A rant

by Posted in Photography, Thoughts Leave a comment
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Before I get into this post let me tell you a bit about me and my photography. I’ve been taking pictures for over 40 years, initially exclusively using film (there wasn’t anything else when I started). I’m something of a geek and working in IT for some time makes me comfortable with technology. So when digital photography came on the scene I was an early adopter. I had never collected anything until around 2011 when I decided to collect old film cameras, which I continue to do.

I enjoy the convenience of digital photography and I enjoy processing my images using Lightroom/Photoshop (something I never learned how to do with film photography). But I also enjoy the way film photography makes me slow down and think more about each individual photograph. I’m a fan of photobooks and like to see my images in print. I also print individual photographs, often to give to friends since I don’t have a lot of wall space on which to display them. I’m also into social media and like to share my pictures with friends and family. I’m English and my family is all over the world and social media is by far the easiest way to stay in touch with them.

In summary I like both digital and film photography and think both have their place. I write this to show that I don’t have a bias for or against either.

Which brings me to the subject of this post. There’s a guy whose blog I follow. He’s a long time professional photographer. He writes well and generally I enjoy his posts. He also has a YouTube channel that I also enjoy but somewhat less. Frankly it’s a little boring. He merely sits in front of a camera and talks for about 15 minutes. I don’t think he realizes that nowadays people expect a little more sophistication in the videos they watch.

Of late he has often tended to go off on rants of his own. The gist of these tirades seems to me to be as follows:

1. Film photography is superior to digital photography.
2. Because of their years of experience professional photographers are superior to amateurs
3. Real cameras are better than iphones.
4. If you don’t print you’re not a real photographer.
5. Instantly sharing posts in social media is bad.
6. “Excellence” in photography is getting lost in “good enough”.
7. You are likely to lose your digital photographs whereas prints have a much longer life.

Of course everyone is entitled to his/her own opinion, but I’m forced to conclude that what he’s really saying is that only professionals can call themselves photographers and although the rest of us may take photographs we should not call ourselves photographers. He seems to look down on people who just take pictures for fun and share them on social media. Of course for decades people have been taking snapshots. It’s just that because of the nature of film photography you couldn’t take as many pictures and sharing them was much more difficult).

Needless to say I don’t agree. So in response to the above points.

1. Film photography is superior to digital photography. I don’t believe one is superior to the other. They both have their place.

2. Because of their years of experience professional photographers are superior to amateurs. I would like to remind everyone that amateur originally meant “someone who does something for the love of it rather than for money”. Somehow the word has now come to mean “a person who is incompetent or inept at a particular activity. I’ve come across many “amateurs” whose work is better than some professionals. Moreover, I sometimes wonder if when someone says they have 40 years of experience they really mean that they have one year of experience 40 times.

3. Real cameras are better than iphones. I love cameras. I collect them and have all kinds: film; digital; point and shoot; professional; 35mm; medium format etc. I tend to use “real” cameras more than iphones, but have been known to use my iphone for mundane documentary pictures, for fast sharing, and when I didn’t have another camera with me. For example, I was once invited to a friend’s house. Her name was Germaine and she was already quite old at the time and was talking about leaving that particular house soon. So I decided I would take some pictures in and around her house as I souvenir for her. I then used the images to make her a photobook. The only camera I had with me was an iphone, and quite an old one (an iphone 5s, which came out in 2013) at that, but the photobook looked great and she really liked it.

4. If you don’t print you’re not a real photographer. I like to see my photographs in print, but I can understand why people don’t print: it’s hard to get it right (particularly if you want to print in color) and what do you do with the print once you have it. Unless you’re willing to go to more trouble framing it and putting on a wall you’ll probably end up putting it in an album, or in a box and forgetting about it.

5. Instantly sharing posts via social media is bad. If I’m reading him correctly he’s not so much against sharing on social media. It’s the sharing it straight away that gives him problems. He provides a recent example of someone taking a picture of him, posting it on social media and than showing it to him right away. His argument seems to be that he was there when the picture was taken and so doesn’t need to see it right away. I don’t see why this is such a problem. Maybe the person taking the picture (who I apparently can’t call a photographer) wants to know if you like the picture wants to know whether or not you like it so that he/she can try another if you don’t.

6. “Excellence” in photography is getting lost in “good enough”. I can see what he’s saying, but I think his views are seen through the lens of a professional (i.e. commercial photographer). He seems to do a lot of portrait and wedding photography so I’m sure he’s lost a lot of income because Uncle Joe with his limited photographic knowledge and high end digital camera can deliver images that, while nowhere near as good as a professional might make, are “good enough” and cost a fraction of what a professional would charge. They might even be better in some ways: more dynamic, more interesting, more spontaneous etc. Most of the professional wedding pictures I’ve seen are formulaic and not particularly interesting.

7. You are likely to lose your digital photographs whereas prints have a much longer life. I can backup thousands of digital images in a few hours. I can them take them off-site so they are protected from fires, theft etc. Try doing that with several hundred albums and associated negatives. Of course many (myself included) don’t take the trouble to make these backups, but that’s not a reason to criticize digital photography as a whole.

I’ve seen some of this gentleman’s work. He has a website, a blog, an Instagram presence, a YouTube channel, he’s an active Twitter user, and is also on Facebook. Clearly he’s comfortable with technology so I guess it’s just that he’s somewhat averse to digital photograph in general, phone cameras in particular and the whole digital environment which allows easy creation and distribution of large numbers of photographs. I can certainly relate to that.

Unfortunately this seems to translate into a rather supercilious attitude to those who don’t see things the way he does. It’s the “I’m a real photographer because I use real cameras, and print the results, sharing the prints circumspectly – you use an iphone, don’t print and share a lot of crap with all and sundry so you’re not even worthy of calling yourself a photographer” that I take exception too.

He seems like a nice guy: hard working and devoted to his art/craft; a concerned person involved with a number of worthy causes. His photographs are what I would expect from a professional photograph: competent but not particularly awe inspiring. Don’t get me wrong, he’s a much better photographer than I am, my photographs being mediocre at best. However, I collect photobooks by and about famous photographers and I believe I know a truly great photograph when I see it.

I just wish he would just cool it with the superior attitude. I could even live with this if he didn’t choose to push it down my throat at every opportunity. It makes me avoid his blog and his YouTube channel, which is a pity because I agree with much of what he’s and thoroughly enjoy many of his posts/videos.

Taken with a Fuji X-E3 and Fuji XC 16-50mm f3.5-5.6 OSS II

The Europeans

by Posted in Photographers, Photographs, Photography, Reading Leave a comment
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I’m a huge fan of Henri Cartier-Bresson. So it’s somewhat surprising that until recently I had only one, very small, very thin and not very thorough book on or by him.

So when I was compiling my Christmas Amazon wishlist (the best way for my family to buy me gifts that I actually want) I included a couple of books about him. This is the first. It’s called “Europeans” and in his introduction, Jean Clair states:

In 1955 a collection of photographs called Les Européens was published. It was conceived and designed by Tériade, with a jacket by Jen Miró. Henri Cartier-Bresson had worked on it for five years, a short period if one considers that the celebrated photographs in Images à la Sauvette (1952, published in English as The Decisive Moment) were selected from work spanning twenty years. The book offered a closely woven portrait of Europe after the war: accumulated ruins and the marks of hunger and woe on people’s faces still appearing very clearly.

After that it was all downhill for the introduction as far as I was concerned. I didn’t know who Mr. Clair was so I looked him up. He’s described as follows:

Jean Clair is the pen name of Gérard Régnier (born 20 October 1940 in Paris, France). Clair is an essayist, a polemicist, an art historian, an art conservator, and a member of the Académie française since May, 2008. He was, for many years, the director of the Picasso Museum in Paris. Among the milestones of his long and productive career is a comprehensive catalog of the works of Balthus. He was also the director of the Venice Biennale in 1995.

I suppose I shouldn’t have been surprised by what followed in the introduction: lots of big, arcane words and tortured sentences. The following is fairly typical:

Now, as a wizard of speed, he needed a certain lightness of touch, something airy, mercurial. Hermes, god of commerce and thieves, could well be the god of photographers. With quicksilver as the escutcheon of his equipment, this disciple of hermetic knowledge, borrowing the the powers of the god with winged hat and shoes, sets out to purloin the the fulgurating moment at the crossroads of appearances and to conserve something of Mercury’s spark.

Maybe it’s just me, but I don’t relate well to this kind of “criticspeak”. When I was in university many years ago I had to read a book by Messrs. René Wellek and Austin Warren. I can’t remember the title (I’ve probably blotted it out) but it was something to do with principles of literary criticism. Their best know work seems to be Theory of Literature, but that title doesn’t ring any bells. Anyway I read that book from cover to cover and after I finished it I found that I couldn’t remember a single thing. Still, I remember thinking that the book must have been important or why would they have made us read it. So I read it again with the same result. Maybe now I’m older I should read it again. Who knows – third time lucky.

But on to the pictures. They are of course remarkable, for the most part. We’re so used to seeing Cartier-Bresson’s masterpieces that it’s easy to forget that not all of his pictures fall into that class. Of the 200 or so pictures I only really liked about 43.

Unfortunately, it’s not immediately obvious how the photographs are organized. There’s no table of contents and at first I thought that the pictures were randomly organized. However, after a bit of study I realized that they are in fact organized by country, but that the order of the countries is not alphabetical. Rather it goes as follows (with the number of photographs for each country in parentheses): France (36); Portugal (7); Spain (18); Italy (20); Switzerland (5); Yugoslavia (5); Greece (6); Turkey (5); Romania (4); Hungary (3); Austria (3); Germany (16); Belgium (1); Netherlands (3); Poland (6); USSR (17); Sweden (3); Denmark (1); UK (13); Ireland (10).

Still despite the minor criticisms I really enjoyed the book.

Now on to the second book: Henri Cartier-Bresson. The Modern Century , but first I have to figure out how to read it comfortably. It’s longer, bigger and heavier that the above book.

A New Lens: Laowa 85mm f5.6

by Posted in Macro, Photography, Venus Optics Laowa 85mm f5.6 Leave a comment
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I recently acquired a new lens. It’s a Laowa 85mm f5.6. I already have two lenses, so why not use one of them. Well, I have been using them and they don’t really meet my need.

My first macro lens was a 7Artisans 60mm f2.8. There’s a review of it here. Note that a newer version now available. Review here. I bought it because it was inexpensive, reputed to be quite sharp, and well made. I was just getting started with macro photography and didn’t to spend a lot in case I didn’t like it (as it turned out I did). I bought it to use with my then newly acquired Sony A6000. Unfortunately this combination didn’t work for me. The lens was everything I thought it would be, but it was also something I stupidly had not thought about: it’s heavy. Or at least it’s too heavy for me. It’s also very front heavy on the A6000. I should say that I have quite weak arms so this may not be a problem for others.

My second macro lens is an old Minolta Maxxum AF 50mm f2.8 macro. I like this lens a lot and use it mostly in manual focus mode. It’s quite small and light. There’s a review here. I enjoyed using it. So what’s the problem. Actually there are two: first it’s 50mm focal length means that I have to get very close to take a picture. Second it only works on my Sony A-mount (and of course Minolta film cameras) cameras. Nowadays I mostly use Sony E-mount cameras including the Sony A-6000 and my fairly recently acquired Sony A7IV. While writing the above I realize that I actually could use it with an adapter on the E-mount cameras. I’d lose the shot metadata and would have manual focus, but since usually use manual focus for macros that would be no great loss. You live and learn.

Anyway I bought the Laowa 85mm f5.6. It’s well made, smaller and lighter than the 7artisans and has a longer focal length than either of them allowing me to stand father back from my subjects. It also has something that neither of the other lenses has: a 2:1 magnification ratio rather than the 1:1 ration of the other two. You might think that the f5.6 minimum aperture is a limitation, but since I’m usually shooting around f8 with flash it really isn’t. I haven’t used it much yet, but so far I like it. There’s a review of it here.

Taken with a Fuji X-E3 and Fuji XC 16-50mm f3.5-5.6 OSS II

Dan Winters – Road to Seeing

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Last month I posted a YouTube video of an interview with Dan Winters (See: Interesting Interview with Dan Winters). I didn’t really know his work and It interested me enough that I decided to get one of his books, specifically “Road to Seeing”. I usually order hardcover versions of photobooks, but this time I was impatient and I ordered the Kindle version. The fact that the hardcover version was over six times more expensive may also have had something to do with it! I don’t recommend that you do this unless you have the flashier color versions (or are willing to read it on your computer) as many of the images are in color and you lose a great deal by viewing them in black and white.

In his introduction he states: “My purpose in writing this book is rooted in a desire to share, on a human level, some of the moments in my life that have significance to me as a photographer, and a man” so it is at least in part autobiographical.
The book features many beautiful images. But in addition each chapter tells the story behind the image and how it was created. His focus, however, is not on technical matters. Rather he concentrates on such areas as what he was thinking in the run up to the photograph; how he collaborates with his subjects etc.

In addition to Winter’s own pictures the book contains many photographs from such photographic luminaries as : Alfred Stieglitz, Lewis Hine, Dorothea Lange, Eddie Adams, Gregory Heisler, William Wegman, Nadar, Henry Fox-Talbot, Eugène Atget, William Klein, Saul Leiter, Walker Evans, Henri-Cartier Bresson and many others.

He’s best know for his portraits of celebrities, done in his studio often using sets he has built himself (in an earlier existance he built models for a living and so has expertise in this area.) His work has been featured in National Geographic, Vanity Fair, The New York Times Magazine and many other newspapers and magazines. This work takes up much of the book.

However, he also produced a lot of personal (i.e. Non-commercial) work and this is where I have a bit of a difficulty. He almost seems to be apologetic of his commercial work almost as if he considers it a bit inferior to his personal work. Personally, I’m not wild about the personal work. Don’t get me wrong – It’s good, but I’ve seen better examples in the various genres that he’s tackled.

Even though it’s quite a long book (almost 700 pages) it’s quite easy to read and I got through it in no time. I very much enjoyed it and I’m glad I bought it. You can get a copy for yourself here.

Interesting Interview with Dan Winters

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One of my favorite YouTube channels is Alex Kilbee’s The Photographic Eye. Today I watched this fascinating interview with Dan Winters.

According to the biography on his website:

After studying photography Moorpark College in Southern California, Dan Winters finished his formal education at the documentary film school at Ludwig Maximilian University of Munich, Germany. He began his career in photography as a photojournalist in his hometown in Ventura County, California. After winning several regional awards for his work, he moved to New York City, where magazine assignments came rapidly. Known for the broad range of subject matter he is able to interpret, he is widely recognized for his unusual celebrity portraiture, his scientific photography, photo illustrations, drawings and photojournalistic stories. Winters has won over one hundred national and international awards from American Photography, Communication Arts, The Society of Publication Designers, PDN, The Art Directors Club of New York, Life Magazine. He was awarded a World Press Photo Award in the Arts and Entertainment category in 2003. He was also awarded the prestigious Alfred Eisenstaedt Award for Magazine Photography. In 2003, he was honored by Kodak as a photo “Icon” in their biographical “Legends” series.

He has had multiple solo gallery exhibitions in New York and Los Angeles and a solo exhibition at the Telfair Museum Jepson Center for the Arts in Savannah. His work is in the permanent collections at the National Portrait Gallery, Museum of Fine Art, Houston, The Harry Ransom Center and the Wittliff Collection at Texas State University, San Marcos. His books include “Dan Winters’ America: Icons and Ingenuity”, “Last Launch”, “Periodical Photographs”, “Road To Seeing”, which chronicles his path to becoming a photographer and “The Grey Ghost”, which is a selection from 30 years of his New York street photography.

Clients include Esquire, GQ, Vanity Fair, The New York Times Magazine, The New Yorker, New York Magazine, TIME, WIRED, National Geographic, Smithsonian Magazine, Fortune, Variety, W, Entertainment Weekly, Rolling Stone, Newsweek, Golf Digest, Vanity Fair and many other national and international publications. Advertising clients include Apple, Netflix, Samsung, Microsoft, Nike, Target, LG, Hewlett-Packard, Sony, Bose, Amazon, HBO, Saturn, Sega, Fila, Cobra, Warner Brothers, NBCUniversal, Paramount, DreamWorks, Columbia TriStar and Twentieth Century Fox, RCA, Atlantic Records, A&M, Sony, Warner Brothers, Elektra, Interscope and Epitaph.