact not a comment. It is not a post comment but a not a comment comment.

Enjoy friends. There are a few of you that have asked so I will answer. I do feel the Fuji X100F is in a class of it’s own. It’s got MOJO. I can’t really explain what that means but we all do understand it. The cameras that have it we keep and love and work with. The cameras without MOJO, well….small potatoes Michael…….

I’ll try to post again over the weekend……………………. be blessed y’all

 

 

Black & White, Color, Photography, Street Photography

March 28th, 2017 Raw? … Color? … The Fuji X100F Made Me Do It! … Part 2

4 Comments

JPEG treated as a DNG and pushed the parameters.

Let me start off by saying that I have a few shooters that wrote me and were not thrilled about me writing this stuff. I am being accused of not being a PRO. It’s true, bows my head in shame, I’m not a pro, I’m not a pro. I am a LIFER. I do photography because I will cease to exist without it. I don’t do it for money. No one pays me to do a job or gig. I do what I do because I HAVE TO. I am a photographer because it’s my life’s work and I want to share as much as I can. I do and I do all that without being a PRO. I am a LIFER and maybe coulda shoulda been called an amateur. What an honor that is. You don’t get the, go paint your bathroom. I’ve been called a tourist like it’s an insult. Ya know something, we are all tourist thru life. No one gets a permanent visa, even the pros.

So let it be known that I have a few people in my head. I chat with them about things because I don’t trust anyone else. There’s a discussion going on about film vs digital. This is all tied in and it became obvious to me that I couldn’t do it in 2 parts. So I will do this until I have my day and others also. The reason the film vs digital thing is relevant is because, the negative and print vs the digital image. There are some very important things in this discussion that hardly ever gets mentioned. Perhaps, these few things I bring up are some of the most important to recognize.

sooc Cc ISO 6400

I have a air conditioned, filtered air, water darkroom. It’s as dust proof as I could get it. I haven’t used it in many years and still, not any dust on anything. I loved printing and did many different things. Traditional silver, platinum/palladium, gum, color, just about anything I wanted to do, I could. Many friends and others have used my darkroom and everyone loved the experience and results. So I am kinda anal about things like quality. Then back in the early 90’s it seems that my prints were selling well and many exhibitions all over the world. Well, the point to this part is, does anyone know where the gremlins are in wet printing?  I do, it’s in the DUST SPOTS. There was/is no way to eliminate dust spots. So that would mean, make a run of prints and then start going over them very carefully and spotting them. I did a run or 100 35mm negs and 5 prints of each in 1995. It was for my archive. Now it’s 22 years later and I have to spot the prints. Unreal.  Paper prints spotting is a chore. I have/had an assistant and she could spot prints all day and never miss a single spot. Now she’s a famous photographer and I can’t afford to have her do it.

Another thing that is way different between digital and analog printing is….repeat ability. With digital, you press a button and make as many copies as you want. Not so with analog. What does this have to do with color and raw and jpeg? ok…it means that the camera has presets in it. I am using the Classic Chrome for the time being. For the life of me I can’t get a matching image from raw vs jpeg. If I shoot in Raw & Fine, I get both

The raw will show the preset quickly and then just be the usual flat raw image. The jpeg will come in as a finished image that you can tweak almost as much as raw.

So back in the cave shooter daze of early raw stufts, it was said that you can’t do things with a jpeg that you can with raw. Back then it was true. Now we are in the enlightened ages and well, it’s maybe not the exact same  but then again, raw, can’t do what a jpeg can. It’s not really 6 of one, half dozen of another either.

So the argument that stands about digital vs analog brings forth another issue. That issue is ISO.  The shot above in the Tropicana was at 6400. We all know what that means and it’s not only acceptable but assumed that it is a dependable speed. I know that Ektacrome had goos latitude but no wheres near 6400. The scary thing is, that it could go higher. So where is the advantage of analog when it comes to ISO?

The thing with the Fuji X100f and it’s jpegs is, they perform so well that I am not missing raw. I am not afraid of doing color again and in time, finding my palate.

The first frame is a jpeg out of camera. It’s Chrome. The I decided to work it a little and I did and it was easy and acceptable. The second has some work done and it’s easy to see. The third is a B&W conversion from the OOC jpeg. I’m not going to stand and say that it’s better or worse than anything. I’m just saying that the reason for using raw is dwindling. It’s not just me, but many are finding this to be true. It’s also really about digital vs analog and that issues has many nutshells to turn over but really….the main issue is the camera. Using a Leica M series that’s analog or film has a magical experience that everyone should know and feel. As far as quality, ability of the files or film to do other things, not as big as an issue as it was.

I spent about 40 years or so using an M camera. I used an M4 in Viet Nam and on the streets ever since, awesome camera, named Andre’ back then also. The Fuji X100F gives a similar experience, so similar that many die hard M shooters both film and digital, have an X100 something. So the point is I suppose, that we all need to find our way with things. We need to be able to rely on others and their experiences to help shed light on things.

I probably won’t be making the argument about film vs digital, or b&w vs color or a host of other things that may help others and may feed others but for me, I have clarity and I see the light. Andre’ the Fuji X100f has showed me the way of the new photography.

be blessed my friends. Once again….I am not a PRO, I am a lifer. The photos above and in the other post and most on Flickr are made for technical aspects that I am looking at. I tried to keep the esthetics out till I am at one again with mother light.

 

 

 

 

Color, Dreamcatcher, Street Photography

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

13 Comments

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 →

Inspired Eye, Photography, Street Photography

March 16th, 2017 … Re-kindling the Light of Inspiration … Fuji X100F

14 Comments

I get kinda edgy when I read or hear about someone saying they need to go to exotic places to make photos. For me it’s always been in the heart and mind that feeds the eye. Of course I like to travel to erotic places….ummmm errr exotic places but not doing that requires a temperament and a drive to work under all circumstances. When I was actively teaching work shops, I made a few procedures to reinstate the inspiration to work. I feel it is critical to vision to be able to uncover thoughts and find the photos in areas where on is constantly working.

Many get what writers call The Block. It’s not a sweet thing to deal with be we can over come it with diligence and patience. The first step in overcoming any kind of block is to recognize and accept that you are in a block. This is not for the light hear-ted. Many will tell you to take a break, put the camera down. Others will say to do something other then what you do. For instance, if you do street, do garden, or portraits etc. Others might say, eat pizza and drink beer.

Well, I see all those methods as a justification for not addressing your real love, photography. What I mean is, if you love something and it starts to have issues, you need to work those issues out and find a path to productivity again. You need to find “The Light of Inspiration” once again.

I always listened to the people I respected and still do. I may have been a bad boy because listening and doing what they say was always different to me. My mom was a Frank Sinatra fan and always played his music. I started to like it at a young age. The one day, when all things in the universe started to come together, I mean the clouds got dark and the ground warm, the flowers pointed upwards, dogs stopped barking, parents too… and then, then coming from the record player, Frank was singing…”I did it my way”. Well, in my mind Frank was telling me to do it my way, mom didn’t agree and told me he was not singing to me directly and that I was responsible to still do it her way.

So, I came up with a method of re-kindling the light of inspiration.

Here it is in a nutshell but it’s a good one.

Day 1 …. Go into a room that is quiet and do not do anything but sit and look around for 1 hour. No camera, radio, cellphone television, nada. Nothing but your self. In about 15 minutes you might start to get bored. In 30 minutes you will send a hit squad out to get me. No books, mag etc. Just you and the room. After maybe 30 or so minutes, you might start to look at things more closely and maybe even make photos in your head. Do it. Frame, look at everything and relax. No input other then your eye, heart and mind and muster up. If you have a partner and kids etc, you may want to stay longer and it’s ok.

Day 2 …. Go back into the room with your camera. Sit and relax and repeat the Day 1 1 hour exercise but this time, use the camera to frame and stuff. No photos to be made. Just use the camera to see but not to record even if your next masterpiece is there. Just see and enjoy that on it’s own.

Day 3 …. Go back in to sanctuary as you now know it and spend the hour seeing like Day 2. This time, make 1 photo, just one and now you should be hungry but just 1 photo. You can process this 1 photo and nothing else.

Day 4 …. Go to sanctuary and have your camera, (best if it’s named but not required) …. Now breathe and make 6 photos not of the same thing but 6 what you feel are keepers. Make this last an hour. Not less. Process the photos.

Day 5 …. Sit in sanctuary with your photos and study them. Try to feel the experiences of the days and how you reacted to time and the energy of the room and how it effected you and you it. At what level do these photos work? How would others see them? Do you feel right about them? Do they represent you and your life during the experience?

Make sure that you do not make any photos other then the exercise. So for like 5 days, don’t do anything but this project. If you do this and need to talk to some one about it and your results, Im available.

I’m not dropping Paul Strand’s name here cause that’s tacky maybe, nah…. Strand sometimes made a series of photos of dishes, fruit etc. He saw each individual photo as a life of it’s own. Maybe the photos were grouped in a series but as like people, each is an individual and we need to deal with it as such. I’m not putting anything else about the visual exercise because I don’t want to set up preconceptions for those that may use it.

You will know who did this because you will see The Light of Inspiration in their work.

Peace all…………..

 

Street Photography

March 10th, 2017 … The Translator… Fujifilm X100F

6 Comments

Alright, I know youse are thinking I’m nuts and maybe that’s the case but maybe also, that’s a good thing to be. What would happen if all the leaders of the world got together and started talking to resolve the issue of the people of the world. No. this is not political, it’s about photography, plain and simple. Here’s what would happen, nothing much at all. Why, because there are language barriers and without a translator, nada. No one would be able to express themselves efficiently. They need a translator….. yo! Hold on, it’s how I write and think even if it isn’t always at the same time. So they need a translator and this person needs to be able to reconfigure the language and thoughts according to each person.

Photography is the same and we require the same things to communicate. We also need a translator that will personalize our thoughts and not seem to be mass produced. We are individual shooters and each and every one has different ideas and ways to work.

If we didn’t, well, the world would not need shrinks and curators and editors. So, bear in mind that we as shooters are solely  responsible for the families of curators, editors, shrinks, other shooters etc.

So, what is it we are translating and how do we do it and with what?  Well let’s see. As shooters we kinda have a few ways of working and one is to walk around with a camera (named cameras for real) and kinda look around for things that interest us. Maybe these things are physical in nature and we see something and try to respond. Maybe we just get feelings and or thoughts about something and desire to make photos of whatever that is. The possibilities are countless, well there’s many ok.

Then we need to deal with the reality of our images.

Now I know youse alls ain’t gonna wanna believe this but it’s the truth I tellya and it’s a pretty picture. We live in a 3 dimensional reality, well most of us. When we make photos, we are making them in a new 2 dimensional reality. Take a gander in yer mind and think about this…. ………………………………..ok glad to have ya back. This again is about translation. So, to make this part of translation easier, the original shooter dudes designed a camera that would make things from a 3 dimensional reality translate to the e dimensional reality…. they called this thing, the Fujifilm X100. That was back in the history of street photography and many a many shooters found love and peace with that camera. Time moved on and new planets were discovered and mankind raped the core of those planets and left them be a lump of coal in space…. sorry, getting off on the wrong track.

So the camera is the first point of contact in making photos. The camera needs to be able to configure to all those that use it and have their own ideas and ways to work. It most certainly needs to be able to reconfigure for us when we decide that we need it to work differently. Now the camera is becoming a translator for us and our photos. It works with us and allows us to change settings to get the desired result.

See, your process of making photos is much more pure then you realize. No 2 of us will ever see the same thing at the same time. (This does not support the idea of multiple personalities in our head)…So, making photos is the process of realizing a reality in front of us and the thoughts, skills, and processes that we have at our disposal to make the desired photo.

So now that we have the Fuji X100F we need to accept it as our translator. For me, it’s named Andre’ after Kertesz. Andre’ captures the light and the EMOTIONAL impact of whet I’m seeing and feeling and makes a frame. I can’t do what he does and he can’t do what  I do either. So we agree on a synergism to live as partners in our creative journey. I see and feel and Andre’ translates and helps me get what I need and want in the photo.

So, this again is about the FujifilmX100F. This camera is about as good as it gets for those that want a fixed focal length camera. I do unless I am using another camera.  Just think about a camera that does focal length, shutter speed, aperture, ISO and has a finder and that’s it. Every camera ever made is a copy of this camera. Now lets all go out and make photos. Everyone will work but there ain’t gonna be many pretty pictures.

There are many variables in life and many that we deal with. Eliminate the variables and we would all be politicians. THE HORROR! So what’s needed is a translator or camera that has variables and a way to use them to our needs.

I been reading some forums and blogs and stuff about the Fuji X100F and I gotta tellya, there’s many people out there that are shooters that have opinions that are versed thru their…well, lets not get nasty. I been good and not cursing and it is no easy for me either.

Some say they see no reason for the upgrade from the X100T. Others say they don’t see a use for many of the features the X100F has now. Not many complained about the price and that was good to see. But after reading all that nonsense I realized that they are self centered ego maniacs without a shrink.

The point abut this camera and maybe others but we are just talking about the Fujifilm X100F, is that it’s a translator and get translating and off the bugs butt about what the camera don’t need and learn how to use what it does have.

Have a great weekend folks and get to translating and enjoy…………………………….end transmission……out

Dreamcatcher, Inspired Eye, Street, Street Photography

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

11 Comments

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

9 Comments

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…………………………………………..