I was out in NYC a couple of days ago and I came across 3 people with Leica M9's. It made me think about this Daido Moriyama video about being a slave to the camera and using a compact P&S. http://www.youtube.com/watch?v=tXghTaROw9A
Jeffrey Friedl, whom some of you know, (he provides the the Lightroom SM upload plugin and other such.) lives in Japan and has this to say about that Youtube video:
(Posted with his permission)
I don't know whether it comes across in the text, but the guy felt like a
real slimeball to me, as if the only reason he's into photography is
because he think's it's a socially acceptable way to visually feel up
high-school girls from afar. The way he talked just gave me the creeps.
Judging from the examples that were shown, his work has no value whatsoever
to me. None. I can't imagine that it has value for anyone else, either, but
despite what he says about it not being art, "beauty is in the eye of the
beholder" is the only possible explanation for any attraction shown to the
crap he puts out.
But no, other than that, I don't really have an opinion one way or the
other. I'm not real opinionated about these things. :-)
The YouTube video that Jeffrey mentions is a much better, overall, Street Photography video.
Don
Don Ricklin - Gear: Canon EOS 5D Mark III, was Pentax K7
'I was older then, I'm younger than that now' ....
My Blog | Q+ | Moderator, Lightroom Forums | My Amateur Smugmug Stuff | My Blurb book Rust and Whimsy. More Rust , FaceBook.
Hmmmm...... Street isn't my forte but having bought an Olympus E-PL1 for travel, and subsequently used it for street, I'd say this is it for me. I'm also trying to decide between the Panasonic 20mm and Olympus 17mm lenses. I love fast but am painfully aware I've always been more comfortable a little wider.
That said, I've never really had a problem using my Olympus E-30 in the street (in reality, for me at least, landscape photography that happens to be in the street) though I can see me making exposures with the Pen that I wouldn't with the DSLR....
Jeffrey Friedl, whom some of you know, (he provides the the Lightroom SM upload plugin and other such.) lives in Japan and has this to say about that Youtube video:
(Posted with his permission)
The YouTube video that Jeffrey mentions is a much better, overall, Street Photography video.
Jeffrey lives in Japan and understands the language. Do you?
Don
Don Ricklin - Gear: Canon EOS 5D Mark III, was Pentax K7
'I was older then, I'm younger than that now' ....
My Blog | Q+ | Moderator, Lightroom Forums | My Amateur Smugmug Stuff | My Blurb book Rust and Whimsy. More Rust , FaceBook.
Jeffrey lives in Japan and understands the language. Do you?
Don
and what does that have to do with this ?
The fact he doesn't know who Araki or Daido is by calling one of them "the guy" says a lot. They are the two most prolific Japanese photographers alive with over 200 books between them. The statement "Judging from the examples that were shown, his work has no value whatsoever
to me. None. I can't imagine that it has value for anyone else, either, but
despite what he says about it not being art, "beauty is in the eye of the
beholder" is the only possible explanation for any attraction shown to the
crap he puts out." tells me that this guy is clueless.
It's exactly this kind of closed mindlessness that can keep a photographer from being a great photographer.
Is it his method or his photography you don't like ?
Both, actually, because the photography has become the method, or vice versa. The idea that by popping a flash in the face of an unsuspecting person somehow reveals the inner person is utter nonsense; what it does guarantee that the photographer will capture someone at his or her 'worst.' I think that Gilden and Diane Arbus have a great deal in common, in that I see both working out their issues on their subjects. (No, I am not a fan of Arbus, who I believe abused her subjects. But I know I am in a tiny minority, and that she is considered a giant of the medium by most critics and many photographers.)
By the way, the woman who is TAing for me in my two classes this semester did a workshop with Gilden last fall and describes the week as one of the worst experiences of her life - he apparently spent the week trying to turn the students into mini-Gildens, rather than helping his students develop their vision and style.
Both, actually, because the photography has become the method, or vice versa. The idea that by popping a flash in the face of an unsuspecting person somehow reveals the inner person is utter nonsense; what it does guarantee that the photographer will capture someone at his or her 'worst.' I think that Gilden and Diane Arbus have a great deal in common, in that I see both working out their issues on their subjects. (No, I am not a fan of Arbus, who I believe abused her subjects. But I know I am in a tiny minority, and that she is considered a giant of the medium by most critics and many photographers.)
By the way, the woman who is TAing for me in my two classes this semester did a workshop with Gilden last fall and describes the week as one of the worst experiences of her life - he apparently spent the week trying to turn the students into mini-Gildens, rather than helping his students develop their vision and style.
Some good points and agree with the Arbus comparison. While I don't usually criticize people's methods I can see where his is confrontational and find it bizarre that he would want a bunch of mini-Gildens running around but it does backup your theory. He does have some photographs I like such as the "Man In World Trade Center Attack Aftermath" and his photographs in " New Yorkers as seen by Magnum Photographers".
Don't know how I feel about Arbus. I read a really great bigraphy of her a few years ago. I like the resutls she produced, but I get the idea that she was somewhat abusive to her subjects, and in general a bit of a psycho.
Off that topic, I've been looking for something digital that is analagous to a rangefinder, and I'm interested to see folks using the GF1 and the D-Lux. IIRC, these don't have optical viewfinders. While I was in Italy this week I had the chance to futz about with my travelling companion's s90, and liked the picture quality. But I found the lack of optical viewfinder distracting. It seems to me that you have to hold the camera in an entirely different fashion- one that doesn't feel too comfortable to me.
Do you guys who are using this type of equipment feel the same way, or did you eventually get used to it?
Don't know how I feel about Arbus. I read a really great bigraphy of her a few years ago. I like the resutls she produced, but I get the idea that she was somewhat abusive to her subjects, and in general a bit of a psycho.
Off that topic, I've been looking for something digital that is analagous to a rangefinder, and I'm interested to see folks using the GF1 and the D-Lux. IIRC, these don't have optical viewfinders. While I was in Italy this week I had the chance to futz about with my travelling companion's s90, and liked the picture quality. But I found the lack of optical viewfinder distracting. It seems to me that you have to hold the camera in an entirely different fashion- one that doesn't feel too comfortable to me.
Do you guys who are using this type of equipment feel the same way, or did you eventually get used to it?
I have a Leica D-Lux 4 and I really like the camera. Yes sometimes it can be strange framing a shot, for the first two months I had it I kept hitting myself in the nose trying to bring it up to my eye like an SLR. I'm an actually in the market for a new compact because my girlfriend uses the D-Lux so much.
Don't know how I feel about Arbus. I read a really great bigraphy of her a few years ago. I like the resutls she produced, but I get the idea that she was somewhat abusive to her subjects, and in general a bit of a psycho.
Off that topic, I've been looking for something digital that is analagous to a rangefinder, and I'm interested to see folks using the GF1 and the D-Lux. IIRC, these don't have optical viewfinders. While I was in Italy this week I had the chance to futz about with my travelling companion's s90, and liked the picture quality. But I found the lack of optical viewfinder distracting. It seems to me that you have to hold the camera in an entirely different fashion- one that doesn't feel too comfortable to me.
Do you guys who are using this type of equipment feel the same way, or did you eventually get used to it?
I try to say away from the 'equipment wars,' but I must admit I have a major crush on the Lumix GF1. I use it with the electronic finder, and have also been using it with a Cosina 40 mm optical finder (I'm using the 20 1.7 fixed focal length lens). With the optical finder, and the autofocus spot properly positioned, the GF1 is the closest thing you'll ever find to the Leica CL of yore. Almost everything I've posted for the past couple months was shot with the GF1 and the 20 1.7. And I have to say the camera is built like a little tank. When I was in NYC a few weeks ago I had the strap wrapped around my hand and - incredibly foolishly - flipped the camera over my shoulder and onto my back (I thought!). Actually, the strap slipped and I was flinging the camera through the air, in an arc, onto the NYC sidewalk a good six-eight feet behind me. The camera landed on the corner of the bottom, took a dent on the edge, and sprang a small gap between the front and back pieces of the metal case along the bottom. BUT - No cracks in the LCD; no problems with the lens or autofocus; no issues with electronics. The camera is functioning PERFECTLY, although it looks a bit sad with black duct tape covering the bottom. Not many cameras - particularly digitals - would have survived that bashing. (Do NOT, however, try that at home.) It certainly tells me that the camera is well built.
Anyway, I would like a 14 f 1.7, 2, or even 28, as I'd like the equivalent of a 28 mm lens. But that complaint aside, it's a terrific little camera that turns out big camera results. End of sales pitch.
Some good points and agree with the Arbus comparison. While I don't usually criticize people's methods I can see where his is confrontational and find it bizarre that he would want a bunch of mini-Gildens running around but it does backup your theory. He does have some photographs I like such as the "Man In World Trade Center Attack Aftermath" and his photographs in " New Yorkers as seen by Magnum Photographers".
Agree on the World Trade Center photo; haven't seen the New Yorker's book yet.
I have the 5dii with the prime 35 which is a wonderful combination but lately I have been using my 1970s canonet with provia more, at least for personal work. If I had the money I'd get the M9 with the 35 (instead I'm getting a 4x5 press camera with a WWII aerial lens but that's another story).
I know some wonderful street photographers who are in love with the M9, and say this new version is much closer in aesthetic to film right out of the gate than any other digital they have used before. Nick Turpin wrote a nice piece on his blog about the camera ... and it's a wonderful thoughtful blog on street photography in general. He does good work in, ahem, color, too.
I have the 5dii with the prime 35 which is a wonderful combination but lately I have been using my 1970s canonet with provia more, at least for personal work. If I had the money I'd get the M9 with the 35 (instead I'm getting a 4x5 press camera with a WWII aerial lens but that's another story).
I know some wonderful street photographers who are in love with the M9, and say this new version is much closer in aesthetic to film right out of the gate than any other digital they have used before. Nick Turpin wrote a nice piece on his blog about the camera ... and it's a wonderful thoughtful blog on street photography in general. He does good work in, ahem, color, too.
Yes, I got my copy a little while back. Publication is great stuff and the loose cardstock prints that came with it are wonderful (I'd order anything with Trent Parke and Narelle Autio in it ...). Turpin also started In-public which is an incredible resource of great contemporary street photography. But I am sure you already know that ;-))
Yes, I got my copy a little while back. Publication is great stuff and the loose cardstock prints that came with it are wonderful (I'd order anything with Trent Parke and Narelle Autio in it ...). Turpin also started In-public which is an incredible resource of great contemporary street photography. But I am sure you already know that ;-))
I have number 728/2000, I can't wait for the second issue to come out.
I try to say away from the 'equipment wars,' but I must admit I have a major crush on the Lumix GF1.
David Alan Harvey is in love with his as well ... he just posted that he's using it 90 percent of the time. While he used an M9 and a Nikon digital on his most recent NatGeo assignment in Rio (still in progress), I believe he also used the GF1. It will be interesting to see if any of those images make the final cut.
There have been a lot of people waiting for a real APS type sensor in a range finder type body style, and it looks like they are finally starting to wander out of the design labs.
The NEX-5 looks quite interesting to me, it is even smaller than a GF-1.
There have been a lot of people waiting for a real APS type sensor in a range finder type body style, and it looks like they are finally starting to wander out of the design labs.
The NEX-5 looks quite interesting to me, it is even smaller than a GF-1.
It does look smaller than the GF1, and believe it or not, that begins to worry me. I want something compact, but I also want something that works ergonomically, that feels good in my hands, and balances well with its lenses. For my hands, the GF1 is right on the razor's edge between great and too small. Anything smaller, and it just doesn't 'hold right.'
It does look smaller than the GF1, and believe it or not, that begins to worry me. I want something compact, but I also want something that works ergonomically, that feels good in my hands, and balances well with its lenses. For my hands, the GF1 is right on the razor's edge between great and too small. Anything smaller, and it just doesn't 'hold right.'
I agree, the GF1 feels almost perfect. My concerns about the Sony camera are the controls and Sony only lenses.
It does look smaller than the GF1, and believe it or not, that begins to worry me. I want something compact, but I also want something that works ergonomically, that feels good in my hands, and balances well with its lenses. For my hands, the GF1 is right on the razor's edge between great and too small. Anything smaller, and it just doesn't 'hold right.'
Yes that is the failing (for me) of the S90. I've already dropped it twice !
Comments
(Posted with his permission)
The YouTube video that Jeffrey mentions is a much better, overall, Street Photography video.
Don
'I was older then, I'm younger than that now' ....
My Blog | Q+ | Moderator, Lightroom Forums | My Amateur Smugmug Stuff | My Blurb book Rust and Whimsy. More Rust , FaceBook .
That said, I've never really had a problem using my Olympus E-30 in the street (in reality, for me at least, landscape photography that happens to be in the street) though I can see me making exposures with the Pen that I wouldn't with the DSLR....
Jeffrey sounds like he has problems of his own.
Well he may, but I have to say he sure pegs the Bruce Gilden thing right - IMHO.
"He not busy being born is busy dying." Bob Dylan
"The more ambiguous the photograph is, the better it is..." Leonard Freed
Jeffrey lives in Japan and understands the language. Do you?
Don
'I was older then, I'm younger than that now' ....
My Blog | Q+ | Moderator, Lightroom Forums | My Amateur Smugmug Stuff | My Blurb book Rust and Whimsy. More Rust , FaceBook .
and what does that have to do with this ?
The fact he doesn't know who Araki or Daido is by calling one of them "the guy" says a lot. They are the two most prolific Japanese photographers alive with over 200 books between them. The statement "Judging from the examples that were shown, his work has no value whatsoever
to me. None. I can't imagine that it has value for anyone else, either, but
despite what he says about it not being art, "beauty is in the eye of the
beholder" is the only possible explanation for any attraction shown to the
crap he puts out." tells me that this guy is clueless.
It's exactly this kind of closed mindlessness that can keep a photographer from being a great photographer.
Is it his method or his photography you don't like ?
Both, actually, because the photography has become the method, or vice versa. The idea that by popping a flash in the face of an unsuspecting person somehow reveals the inner person is utter nonsense; what it does guarantee that the photographer will capture someone at his or her 'worst.' I think that Gilden and Diane Arbus have a great deal in common, in that I see both working out their issues on their subjects. (No, I am not a fan of Arbus, who I believe abused her subjects. But I know I am in a tiny minority, and that she is considered a giant of the medium by most critics and many photographers.)
By the way, the woman who is TAing for me in my two classes this semester did a workshop with Gilden last fall and describes the week as one of the worst experiences of her life - he apparently spent the week trying to turn the students into mini-Gildens, rather than helping his students develop their vision and style.
"He not busy being born is busy dying." Bob Dylan
"The more ambiguous the photograph is, the better it is..." Leonard Freed
Some good points and agree with the Arbus comparison. While I don't usually criticize people's methods I can see where his is confrontational and find it bizarre that he would want a bunch of mini-Gildens running around but it does backup your theory. He does have some photographs I like such as the "Man In World Trade Center Attack Aftermath" and his photographs in " New Yorkers as seen by Magnum Photographers".
Off that topic, I've been looking for something digital that is analagous to a rangefinder, and I'm interested to see folks using the GF1 and the D-Lux. IIRC, these don't have optical viewfinders. While I was in Italy this week I had the chance to futz about with my travelling companion's s90, and liked the picture quality. But I found the lack of optical viewfinder distracting. It seems to me that you have to hold the camera in an entirely different fashion- one that doesn't feel too comfortable to me.
Do you guys who are using this type of equipment feel the same way, or did you eventually get used to it?
I have a Leica D-Lux 4 and I really like the camera. Yes sometimes it can be strange framing a shot, for the first two months I had it I kept hitting myself in the nose trying to bring it up to my eye like an SLR. I'm an actually in the market for a new compact because my girlfriend uses the D-Lux so much.
I try to say away from the 'equipment wars,' but I must admit I have a major crush on the Lumix GF1. I use it with the electronic finder, and have also been using it with a Cosina 40 mm optical finder (I'm using the 20 1.7 fixed focal length lens). With the optical finder, and the autofocus spot properly positioned, the GF1 is the closest thing you'll ever find to the Leica CL of yore. Almost everything I've posted for the past couple months was shot with the GF1 and the 20 1.7. And I have to say the camera is built like a little tank. When I was in NYC a few weeks ago I had the strap wrapped around my hand and - incredibly foolishly - flipped the camera over my shoulder and onto my back (I thought!). Actually, the strap slipped and I was flinging the camera through the air, in an arc, onto the NYC sidewalk a good six-eight feet behind me. The camera landed on the corner of the bottom, took a dent on the edge, and sprang a small gap between the front and back pieces of the metal case along the bottom. BUT - No cracks in the LCD; no problems with the lens or autofocus; no issues with electronics. The camera is functioning PERFECTLY, although it looks a bit sad with black duct tape covering the bottom. Not many cameras - particularly digitals - would have survived that bashing. (Do NOT, however, try that at home.) It certainly tells me that the camera is well built.
Anyway, I would like a 14 f 1.7, 2, or even 28, as I'd like the equivalent of a 28 mm lens. But that complaint aside, it's a terrific little camera that turns out big camera results. End of sales pitch.
"He not busy being born is busy dying." Bob Dylan
"The more ambiguous the photograph is, the better it is..." Leonard Freed
Agree on the World Trade Center photo; haven't seen the New Yorker's book yet.
"He not busy being born is busy dying." Bob Dylan
"The more ambiguous the photograph is, the better it is..." Leonard Freed
http://www.engadget.com/2010/05/11/sony-nex-5-is-small-really-really-small-video/
I know some wonderful street photographers who are in love with the M9, and say this new version is much closer in aesthetic to film right out of the gate than any other digital they have used before. Nick Turpin wrote a nice piece on his blog about the camera ... and it's a wonderful thoughtful blog on street photography in general. He does good work in, ahem, color, too.
He also does a great magazine too.
Yes, I got my copy a little while back. Publication is great stuff and the loose cardstock prints that came with it are wonderful (I'd order anything with Trent Parke and Narelle Autio in it ...). Turpin also started In-public which is an incredible resource of great contemporary street photography. But I am sure you already know that ;-))
I have number 728/2000, I can't wait for the second issue to come out.
Did you see the video I posted of Trent Parke ?
Me too. While I'm throwing out links, I really like Still Dancing too. I keep coming back to Oleg Klimov's From the River to the Sea there.
David Alan Harvey is in love with his as well ... he just posted that he's using it 90 percent of the time. While he used an M9 and a Nikon digital on his most recent NatGeo assignment in Rio (still in progress), I believe he also used the GF1. It will be interesting to see if any of those images make the final cut.
This camera is starting to scare me.
$540 w/lens and look at the iso performance
http://www.dpreview.com/galleries/reviewsamples/albums/sony-alpha-nex-5-preview-samples/slideshow
Good God! I even like the noise it produces at 12,800(!) ISO (go to SAMPLE 29)
"He not busy being born is busy dying." Bob Dylan
"The more ambiguous the photograph is, the better it is..." Leonard Freed
The NEX-5 looks quite interesting to me, it is even smaller than a GF-1.
Moderator of the Technique Forum and Finishing School on Dgrin
_________
It does look smaller than the GF1, and believe it or not, that begins to worry me. I want something compact, but I also want something that works ergonomically, that feels good in my hands, and balances well with its lenses. For my hands, the GF1 is right on the razor's edge between great and too small. Anything smaller, and it just doesn't 'hold right.'
"He not busy being born is busy dying." Bob Dylan
"The more ambiguous the photograph is, the better it is..." Leonard Freed
I agree, the GF1 feels almost perfect. My concerns about the Sony camera are the controls and Sony only lenses.
Yes that is the failing (for me) of the S90. I've already dropped it twice !
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Yes, but did it bounce?
(mmm… idea here for a completely new thread… …Strappage anyone?)
- Wil
Wrist strap ?