Schwarz, elegant & zierlicher als die alte. Trotzdem kein Leichtgewicht. So liegt sie hier vor mir, meine neue Begleiterin: die Fuji X-Pro1. Seit ein paar Wochen ist sie nun fast täglich in meiner Tasche. Und das ist mein erster Eindruck. Vorab: Leute, das ist ein Erfahrungsbericht – kein Techniktest. Ich fotografiere keine Charts (ok, nicht mehr), messe keine Linienpaare & kümmere mich auch nen Dreck um Vignettierung – die kommt bei mir ohnehin meist später dazu. Mich interessiert vielmehr, ob ich das gute Stück gerne benutze und welche Ergebnisse ich wie damit erziele. Und das ganze aus der Perspektive eines leidlich begabten Amateurs. Und bitte entschuldigt auch die erneut äußerst durchschnittlichen Produktfotos. Ich kann das einfach nicht.
Google translation (english): http://translate.google.de/translate?sl=auto&tl=en&js=n&prev=_t&hl=de&ie=UTF-8&layout=2&eotf=1&u=http%3A%2F%2Fleichtscharf.de%2Fin-eigener-sache%2Ffuji-x-pro1-meine-neue-ein-erster-eindruck%2F
See on leichtscharf.de
What advice would you give young photographers?
Try everything. Photojournalism, fashion, portraiture, nudes, whatever. You won’t know what kind of photographer you are until you try it. During one summer vacation (in college) I worked for a born-again tabletop photographer. All day long we’d photograph socks and listen to Christian radio. That summer I learned I was neither a studio photographer nor a born-again Christian. Another year I worked for a small suburban newspaper chain and was surprised to learn that I enjoyed assignment photography. Fun is important. You should like the process and the subject. If you are bored or unhappy with your subject it will show up in the pictures. If in your heart of hearts you want to take pictures of kitties, take pictures of kitties. Alec Soth
See on erickimphotography.com
Bass. Bone breaking gut punching concrete breaking ear drum piercing bass.
The sun eventually does it’s beautiful thing and backlights everyone’s halo. I love that I can use my Fuji X-pro1 like a black analog rangefinder box that doesn’t get in my way, optical viewfinder and manual shooting, that’s my normal style. But the Fuji is still digital and I might as well take advantage of this as well. So a quick click to turn on live-view on the screen, hands and camera in the air, eyes on screen, wait for people to look sideways or back and I have what I want….
See on www.flemmingbojensen.com
I’ve never hidden the fact that my images are all extensively post-processed. I’ve written about it several times. Which doesn’t mean I fundamentally alter the nature of the original captures or distort the reality I witnessed. But I do enhance it. I do make it fit into my perception, an interpretation of what I had in mind when I took the shot in the first place. To me this is what photography’s all about, beyond choosing the moment, the angle, the exposure… It’s a holistic process, all a means to an end. Besides, we’re always spinning reality in some way, no matter how honest we pretend to be. Otherwise we’d be nothing more than glorified security cams. I can generally anticipate the final processed look of a digital image the same way film photographers could predict the effect of their chosen film stock and lab process. They knew what loading Kodachrome was going to mean. They knew how pushed Tri-X would turn out, how it would affect the end result and they shot accordingly.
See on www.laroquephoto.com
Here are some new samples shot on the FUJI X-PRO1 ! Pretty much all of these are shot direct to JEPG using the Film Simulation BLACK AND WHITE mode, with a red filter and Yellow Filter. The shots of Chloe-Jasmine were taken during dinner, the shots of Kate Waldron were taken in Manchester as I was assisting Mark Evans shooting his Book Project ….
See on www.davepiper.org.uk
One of the biggest misconceptions I know runs rampart in street photography is the “myth of the decisive moment”. What do I mean when I talk about “the decisive moment” simply being a myth?
Well of course there generally is a “decisive moment” when you hit the shutter – to capture that exact moment you desire in a photograph. However one of the common misunderstandings that plagued many street photographers (including myself) was that the decisive moment simply being one shot. After studying many contact sheets from Magnum Contact Sheets book, I was able to gain a new level of insight to read the mind of a street photographer.
See on erickimphotography.com
The woman in the image is the Danish model Ann we had taken with us to Sicily in May 2011 for the Overgaard Advanced Workshop. So in this case I know her but it is not a staged photograph.
She had a very nice wardrobe with her and the first evening after we had arrived we went out to have dinner araound 19:00 and she was waring this outfit. I noticed that when a tall blond woman elegantly dressed walked in the streets of Palermo, the men would stop what they were doing and admire the woman with respect.
Thorsten Overgaard is a Danish feature writer and photographer who contributes stories and unique branding to magazines, newspapers and companies through exclusive and positive articles and photos.
See on overgaard.dk
Just as with wildlife photography it is the shots that show behaviour, rather than the pure record pictures, that work best in street photography. To show that behaviour clearly, so that the viewer can recognise what is going on, you have to pick your moment carefully. You have to show the moment in which the action happens.
Decisive moment? This moment is often called ‘the decisive moment’, but the phrase is so over burdened with history and expectation that I prefer to just call it ‘the right moment’.
See on www.wordsonpictures.com
When I saw the NLA’s Photographing the City: Architecture from the Street I became a little intrigued. I thought it would be perfect for a Friday lunchtime adventure for the X-Pro1 and me. We met Stephen McLaren, street photographer at the Lloyds Building and spent the next 2 hours wandering the city trying to capture architectural images in an imaginative quirky way. I decided to test the monochrome film simulation setting, using the 35 mm lens (it’s still the only one I have). The light was slightly better than it has been recently, with moments of sunshine appearing through the grey. I did feel a little limited with just the one lens. The wider one would have been very handy…. I tended to keep the camera aperture at around F8. Again I wanted to shoot wide open… but it didn’t really suit this type of shooting. I found the camera slow to focus and it was having trouble working out the light levels accurately. I did use the exposure dial to over and under expose some images.
See on www.sannafp.com