M Magazine – The Magazine for Leica M Photography. Second issue featuring David Alan Harvey, Ayman Oghanna, Valerio Bispuri, Matt Stuart, Stanley Greene and Bettina Flitner.
Source (Leica Fotografie International )
M Magazine – The Magazine for Leica M Photography. Second issue featuring David Alan Harvey, Ayman Oghanna, Valerio Bispuri, Matt Stuart, Stanley Greene and Bettina Flitner.
Source (Leica Fotografie International )
So let's be upfront and say that this little post is no more than a 5 minute shoot with a couple of friends during a lunch break. I need to thank DigiDirect Brisbane who set me up with the Leica SL and Vario-Elmarit-SL 24–90 mm f/2.8-4 ASPH. I have had nothing but the best service when grabbing my gear from them and when I have run into a snag, the service has continued. They hosted a great Leica SL Launch the other night- drinks, eats and a couple of special guests all made up for a fantastic evening. I thought it appropriate after their event (held here in Brisbane) to post this quick hands on.
If you're looking for tech specs then I suggest you do another google search or check out the Leica Website itself. But for those who have bothered to read this next sentence... The 24mp cmos sensor is very Leica Q-ish, although with slightly better skin tones straight out of the camera. The EVF sublime 4.4 million pixels are outstanding to use, the camera body is solid and balanced in the hand (no lens). The Vario-Elmarit-SL 24–90 lens is quick and responsive albeit large. I would prefer the Leica Summilux-SL 1:1,4/50 mm ASPH available sometime next year as a 50mm prime is and always has been my go to lens. But for now ....
I took a 15 minute lunch break and ran upstairs to the WECC HQ with Hannah and Nick. We opened up the French doors for a quick snap, not really paying attention to any of the settings. A long exposure with a heavy lens is not a great combo however, the optical image stabilization (OIS) proved a winner.
Next, the far window shooting into direct sunlight. I grabbed the reflector only to provide some fill light as there was still a fair bit of spill light from the window bouncing around the room. I never use live view, so I thought I should give it a go when we shot a quick editorial style head shot. I just can't seem to get used to live view (call me old fashion), it felt very weird and with such a AWESOME EVF why would you bother using the it anyway?
The Leica SL's rear screen was a pleasant surprise. Clear and sharp- even with my crap peepers I was able to manually focus without focus peeking. I just exposed for the front of Hannah's shirt and re-composed which did a good enough job. Certainly not the technically best way to meter. I should add that the rear of the camera is clean and simple with no indication (writing) on any of the four main buttons. I just fudged it and figured it out after a few %^&*. The ON/OFF switch is labelled .....luckily.
Disclaimer I am NO PRO at post production, seriously - as in lame. I just needed to clarify this before you read on and are under the impression you might learn something incredible.
Not much needed to be done post production as the auto white balance was spot on as was the exposure. Small adjustments in Lighroom CC and a bit of a cleanup in Photoshop CC was all I needed to do. I have always found digital files to lack life, just very sterile and although the Leica SL sensor and 'Maestro ii processor' does a great job with color and skin tones (slightly better than the Leica Q), I still prefer to use film presets. Usually VSCO Film is my go-to however, lately and for the below images I have used Alien Skin Exposure 7 and their fantastic Kodak Portra 400 preset.
CLICK ON THE IMAGES ABOVE TO SEE THEM IN FULL
So there you have it- quick and painless. It was a dream to use and the EVF needs to be tried to appreciate how F%^&*NG unbelievable it really is. One suggestion from me would be to purchase the Leica SL multifunctional handgrip (HG-SCL4), it would balance out what I felt was a front-heavy set up with the two zooms on offer. Should be available from DigiDirect by the time this post goes live (maybe).
Lastly, I am looking very forward to trying the prime lens; set for release next year. Both the 35mm and 50mm are a must for the type of work I like to shoot and would replace the large and front heavy 24-90 on offer at the moment. Obviously the 24-90 is a no-brainer for most people, just not me.. What's great about the Leica SL is its ability to use a plethora of existing Leica glass in conjunction with the appropriate adapter. Grabbing a 50mm f/2 Summicron R lens from eBay for about $500-$700 - a great idea to start building your lens arsenal while keeping it affordable - I guarantee prices on R lenses will begin to skyrocket very soon. So if you're serious then let the bargain hunting begin!
The Leica SL and 24-90 was a pleasure to shoot with, I am more than impressed with the results. I would not be wrong if I said the Leica SL is one of the finest cameras ever made - if not the finest mirrorless. So if you have the $$$$ then let it rip I say. It's all relative to what it's worth to you. I know if I had the choice and $$$$ then it would be the SL. I look at it this way, the Nikon D4s will set you back just fractionally less .... and it doesn't take Leica glass. Oh and did I say it was a LEICA.......Cheers
So this time we thought we should show a quick way of using some light sources which are easily found. Combine that with a reflector and you are ready to go. We started by placing Hannah sitting away from the natural light source- good way of getting some hair light. We had a fluorescent strip light at my work so we decided to use that as our main source for the pic. Throw in a relector on the floor or get the model to hold it. You should be able to bounce some of the light from outside and the fluorescent back onto the shadow side of your subject.
I need to say that I did a lousy job of bouncing the light. Although Hannah looks great I have a funny harsh shadow on the camera right side of her face. If I was paying attention and not rushing I should have picked this up. Simple to fix by getting hannah to move position slightly.
I decided to just use the Leica Q set to 50mm. This crops in on the sensor to give me a 50mm f/1.7 equivalent focal length. Shooting RAW of course (you still have the whole frame which the prime 28 has to offer).
For post production, I have a very quick and uninspiring noob workflow. Basically I do the following...
Above is the gradual changes of my four simple stage Post Production process. Below is a bigger example of the end result...
So there you have it. A back-to-basics way to use whatever light source you may have available for a quick and easy portrait.
In Public’s Blake Andrews is an outspoken street photographer and blogger based in Eugene Oregon. He shoots mostly black and white film and while his work fits within a broad definition of street photography, he sees himself as a photographer first. Looking for images wherever they can be found. I sat down with Blake to talk about the process of finding images and making photographs.
I met Blake Andrews earlier this year when he was doing a workshop with Matt Stuart in Los Angeles. The first thing I noticed was that his eyes never really stopped moving. He seemed to be constantly looking for images 3 or 4 steps ahead of wherever he was standing. He was pretty busy with the workshop so we agreed to together by Skype when we were both back home. Our conversation touched on street photography but we spent more time talking about his process of finding images and the importance of making photographs.
I hope you enjoy the interview as much I did!
StreetShootr: Hi Blake, thanks for taking the time to talk with us today!
Blake Andrews: My pleasure, Karl. I’m glad to be here.
SS: Let’s jump right into it. I understand that you don’t really think of yourself as street photographer in the strictest sense?
BA: I guess that’s what I best fit into in terms of my work being candid and found moments and just being open to possibilities. But it’s never been a clean fit for me to look at myself as a street photographer or even compare work to traditional street photography. I just do what I do. I found my thing and whatever. If some people think my work is street photography or not isn’t important to me. It doesn’t have to be one thing or the other.
For the last 8 years I've been making videos on my YouTube channel, The Art of Photography. Its been an amazing success with over 120,000 subscribers to date.
I'm starting a new project and I want your help. It's a new series of artist documentaries.
This series is different. These videos are not about gear reviews or tips and tricks - these videos are about artists. They will document both well known and up and coming photographers. I want to capture artists as they work and the creative process. My intention is to expose their legacy in the history of photography and to inspire you.
I've got an enormous amount of experience with making documentary videos. In the 7 years I spent at the Dallas Museum of Art, I produced films featuring fashion designer Jean Paul Gaultier, the controversial Egyptian archaeologist Zahi Hawass, contemporary artist Jim Hodges and many others. But now I want to produce films on the subject of my first love, photography.
Over the last year I’ve had the privilege of working with some incredibly talented photographers. I’ve filmed in Atlanta, Boston, New York and Los Angeles to begin work on this series.
I’m extremely excited and proud of the first film, which was completed last month. Its about Los Angeles based photographer and legend, John Free. You can see this video in the section at the top of this page.
This film is a great start to the series, however I need your help producing the next episode. This next episode is critical - it determines the types of artists I will be working with, it determines the locations I'm able to travel to and it impacts the overall quality of the work I produce moving forward with this project.
I can and have produced films on low budgets, but this new series requires travel and production logistics that increase the cost significantly.
I am excited to move forward with this artist-focused project. I need your help funding it.
More importantly I want you to be a part of this project. I have put together a list of goods that you will receive depending on your level of donation. I’ve made this as personal as possible so I can return the favor of your generosity. Let's give back to photography together and make a richer cultural experience for everyone.
Special thanks to Ovation, RocketHub and Creative Studio.
Quick Tip #2 in our ongoing no idea when we finish tutorial tips. So here we are again so the simplest head-shot EVVVER. Once again we have our trusty white wall and reflector. Whip out your camera set it to your largest Aperture you can focus on an eye whack a reflector camera left of light sorce (in this case our shop front window and ......BAAAAAMM.
Above we have no reflector (left) and with a reflector (right). We used the Leica Q set to a 50mm crop which is still a HUGE 8mp capable of 10x8" prints. All ya really need I say. A subtle but pleasing difference. Below is a basic diagram of the shooting location and the light direction
Crop above just for quality purposes. Nice and spanky. Now the final image below after Photoshop and some film emulation (thank you Exposure 7)
Not that it is needed but above is a crop of the eye area, nice and sharp.
A behind the scenes look at a newborn photography session by Luisa Dunn Photography with Sophie, Evie and Aria Wallace.
Photographer: Luisa Dunn Photography - www.luisadunnphotography.com.au
Assistant: Lea Curtis
Camera: Nikon D810
Lens: Zeiss Otus 55mm f1.4
Video Production: Tyler Alberti Photographer - www.tyleralberti.com
Filmed on: Nikon D810 with Nikkor 35mm f1.4, Nikkor 50mm f1.4 & Nikkor 85mm f1.4
Ellis (Eli) Reed (born 1946) is an American photographer and photojournalist. Reed was the first full-time black photographer employed by Magnum Agency  and the author of several books, including Black In America. Several of the photographs from that project have been recognized in juried shows and exhibitions.
Reed is a former Nieman Fellow at Harvard University (1982–83) and is currently the clinical professor of photojournalism at The University of Texas at Austin. He was a runner-up for the Pulitzer Prize for Feature Photography in 1982. Reed is an Olympus Visionary as well as a recipient of the World Press Award and Overseas Press Club Award.
Over breakfast this morning (Sat 7th November) Nick and I decided to put up some quick low-fi photo tip just for kicks. We eventually decided on a Harsh Light Portrait scenario, an obvious problem when you live in sunny QLD. I am certain many of us have wished to take a portrait of someone in the middle of the day; the sun beaming down harsh as ever frying ones retina at any opportunity. You get the general idea.
So what do ya do? Simple, grab a wall in the shade and a reflector (white card whatever), place it on the ground leaning against something so as to angle the sun towards your subject (your bag would be a great leaning post). Fill in the shadows of your subject and shoot away, the rest is Lightroom.
There you have it, couldn't get much simpler really. Remember you can find anything white for a reflector. Hell, even some cardboard painted white or wrapped in cheap-ass silver-foil would do. Above are 3 examples of Nick Bedfords image post processed in Adobe Lighroom CC using the 3 separate VSCO presets.
What a HOOOOOT shot, it's obvious you need awesome models to get the best results.
My name is Jeremy Lebled, and I’m a fashion photographer. I recently just did a shoot to demo Leica’s S Camera. My specialty is using just the sun to get a high-end studio look to photographs instead of using dozens of strobes.
A lot of photographers are under the impression that they need to invest in very expensive studio lights to achieve the high-end studio fashion look. They will spend thousands upon thousands of dollars on pricey light modifiers, light stands, studio strobes and so forth.
Why spend the money that you could be investing on a backup camera or a high-end lens when you have the greatest light source you could ever want right outside your window: the Sun?
Is this for real ????
Mark Johnson dropped by after just returning from the UK on a 3 month stint. He grabbed the new Sony A7R ii and Sony Carl Zeiss Sonnar T* FE 55mm f/1.8 ZA Lens. I had not had the opportunity to shoot with new Sony as they are like hens teeth to track down. Mark will be posting a personal review soon with his thoughts on the Camera, but for now just my 2 cents worth and 5 frames later out the front of the shop .... BAM
Not bad at all, I forced Hannah to sit for like 5 seconds as I quickly took about 6 frames of her out the front of the store on Adelaide street. This is the final image after post, just some basic adjustments in Lightroom CC and a VSCO preset to give it a little life. Zeiss just know how to make a beautiful lens. I was very impressed the auto focus and even auto exposure worked beautifully (she is back-lit by the way). The fall-off is sublime as I shot this wide open at f/1.8, very nice indeed. I actually think it may just give the Sigma 50 f/1.4 Art lens and run for it's money. I won't go as far as saying it's equal to but it would be a worthy competitor. There is nothing not to like about this lens, this should be the 1st lens purchase as far as I am concerned.
A quick crop of the image to give you an idea of how SHARP the lens and sensor combo are. I was very impressed although not surprised as Sony and Zeiss are very much leading the way in both their respected fields.
Personally, I am not thrilled with the ergonomics of the entire A7 range, and I have not found much of an improvement in the latest offerings either. The battery grip is a must for someone like me, it provides much needed surface area to balance out the handling and if you have slightly large hands .... purchase the grip - you will not be sorry. On a more positive note, I think what's interesting is that Sony keep pushing the envelope and that can be only a good thing for everyone interested in the future of a crowded market. I will leave a more tech review to other more qualified sites, and a personal one for Mark to deliver sometime in the coming weeks (will post link when available). For now trust me when I say you wont be sorry with either purchase and if you can grab both you might just wet your pants.
This interview realized by Michael Ernest Sweet has been previously published on the book Made in Italy.
Alex, your work is fresh, innovative, and edgy. I love it. It not only reminds me of my own approach to photography, but, perhaps more importantly, to some of the very best of the masters – Daido Moriyama, William Klein and Mark Cohen, for example. This comparison should not be trivialized in the contemporary photographic milieu where too much of what we are seeing today is unworthy of any such comparison. The field is cluttered with junk photography from techies who know more about Google analytics than they do about photographic composition, ISO, or focal lengths. Through all that clutter your work stands out because it is authentic, it’s skillful – it’s art in the truest sense. Kudos!
I’m delighted to be able to write the interview for this book, as it will give me the opportunity to dig into your mind a little – to uncover some of the genius that creates this stunning photography. Let’s begin!
Michael Sweet: Alex, why photography? How did you get into this medium in the first place?
Alex Coghe: I consider photography the most powerful vehicle of emotion and messages. Certainly there are many other arts that are able to do this, music for example…but the speed of communication and the duration in time will always be in favor of a photograph. If I think about why I have chosen this medium of expression, I would answer because photography allows me to search for the unknown. I come from poetry that is also about the exploration of ourselves, an impulse completely selfish, and if you think about it photography is also a solitary act. Although it may seem presumptuous I make photography essentially for myself, to explore the world as my eyes see it. It is a complex process where I explore the world to explore myself, and there is a sort of continuous exchange between what my eyes see and what my mood and my state of mind feels. The result of this generates another world where my experience emerges becoming one with the world represented… Photography for me is a reaction to what I have before my eyes.
Join Museum Program Manager Leanne Kelly and special guests as they discuss the art of storytelling through photography and film
With soaring music, dialogue and beautiful cinematography, it might be easy to assume that if it’s a contest that film would win, hands down. But what if we learn to ‘read’ a photograph like we read a book – does a still image contain stories as varied and unique as each and every viewer?
Real or imagined, stories are a way for us to make sense of ourselves and our world. We can live a thousand lives instead of just one through engaging with the stories of others, learning and understanding that which may never be a personal experience. Join Museum Program Manager Leanne Kelly and special guests as they consider the art of storytelling through photography and film.
Guests include Robyn Stacey Michael Aird, anthropologist, curator and photographer Maxine Williamson, Brisbane Asia Pacific Film Festival and Asia Pacific Screen Awards Film Director Shawkat Amin Korki, writer, director and winner of the 2014 APSA UNESCO award for promotion and preservation of cultural diversity through film.
When it comes to camera straps the world is your Oyster. The choice is a daunting one and the chances of getting it right the first time are about as accurate as your scoring rate at summer camp. SO when I received a package from AFshoot from England I was intrigued to see what they had to offer. A couple of people had contacted me asking what I had thought of Deadcameras camera straps ? Well I had never herd of Deadcameras straps so the pakage kindly sent by AFshoot was welcome indeed..
I received two straps, Premium Handcrafted Leather Slim Strap & Premium Handcrafted Leather Wrist Strap. I attached the Slim Strap to my Leica Q (image above and below) since then three months have passed and the Strap & Leica Q have accompanied me daily throughout that time.
What a fabulous strap, quality throughout, these hand made straps from Portugal are class all the way. I have used many straps over the last few years, either purchased or provided for by companies for reviews. I usually pass these on via our Facebook page or to people attending workshops. This strap however is going no where, it is a keeper. The attention to detail is beautiful, the neck pad is soft and subtle, forming to your neck or wrist when needed.
Suffice to say they have created a top quality product equal to any camera out there. Their range is ample, weather a small point and shoot or larger DSLR it seems they have you covered. My time with the strap has me totally recommending it over most straps on the market. The price is set well below it's value and I feel a no brainer purchase for anyone looking for something a little special for their camera of choice. Me and my Leica Q are happy campers indeed. Thanks AFshoot, 5/5 from us here at WECC. ... Now onto the Wrist strap, see ya in 3 months
Born and raised in Kharkiv in Ukraine, former USSR. Since 1990 living in Sweden. Kharkiv is known for its photo school. A group of photographers originating from there became representatives for the new Soviet photo art in the end of the eighties. Works in mixed techniques from hand colored black and white photos to conceptual investigations. Has been working as a head teacher at the photo school Kulturama in Stockholm for the past 7 years.
Founder and coordinator of the Ukrainian Photography Alternative (UPHA). Has been the curator of numerous international photographic projects.
I went to Hong Kong this year for a week trip. The idea was to stay in HK and also visit Macau (former Portuguese Colony). Since I started in the street photography genre (almost 7 years ago), I always wanted to go to Hong Kong, mainly due to the great photos I had seen taken in those streets. It’s a bit like Paris, you see great pictures from Bresson, Gautrand, Atget, Brassai (among others), and you just want to go there. To take your slice of the beauty, to be part. It was the same with HK for me. The difference was that the photos that drawn me to HK were not taken by “the great classic photographers”, this were contemporary photos taken by amateur streetphotographers that posts on flickr, 500px, etc. I will not mention anyone. They are a lot, and thats not the point. The point is that there are strong “photography culture” in HK, easily seen by the number of photography related stores, I’ve never seen so many in the same place. There’s that, I if you are in photography, you must go to HK.
So I’m going to HK, what equipment should I bring? The Leica M9, and maybe the MP to shoot some film was the obvious answer. It’s the system that I’m most used to. I’ve been using the Leica M system for about 6 years now almost exclusively for my street photography. But against all common sense I decide to go with the Fuji X system. I knew that HK was going to be intense, fast paced and maybe the AF would give me an edge. That and the fact, that I really wanted to put Fuji up for a real test in the field of street photography, and what a better place to do that than HK?
The Open Road: Photography and the American Road Trip
10 x 11 1/2 in. (25.4 x 29.21 cm)
300 duotone and four-color images
Hardcover with jacket
'The Open Road: Photography and the American Road Trip' is the first book to explore the photographic road trip as a genre. It opens with a comprehensive introduction, which traces the rise of road culture in America and considers photographers on the move across the country and across the century, from the early 1900s to present day.
Here, editor Denise Wolff, author David Campany, and featured photographers Joel Meyerowitz, Justine Kurland, and Todd Hido discuss the book, and their own relationship to the the road. 'The Open Road' is a visual tour-de-force, presenting the story of photographers for whom the American road is muse.
Source ( Aperture Foundation Vimeo)(http://atelierdyakova.com)
The Leicaflex SL and SL2 were manufactured by Leica in Wetzlar from 1968 to 1976, they are reputed to be the best made cameras in the history of photography. Despite being around twice the price of the equivalent Nikon F2 Photomic, Leica nevertheless made a loss on every camera produced.
In 1976 production was stopped, and the next R mount camera was the R3, which was based on the Minolta XE–1/XE–7 camera, this was first built in Wetzlar, and later in Portugal. Leica had been doing research on auto-focus for about 20 years and the project was called Correfot, the first prototypes were based around the Leicaflex SL2, later ones around the R3 and R4 (as an interesting side note, 5 Correfot prototypes were sold in the Westlicht auction on Dec. 5, 2009, Lot # 229 which sold for €50K). However Leica didn’t see a future in AF, and sold the technology to Minolta, who, in 1985 brought out the Minolta Maxxum 7000: the worlds first autofocus camera.
This August Andreas Kaufmann posted a photograph on Facebook of Lenny Kravitz shooting with a Leicaflex SL, I thought this was delightfully oblique, and it prompted me to buy a Leicaflex SL2 secondhand at a very modest price, it’s wonderfully made and just lovely to use, and my 41 year old beauty is still working perfectly.
Of course, the Leica SL might also be construed as Leica S L(ight), and the new camera does indeed take full advantage of the 7 years of in house development and interface design of the Leica S cameras. Added to which, Leica will provide an adapter which provides AF with S lenses.
I’m afraid that I’m as hooked on photographic forums and social media as many photographers. One of the special pleasures for me is to read the rumours about new camera introductions when I already know the truth; sometimes it’s really hard to stop oneself from making comments!
by Udi Tirosh
Well, lets just say I’ve gotten better at this over the last couple of years. The left image was one of the first I’ve “scanned” with my DSLR, and the one on the right I’ve just rescanned using the techniques described below (higher resolution available here). Right now I can get higher resolution and better image quality that what street labs give you on CD.
I’ve seen many articles on the web explaining the basics of digitising film negative or transparencies with a digital camera. The basics are quite simple: you take a photo of a negative into a light source and invert. That’s it. But that alone led me to scan negatives that looked like the one on the left, above. Because I’ve never seen one tutorial that told me “the whole story” of how to do it properly, I’ve decided to put together what I’ve learnt during the last two or three of years of scanning film with my DSLR.
These are my reasons, you may obviously have different ones. Some people do this because it’s faster than using a scanner, but that depends on how much time you spend post-processing, and I do spend a bit more than I would like to admit, but it is a time spent doing something that gives me pleasure, not pressing buttons on a poorly designed software and waiting for a tedious scan.
All the following instructions have the objective of achieving the best possible resolution, colour depth and dynamic range out of the film, while keeping image noise as low as possible. Also, I aimed at keeping the whole process as quick as possible. I think each time I’ve made a scan I’ve got better results than the time before, because I keep improving the process and now I’ve got to a stage I’m quite happy with the results.
I’ve separated this tutorial into five sections, and you may want to skip, or skim through some of these.
LEICA. DAS WESETLICHE.
A celebration of photography.
For more than 100 years, Leica's thoughts and actions, and their passion, have been dedicated to only one thing – creating the perfect picture. With products that are always focused on “Das Wesentliche”, the essentials, they provide photographers around the world with the ideal tools for capturing the decisive moment and for bringing their own vision to life. This tradition is what drives them to achieve and gives them the power to reinvent themselves time and again. The outcome is a portfolio of cameras and lenses that redefine the status quo as we know it and have one thing in common, despite a century of progress: a focus on “Das Wesentliche” – in other words, the picture.
We cordially invite you to a celebration of photography in the spirit of “Das Wesentliche”. On November 16 in Sydney and November 19 in Brisbane where everything in our venues will revolve around the fascinating nature of pictures and the exclusive presentation of a new milestone in the Leica Camera product range - The Leica SL TYPE 601. Be one of the first to experience the next chapter in the history of professional photography, a historic moment that begins right here and now and will shape the future.
Register your attendance by reserving your ticket before November 12.
Tickets for our Brisbane event, November 19 at Corbett & Claude's: -
STOCK WILL BE AVAILABLE FOR PURCHASE ON THE NIGHT