I love the Leica Q. It absolutely rocks!
Now I have got that out of the way, I just wanted to whip up an image taken this morning while Nick & I strolled through Southbank with a friend of ours, Hannah. Unfortunately for her, we continuously make her stand in front of the camera and today was no different. I really have wanted to use the DXO Film Pack 5 software and this seemed like the perfect opportunity
Starting from left to right we have
- The straight image
- Adobe Lightroom with simple adjustments
- Photoshop, bit of a clean up
- DXO Film Pack 5 Adox CMS 20 Preset
Talk about sharp, even wide open at 1.7 this 28mm lens is tack sharp corner to corner. What a dream lens.
DXO really have some fine presets, the Software itself is 'standalone' easy and intuitive to use. I do think they have many of the presets I use down pat. I was a avid Tri-X & HP5+ user for most of my film, these presets are spot on. I would even go as far as to say they give Google's 'Silver Efex Pro 2' a run for their money. Although not as complex as SEP2, DXO does it's job well and is really worth considering especially if you take your film presets seriously.
There is no doubt for me that post processing digital files is a must. I just can't stand strait digital files, its like watching a Soup opera on T.V flat and tacky. The Q files are a great starting point but DXO Filmpack 5 has a great selection of offerings that are just worth the mouse click.
I'm not going to harp on much longer, I just wished to grab another image taken on the Fujifilm XE-1 and give a couple of examples for a Software comparison.
These are just Strait files no tweaking. Just an example how the different software options handle the strait file. Again I must add that the image above is shot using a Fujifilm XE-1. I had these files already to go for another post, hope you don't mind
All raw files were reset to a standard daylight white balance of 5500K and no tint in either green or magenta. The cameras were all shooting at ISO 320, f/2.8 at 1/125th shutter speed.
The biggest difference was actually between the two Leica sensors from the M 240 and the M9 as you'll see.
As you can see, there is very little difference between the two lenses. I found that the bokeh is slightly circularly distorted around the edges on the Zeiss Biogon lens, but it is hardly noticeable. The Leica Summarit lens had a very slight magenta tint, but nothing to worry about and easily adjusted.
As you can see, the biggest difference is between the M 240 and M9 sensors. The M9 CCD has quite a noticeable green shift from the M 240 file. While lenses can have subtle colour and contrast differences, you'll often see the bigger differences between camera models, just like you would with choosing difference film stocks.
review images by Nick Bedford
Alana Tyler Slutsky shares with the readers of FashionPhotographyBlog.com, the processes she goes through in her workflow. After revealing her tips for the photographic workflow, Alana explains that there are two types of workflow that photographers should pay attention to. In this article she will be discussing the other half of the equation, that is, the digital workflow process. Let’s jump right into it! All yours Alana!
This applies to everything that involves a computer, bring images in from the camera to prepping for print.
– Download directly to your hard drive – do not bring in via iPhoto or another photo program – This causes problems and confusion when trying to rename and separate individual images.
– Create an organized file structure so you can find anything at a moments notice.
– Bring images into Photoshop to retouch
Feature image & images 1-6: courtesy of Alana Tyler Slutsky
GUP CELEBRATES ITS 10TH ANNIVERSARY WITH AN OPEN CALL FOR SUBMISSIONS!
This is big. GUP Magazine will be celebrating its 10th anniversary this year, in October. To celebrate the occasion, we're announcing an OPEN CALL from photographers worldwide for issue #47, which will hit streets in November just after our anniversary date.
GUP Magazine is printed with each issue centred around a theme, with photo series, books, interviews and articles chosen for the issue based primarily on their relationship to that theme. For this reason, submissions are typically not accepted for the print issue, which makes the anniversary issue’s open call a unique opportunity for photo-based artists who wish to see their images appear in a high-quality print publication. The open call does not require that photographers adhere to a given theme, but rather they are encouraged to submit coherent and well-developed conceptual photo series containing a minimum of ten images. Both established and emerging photographers are encouraged to submit, though preference will be given to series that have not previously been published.
Submissions are typically not accepted for the print issue, which makes the anniversary issue’s open call a unique opportunity
The submissions period opens on June 1, 2015 and will close August 31, 2015. Photographers worldwide of any age and professional stature are invited to submit their photo series. There are no requirements related to the theme of the submissions nor aesthetic style, the series should only be contemporary and conceptual art photography.
Up to 10 photo series may be selected for inclusion in GUP’s anniversary issue, depending on the quality of submissions. Artists who are selected for the issue will be notified by mid-October 2015.
Photography Lesha Berezovskiy | Text Anastasiia Fedorova
You remember Kiev from news reports of the revolution last year when droves of young people joined the rebellion against the corrupt government. The battle on the street has finished but the spirit lives on, particularly amongst a growing generation of artist and photographers (see: Vova Vorotniov, Gorsad, Sasha Kurmaz) merging personal politics into their works alongside prolific underground rave and music scenes that could easily be the best in the world.
ondon Street photographer, Gagan Sadana, states, “One cannot be trained to be a street photographer. You surely need to have an eye for detail and finding something worth telling through a picture, even in the mundane day-to-day things.” Sadana lives his words. His street images are real, they are compelling… they are mirrors reflecting life in the streets of London. Gagan’s natural feel for great frames is surpassed only by his brilliant use of strong contrast. Mono has never looked better.
I am an IT consultant based in the UK. I started my photography journey 3 years ago after I picked up my first DSLR camera. I ventured into street photography inspired by Thomas Leuthard's work and since then have been passionately pursuing this genre. I am a member of the Street Photography London Collective, which is comprised of some of London's best contemporary street photographers as well as up-and-coming ones. Gagan Sadana
WSP: Describe your photographic style. How did you develop your style?
GS: My photographs usually have a single subject and strong contrast. My first year of street photography was spent learning what I really liked to shoot. With so many styles of street photography, trying on each different style was a learning process. At that time I was also developing my own style and trying to understanding how I could best show my way of viewing things. After a year of shooting and experimenting, I decided on predominantly black & white.
Queensland Art Gallery, Stanley Place, Cultural Precinct, South Bank
From 4 Jul to 11 Oct 2015
ain a comprehensive understanding of how Australia has been shaped by photography.
Tracing its evolution from the 1840s to today, this exhibition features many iconic Australian images and proposes a new way of thinking about the connections between photography, place and identity
Sourced from more than 35 private and public collections across Australia, New Zealand and England, the exhibition features over 650 works by renowned artists, as well as images by unknown photographers and everyday material such as family albums and postcards.
'The Photograph and Australia' is an Art Gallery of New South Wales touring exhibition.
Meta35 – Metadata for film photographers
Promote Systems, a company from the US has decided to try and help film photographers wrestle their workflow into some kind of manageable beast, by coming up with some very innovative software that can help you insert data about your images into your scanned images. Sounds cool right?
Now this is a pretty cool idea. Metadata for film photographers. But before you run around the room screaming with joy at all the time you are going to save on your workflow there are a few things that you should know. It doesn’t work on all cameras. Simple really, if your camera doesn’t record data anyway then you are out of luck. But, if you do shoot one of the later SLR cameras, such as the EOS1 or the F100 then you are riding the gravy train.
HOT on the heels of our 'Great Ocean Roadtrip' we are ready to bring everyone together again for a chat and walk after some great Coffee and breakfast at Blackstar West End.
Sunday at 8:00am
44 Thomas St West End QLD 4101, Brisbane
See the personal and the political explored by award-winning photojournalists from around the world.
The 58th annual World Press Photo exhibition profiles the globe’s top press photographers and showcases the world’s best press photos in categories ranging from news to nature and portraiture photography.
This year 5,692 photographers from 131 countries submitted 97,912 images across eight categories in the competition.
The prestigious World Press Photo of the Year was awarded to Mads Nissen of Scanpix/Panos Pictures. The image shows Jon and Alex, a gay couple, experiencing an intimate yet dangerous moment in St. Petersburg, Russia – a place known for its firm anti-LGBTQ stance.
For LGBTQ communities in Russia, life is becoming increasingly difficult. Sexual minorities face legal and social discrimination, harassment, and even violent hate-crime attacks from conservative religious and nationalistic groups.
Don’t miss this opportunity to see some of the world’s most compelling photographs.
You’re invited to view the exhibit at the Opening Night Celebrations on Fri 07 August at 6pm.
World Press Photo receives support from the Dutch Postcode Lottery and is sponsored by Canon.
TIMES Mon 9am–5pm Tue–Sun 9am–9pm
VENUE Brisbane Powerhouse Foyers + Turbine Studio
By OZ YILMAZ
Leica lenses are legendary and durable yet some of these legendary lenses are beyond most people's budgets. For example, Leica Noctilux with an aperture of f/0.95 sells over 4 digits in U.S. dollar terms. Of course, there can only be a limited number of these amazing lenses in production which of course results in a production cost that some would consider expensive or unattainable.
Personally, I feel there is nothing like a Leica Noctilux whether it is made in the 60's or now. They provide a tool that no other lens can provide with an aperture setting of f/0.95 one can attain a very shallow depth of field. For most everyday users this option may not be very exciting feature, especially if one is using this lens at apertures other then widest f stop.
Martin Parr Chinatown 1984 SOLD OUT
Martin Parr (born 23 May 1952) is a British documentary photographer, photojournalist and photobook collector. He is known for his photographic projects that take an intimate, satirical and anthropological look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world. His major projects have been rural communities (1975–82), The Last Resort (1983–85), The Cost of Living (1987–89), Small World (1987–94) and Common Sense (1995–99).
Since 1994, Parr has been a member of Magnum Photos. He has had around 40 solo photobooks published, and has featured in around 80 exhibitions worldwide – including the international touring exhibition ParrWorld, and a retrospective at the Barbican Arts Centre, London, in 2002.
Source (http://www.caferoyalbooks.com) words (https://en.wikipedia.org)
'The Man maketh the image (or women)'.
I know many of us megageekles like to point out the benefits of pixelcount and distortion ratio and Zeiss vs this or that. Sufice to say way back In 2001 Professionalas all salivated over the Nikon D1X and its 5.3 effective mega-pixels. Everything proffesional fashion, Sports, Social documentary, whatever was shot using it so end of story.
Now that gripes out of the way, and we all agree great pictures have been taken on below par equipment (compared to todays standards), I will say, sometimes 'Equipment does Maketh the Man (or women) kinda'
Sam Herd is one talented photographer and although he primarily does weddings, he just nails a Portrait whenever he has the oportunity. One part of his kit is an interesting one, a Nikkor 50mm f/1.2. It has helped create a style and look like a fingerprint on his pictures. His diliberate choice of the Manual Nikkor definetly 'Maketh the Image'
I overslept. A long night the previous evening judging a print competition for the Capital Hill Photographers group had me in bed way later than usual. I knew Gary Sinise would be speaking at the National Press Club 9am-10am for a breakfast luncheon, but had completely forgotten that driving down from Baltimore to DC in the mornings can be Amrgeddeon (see what i did there…?!). Out the door at 8:15am and who pulls in my driveway? None other than the electrician that was going to be doing work on my house the entire day! He needed me to run through the detailed list I had e-mailed him of all the work. So, there goes another 15 mins. 8:30am and I’m in my car. Pulling out I hear the nicest sounding nightmare I could imagine – gas alert sound came on as I was running on empty. Pull around to my closest gas station and it’s totally full. Pull around to the second closest and I finally put $20 in and speed away. Traffic is looking dicey. Puts me where I need to be at 10:11am – 11 mins after Sinise is done addressing the press and supposed to be doing photos. Tapping up my collection of Waze, Tom-Tom, Google Maps, and Apple Maps I decide that Tom-Tom would be the best approach and head on.
Engström wins it with the series Tout Va Bien.
The depiction of the relationship between man and their environment in a series of photographs captured with incisive powers of observation is and remains the mission of the Leica Oskar Barnack Award. Leica Camera AG is presenting the prestigious awards for the 35th time and now, in 2015, has increased the value of the cash prizes once again. The winners of this year’s competition have now been chosen.
First place in the main category, honoured with a cash prize of 25,000 euros and a Leica M camera and lens, goes to JH Engström for his series titled Tout Va Bien.
Tout Va Bien does not handle a concrete subject in the traditional sense. The Swedish photographer JH Engström intends his project to be seen much more as visual poetry – a photographic narrative with strong autobiographical elements. Despite this, it does not exclusively depict aspects of his own life. Tout Va Bien is a sequence of widely differing images. The winning series includes both portraits and landscapes, as well as bizarre snapshots like the photograph of the birth of his twins. The photographer also switches between exposures in black and white and colour. Engström plays with contrasts and leaves it to viewers to find their own ways of reading and interpreting each picture. The complete project comprises 90 images and will be published in book form by Aperture in July.
It took root in New York in the 60s and 70s with compelling images of street life that captured the heart of the city. But anxieties about privacy, terrorism, and paedophilia have conspired to make the art of street photography ever more difficult. Sean O'Hagan recalls the movement's heyday and charts today's pioneers
Back in the 1960s, when New York was the centre of street photography, the main practitioners of the form would sometimes cross paths. Lee Friedlander was friends with Garry Winogrand who often met Joel Meyerowitz as they crisscrossed Manhattan and beyond on the prowl for pictures that caught the city's tempo, its myriad everyday dramas, and its citizens at work and at play.
In terms of personality, Winogrand was easily the most aggressive. Friedlander later said of him, only half-joking, "He was a bull of a man and the world was his china shop." Meyerowitz later recalled how Winogrand "set a tempo on the street so strong that it was impossible not to follow it. It was like jazz. You just had to get in the same groove."
From the desk of Pau Ll. Buscató:
Street Photography is difficult and demanding, but at the same time very rewarding when you collect the fruits of your hard work. It asks you to be 100% into it but the average rate of really successful shots is around 0,1% or less. That means you’ll need a lot of patience and persistence.
The EyeEm team asked me to write a list of important things to have in mind when approaching this kind of photography, and here are 10 that have helped me in both practical and more inspirational ways. Scroll down to read them!
1. Avoid gear distractions
Minimising your photo equipment to the basics will help you focus on what really matters: the photographs. Pick one camera/lens and stick to it for a long time in order to master it and use it instinctively on the streets.
LaToya Ruby Frazier grew up in the shadow of a steel mill in Braddock, Pennsylvania. The mill, a few miles up the river from Pittsburgh, has been in continuous operation since 1875, and the nearby land has long suffered the ravages of its toxic waste—as have the people living around it. That’s the subject of the 33-year-old Frazier’s unsparing new book, The Notion of Family, which compiles a decade of collaborative portraits of the women in her family alongside photographs documenting Braddock’s broader demise, particularly as it affects its black population. We spoke over the phone about making art in a poor town and how young photographers can learn to wield their cameras like self-protective weapons.
Q. What inspired you to start your project in Braddock?
In my photography class at Edinboro University of Pennsylvania, my mentor, Kathe Kowalski, had us read the book Camera Lucida by Roland Barthes. He’s a theorist, and he uses two terms to describe the essence and the power of a photograph: a punctum and a studium. A punctum is a thing that you see in the image that pricks you and moves you. The studium is the subject in the photograph. So our assignment was to find an image that had a punctum and a studium and bring it in.
The next class, everyone is circulating their images, and we get to Dorothea Lange’s iconic photo, Migrant Mother. Everyone was saying, “It’s Dorothea Lange, you know, and it comes from Franklin Delano Roosevelt’s New Deal, during the Great Depression, where the Farm Security Administration sent photographers to the South.” But no one ever said who the lady in the photo was. I wanted to know this woman’s name. Here she is in this iconic American image, but they don’t really acknowledge her. In that very moment, the light bulb went off for me.
I identified with her social and economic struggle because of where I’m from. Her name was Florence Owens Thompson. So I set out asking myself one question: if Florence Owens Thompson could make her own self-portraits, what would they look like? I began collaborating and making portraits with my mother and my grandmother, thinking about how to reclaim our agency, and how to impact the narrative and the history that comes out of Braddock. Historically, there are no stories about women—let alone African-American women—in steel mill towns. They don’t exist.