Reflections of sky, Kuala Lumpur. Leica M9-P, 35/1.4 ASPH FLE
POTD: Last cloud of the day
February 22, 2012 by
Sunset, Prague. Leica M9-P, 50/1.4 ASPH
My inner Magritte is trying to escape again. I love the contrast between the hard edges of the silhouetted branches and the soft roundness of the cloud in the sky; there’s also a nice compliment between the warm tones of the cloud and the coolness of the sky. If you wanted to be even more philosophical, I suppose you could say that the image is a metaphor for life or existence or the human condition or something similar – the cloud (warm, fuzzy, ephemeral, fragile, etc) against the cold, harsh, unforgiving (poky?) realities of its environment. MT
My Tokyo travel PJ workshop in partnership with Leica is now open for booking!
February 20, 2012 by
Travel photojournalism during Golden Week in Japan – it doesn’t get much better than this. Course date from 28 April to 3 May 2012, with very limited seats – content will be tailored to the participants – with options for flights departing Kuala Lumpur or accommodation + workshop only – please contact either me or George Wong at Leica ([email protected]) for more info! MT
POTD: For children of all ages.
February 19, 2012 by
Lego Museum, Prague. Leica M9-P, 28/2.8 ASPH
I freely admit to having a fascination with Lego since a very young age. I’m pretty sure it’s because it gave the creative side of me an outlet, and the type A side of me a chance to solve problems and take on challenges which nobody else – or so I thought at the time – had done, for instance trying to build a working helicopter – which of course failed. I recently revisited it after a nearly 10 year hiatus – this time focusing on fully functional and mechanically accurate large scale cars. Part of the satisfaction for me was, and still is, being able to get around the limitations of the medium – no concentric shafts, for instance – to produce something that was still as accurate to reality as possible.
In many ways, building Lego is similar to photography. There are some technical rules and limitations, but for the most part, it’s entirely creative and up to you how you wish to follow them (or not). There are specialists, who only build one or two types of things. There are similarly dedicated online communities. It can consume a huge amount of time and money, especially if you decide to build a 12ft long aircraft carrier (I’ve seen it done) – I suppose the photographic equivalent would be going medium format digital. But above all, you get a sense of satisfaction from having created something that in all probability is both unique and will never be created again – but which still reflects your personality and personal style. (Assuming of course you’re not building a standard model from an instruction sheet).
It seems that these days, a large proportion of the sets sold are actually to adult enthusiasts. Maybe it’s because adults are wanting their childhoods back, but kids want to have Blackberries and iPads and want to grow up faster – little do they know what awaits them. Enjoy it while it lasts!
In the same way that I build very different models now to when I was five, I think I’d equip my kids with a camera as soon as they’re able to use one. It would be a very interesting exercise to see how their perspective on the world changes with age – what do they see when they’re 1 or 2 years old, vs twenty? Do I wish I’d had that opportunity? Absolutely. It’s the same reason that every year, I document life with my wife in a book – so we can look back and see how things have change twenty, thirty, forty years from now. It’s also insurance against Alzheimer’s.
I leave you with something I built a little while ago for the Porsche Club of Spain – a 917K.
For those interested, you can see some of my recent Lego Technic work here on MOCPages.
POTD: Industry and nature
February 17, 2012 by
Unknown power station in winter, en route from Prague to Vienna
Leica M9, 28/2.8 ASPH
POTD: Cutout people
February 15, 2012 by
Cutout people, Charles Bridge, Prague.
Leica M9, 28/2.8 ASPH
10X10: 100 ways to improve your photography: Rangefinder tips
February 14, 2012 by
Over the next 10 days, I’ll be posting 10 sets of 10 tips on how to improve your photography: these little tricks represent the way I shoot that’s probably not so conventional, but works for me and ensures that a) I get the shot and b) the equipment is an enabler rather than something that gets in the way.
Disclaimer: I’m assuming you know the basics already, but want to get serious.
Today we kick off with rangefinders: right now, that’s pretty much only the Leica M (and maybe Epson R-D1) if you shoot digital. Here goes:
10: Timing, timing, timing: shoot lots and get to know the lag rhythm of your camera. It might feel instant, but it isn’t. That split second can make or break the difference in a critical shot, especially during a fast-paced situation – that fleeting expression, or arrangement of people.
9: Get to know your lenses: There is no such thing as the perfect lens. All of them have idiosyncrasies, be it focus breathing, focus shift, curved focus planes, flare under certain conditions, or maybe the ability to produce brilliant 14-pointed stars from point light sources at f16. (Don’t laugh, the Leica 21 Summilux ASPH does this.) The better you know your lenses and the way they draw, the more you can exploit their properties to help your pictorial rendition of a given situation. It’s also why I’ve got eight ways to get to 28mm – there’s a huge difference between the Zeiss ZF.2 2/28 ‘Hollywood’ Distagon and the Ricoh GR-Digital III, for instance.
8: Use a soft release and thumb grip (and maybe front grip). Anything that can make your grip more secure or comfortable, and your shutter release action more gentle, is your friend. I like the Thumbs Up, personally.
7: Don’t limit your subjects to the center focus point. You can focus and then recompose. But remember that most lenses aren’t flat field (especially rangefinder designs, which are usually non-retrofocus and spherical) so a little tweak to the focus ring is required for edge subjects – usually to make the focus point slightly closer, as the focal plane will be curved slightly around you. Experience is required to determine exactly how much and when to shift – this is why I also highly recommend using fewer lenses but knowing them well.
6: Use the DoF scales to prefocus. Especially useful with wide lenses, whose large DoF means that you might even be able to shoot hyper focal and not have to focus at all: especially great for being fast and reducing time between seeing the shot and capturing it. Very important skill for street photography and photojournalism. You can practice this by estimating distances and setting your lens with the camera at waist level, then checking in the finder.
5: Pay attention to the edges. The frame lines are a suggestion: there will be more included. With experience, you can push the composition a bit and still get everything in.
4: Shoot with both eyes open. The nice, bright, high-magnification finders are great for letting you a) see what’s outside your frame and might make composition better or worse if included or excluded; and b) you can keep both eyes open to enhance your peripheral vision. It’ll also stop you from getting run over.
3: Know the limitations of the system. By their nature, your finder will probably only cover 28-135, and not be very accurate for 90 and 135. So really, the strengths of the system lie in the 28-75mm range; don’t try and do birding with one of these things and wonder why your results aren’t up to par. (Note: I do use my M9-P for macro work, but that’s a different story entirely.)
2: Less is more. Rangefinders are small and light: why burden yourself and turn photography into endurance sherpa-ing? Try reducing your regular kit to two, or better yet, one lens. Either something which provides to distinctly different perspectives, or perhaps something in-between. I choose 28/50 or 35.
1: Check your rangefinder calibration. There’s nothing worse than shooting an entire series at f1.4 and thinking you nailed focus – or at least remembered doing so in the finder while shooting – then being horrified as you open up the set only to find your subjects’ noses in focus and their eyes a distant plane away. If you know how to calibrate your rangefinder, great; if not, it might be the subject of a future post here (but I take no responsibility if you damage something or void your warranty). If you don’t dare, send it in to your dealer. The best thing you can do is have your body calibrated to match all of your lenses – so send them all in at the same time. The next best thing is to have it calibrated for the lens with the shallowest DoF; the one exception is if the lens suffers from focus shift. Then you’ve got no choice but to calibrate for your most frequently used lens and remember which direction to adjust for later. Check calibration often and if you get a new, shallower DoF lens. One last related point: make sure all of your viewfinder windows (VF, RF patch, frame lines, front VF) are clean – you’ll be surprised how much easier it is to focus!
Bonus for Leica M8/9 users: The meter is center weighted and very heavily biased towards protecting highlights. So, for backlit subjects there are a few ways of compensating. a) Lock exposure with the camera aimed at something of roughly equal luminance but not backlit; this works on the shutter half-press position (with a little dot displayed at the top between the leftmost digits in the finder) if you’ve got the release mode set to standard. b) For M9 users, use the rear dial to activate exposure compensation. I personally don’t like this, because I have no idea if I have it set or not, and if so, how much. c) If you’re shooting with fixed and not auto-ISO, then note the shutter reading in the finder, and move the shutter dial to something appropriate. I use a slightly more complicated method, with auto-ISO: if the shutter speed displayed is over the minimum you set, then you know the camera is in base ISO. I just manually set it to something lower; the camera can’t lower the ISO any more, so it overexposes as desired. If the situation is dark and you’re above base ISO, this doesn’t work. In very dark situations, I usually just leave the camera at ISO 1250 and go manual with the exposure. MT
See more of my work with the Leica M9-P here on Flickr: click here And for earlier work with the M8, click here
POTD: train journey
February 14, 2012 by
M9-P, 28/2.8 ASPH
En route from Prague to Vienna. Flare can be a good thing. And everybody needs a muse – more on this anon. I’d also probably be remiss for not mentioning something about Valentine’s day; so make sure you don’t a) let your other halves down with lousy pictures or b) make them wait forever while you set up your tripod, lights and everything else. 🙂 MT
For all you Dutch fans out there
February 13, 2012 by
Picked up by Leica in Nederland, the page of the official Dutch Leica distributor – click here
MT
An ethical dilemma
February 12, 2012 by
The scavenger, Canacona Beach, Goa, India
M8 and 50 Summilux ASPH
Suppose you are a photojournalist assigned to cover a humanitarian crisis. Do you help out, or do you keep shooting? I recently had this discussion with a fellow pro shooter and photojournalist. We both agreed that being behind the camera desensitizes you; it acts like a mask for you to hide your humanity. But that’s not right, either. We are all human beings. And we musn’t forget that the ultimate goal of photojournalism is to tell a story; the better we tell that story, the better we can raise awareness about the events that are transpiring, and in turn do our part to help.
So the right answer is yes, we help out – but we do what we do best, and help out by shooting.
Ming Thein | Photographer 