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In the second issue of Viewfinder Magazine we take a special look at the fine art of street photography. Our featured photographer is low light enthusiast Shane Connaughton, We also speak with street photographer Paul Freeney and introduce a new group of street photographers based in Dublin, Ireland. We also g0uide you through the 'shooting from the hip' technique and take a look at a low budget, entry-level Soviet era camera. And as usual we have our Gallery of the best images submitted to us in the last month and the latest news.
Citation preview
Creative Photography
June 2011 | Issue 02
Source : f l i ckr .com/nesster
The VF Team
Shoots on 18 film cameras from little plastic lens toys to pro SLR. Also shoots digital on a Canon EOS 450D.
ContributorsStephen Boyle,
Brian Newell,
Dermot Marrey
(dublinstreetphotographers.
com), Shane
Connaughton (flickr.
com/shaneconnaughton),
Rachel Carrier (flickr.
com/rachelcarrier), JEO
Photogrphy (flickr.
com/jeophotos), Victor
Bezrukov (flickr.com/s-
t-r-a-n-g-e), Sam Ingles
(flickr.com/samingles),
Nick Leonard (flickr.
com/nickleonard),
Tim Williams
(flickr.com/bono66),
Johnny Brian (flickr.
com/52637134@N03),
Laszlo Gerencser (flickr.
com/thewrongdevice),
Agnieszka Bernacka
(flickr.com/redkoala1),
Marc Miesyerus, Paul
Freeney (flickr.com/
sebfotos).
Paul Murphy Editor
Editorial
Welcome to Issue 2 of View-f inder Magazine , a magazine that ce lebrates a l l forms of cre-at iv i ty found in photography.
This month we dedicate our pages to the f ine art that i s Street Photography.
We take a look at a new col lect ive of photographers ca l led Dubl in Street Photographers who s tr ive to shoot the c i ty of Dubl in in i t s raw and pure form.
Our featured photographer shoots with a part icular f lare for night , bar and s treet scenes .
We interview Paul Freeney,
Inside this month’s issue
DSPAdult Enter-ta inment pho-tographer An-ton Fury i s s t i l l none the wiser s ince CNN made publ ic , l as t month, the images he found of Mari-lyn Monroe in 1980.
P u b l i s h e d on his b log on 4 June 2011 Fury s tated : ‘ I had hoped to learn something about these photos/negat ives , but as of today, I don ’ t know any more, than I knew then. I have gotten dozens of ca l l s and emai l s f rom a l l over the world… a l l f rom press . With a l l th is coverage , I ’m amazed that nobody has any information. So, the negat ives have gone back into the drawer – actua l ly a sa fety deposi t box – where they ’ l l s tay for perhaps another 30 years ’ .
Fury had hoped that f rom CNN publ i shing the images that they would spark somebody ’ s memory, and the photogra-pher can be ident i f ied . L .A. art dea ler David Streets , who helped Fury decide to make the pictures publ ic sa id : ‘Hopeful-ly someone out there , perhaps another photographer , wi l l be
able to shed some l ight on this . ’In 1980 Fury was at a garage
sa le in New Jersey and pur-chased an envelope conta ining 33 negat ives , for $2 .
After developing the nega-t ives in his home dark room, he rea l i sed what he had s tumbled upon. ‘ I couldn ’ t be l ieve what I was see ing. I t was freakin ’ Mari lyn Monroe! ’ but for 30 years Fury fa i led to track down the photographer behind the photographs .
Needless to say this proved to be qui te a b ig task , and as Fury sa id in a recent interview with the New York Dai ly News: ‘When I found them there was no Internet , there were l imited resources to research them. ’
According to Streets , the im-ages are from the ear ly 1950 ’ s when Monroe was only 24 . This year she would turned 1985.
FEATURES
Founded in February 2011, Dubl in Street Photographers are a co l lect ive of photogra-phers working long term to def ine the c i ty of Dubl in us ing s treet photography.
I t i s comprised of s ix mem-bers , Stephen Boyle , Br ian Newel l , Dermot Marrey and the three members of the View-f inder team.
Each photogrpher , in the col lect ive , br ings their own unique s ty le to observe , explore and search for something new on the s treets of Dubl in , and to try and capture a l i t t le p iece of
the spir i t of the c i ty , as i t ex is ts today .
To use s treet photography to capture the essence of a c i ty or a country i s far f rom novel . Robert Frank did i t for 1950s America , Wil l iam Klein did i t for New York in the same pe-r iod, Brassa i d id i t for Par is in the 30 ’ s , and Henri Cart ier-Bresson did i t for Europe.
Some of the b iggest names in the bus iness were , or are , s treet photographers .
There are count less books , websi tes , documentar ies and exhibi t ions dea l ing with s treet
photography from every corner of the g lobe .
I t i s probably the most d i f f i -cul t of a l l photography ’ s genres to keep shoot ing new, unique and interest ing works .
I t i s a good t ime to undertake such an ini t ia t ive , in Dubl in , consider ing how i t has changed so much over the past 30 years or so .
Dubl in Street Photographers a im to make images that de-f ine the c i ty as i t i s now, in i t s raw and pure form, and show e lements of the c i ty that some have never seen before .
Dublin Street Photographers
Fury with no Monroe clues
76
www.dubl instreetphotographers .com
www.f l ickr .com/shaneconnaughton
S h a n e C o n n a u g h t o n
1514
Feature : Dublin Street
Photographers
A brief look at a new col lect ive of s treet photographers shoot-ing Dubl in c i ty .
Featured Photographer
This month ’ s most inspir ing photographer i s a s treet/bar/night/ l i fe photographer .
Sean O’Flaherty Creative Editor
Andy Doyle Podcast Producer
Shoots with a Canon EOS 5D and 450D and a 35mm Pentax SP1000. Is also not a stranger to the world of the Diana F+.
Canon EOS 7D ex-pert but from time to time he swaps his DSLR for his old Praktica and Lubitel cameras.
flickr.com/analoguepaul
flickr.com/seanof
flickr.com/andywithcamera
Streetwho has been shoot ing s treet photography for over 30 years .
Also , ins ide you ’ l l f ind our regular ga l lery of the best pho-
tographs submit-ted to us , here , a t Viewfinder over the las t month as wel l as the la test news and we take a specia l look at an o ld Soviet era camera .
The Viewfinder team a lso produce a monthly podcast , which i s a great ac-
companiment to this magazine so whi le you ’re reading you can l i s ten to us a t vi ewf inderpodcas t .
com
3
Viewfinder Magazine [email protected]©2011 Viewfinder Magazine
7
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Creative Photography
June 2011 | Issue 02
- the VF Team
GALLERY
Picture : NYC Block DrugstorePhotographer: Rachel Carrier
Camera: Polaroid SX-70Film: Imposs ib le Project PX 680 Color Shade Beta Test Fi lmFlickr: rachelcarr ier
Picture : GeorgetownPhotographer: JEO
Camera: Holga 120NFilm: I l ford HP5 Plus 120mm ISO 400
Flickr: j eophotos
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‘ I fo l lowed a g ir l down to Cork, in 1979, and l ived there for about a year and a ha l f , and bought my f i rs t SLR a Ricoh KR5’ that ’ s how Paul Freeney, a Dubl in nat ive , began his l i fe as a s treet photographer .
For over 30 years he has gone through di f ferent phases of technique, advanceing his s ty le and abi l i t ies and host ing ta lks and photowalks on the photographic genre .
There were gaps in the pho-tography over the years part ic-ular ly with the unt imely death of h is Rocoh KR5, a t the hands of a f r iend when he returnedto Dubl in in the 1980s . An Olym-pus OM1 was i t s successor . However , a few years la ter , the costs of f i lm and process ing be-came too much but ‘d ig i ta l has made i t so accessable for every-body now, so I got back into i t . ’
Not want ing to d isc lose what d ig i ta l gear he i s now us ing Paul i sns i ts that ‘ you wouldn ’ t go into the k i tchen of a restau-raunt to ask the chef what oven he used. ’ A fa ir an poignant point that the photo i s a l l that matters .
When Paul s tarted shoot ing ‘Street Landscapes ’ as he re-fers to them as he admits that ‘ I was shoot ing s treet photog-raphy before I even knew what i t was ’ . ‘ I shot on any f i lm, the cheaper the bet ter , most ly b lack and white . ’
His ins ipat ion comes from
one of the photographers cre i-di ted with the invent ion or d is-covery of s treet photography, Henri Cart ier-Bresson. ‘His book The De-cis ive Moment i s a mi lestone in photography apart f rom the fact that the three words ‘The Decis ive Moment ’ sum up Street Pho-tography for me. ’
‘ I a l so love the work of Mart in Parr , h is book The Last Resort : Photographys of New Brighton i s as good
representat ion of Street as you wi l l f ind anywhere . ’
Paul , however , doesn ’ t t ry to think about his inf luences whi le
out shoot ing the s treets ‘ the adrena-l ine i s rushing and I am con-centrat ing on what I am try-ing to capture and create . ’
‘ I love the fact that when
you capture a moment on the s treet , i t wasn ’ t there a moment before and i t ’ s gone the mo-ment a f ter . I t ’ s there and cap-tured forever . I t i s complete ly
30 years on the streetViewfinder meet street photog-rapher Paul Freeney to discuss why he loves capturing l ife on the streets. Words: Paul Murphy Pho-tos: Paul Freeney
unposed and s p o n t a n e o u s . I ca l l what I do pure s treet p h o t o g r a p h y because i t ’ s unposed, i t ’ s not s treet por-trature . The people are never aware that the photo-graph has been taken. ’
‘You see on the inter-net v ideos of people going up into peo-ple ’ s faces and shoot ing them, that ’ s not s treet , that ’ s p ho to g r a p hin g people ’ s reac-t ions to the camera . ’
Almost a l l of Paul Free-ney ’ s s treet photography i s shot from the hip , (a technique discussed on page 42) , ‘ I never make eye con-tact ’ i s how Paul a t tr ibutes the anonimity of the camera in the scene and you can see from his images that the camera , and photogra-pher , are complete ly seperate from the photograph.
Paul doesn ’ t look for the in-stant grat i f icat ion found on the back of a d ig i ta l camera to see
i f he has captured the image or not . He sometimes waits a few hours before looking back at what he captured.
Paul a l so ac-knowldges that s treet pho-tographs can a l so become a his tor ica l document . A s trret photo-graph that i s not necessar-i ly great im-mediate ly can become an im-portant his tor-ica l document , p a r t i c u l a r l y in a c i ty l ike Dubl in where the s treets have changed beyond rec-ognit ion over the past few decades .
Paul ’ s s ty le and technique has seen him being saught out by camera
c lubs to gove ta lks on the pho-tographic genre .
I ’ve done ten photowalks to date , the las t one I d id , I rent-ed a room in a hote l , 17 people shoed up and we did an hour and hal f workshop on s treet photographt and then spl i t them up into groups and sent them out on the s treets .
For more info on Paul Free-ney photowalks v is i t facebook.com/paul freeneyphoto and f ind
‘ ‘You wouldn’t go into a kitchen and ask a chef what oven he used’ ’
At the O’Connel l Monument Grafton Strol l
‘ ‘I split them up and sent them into the streets’ ’
4342
recommended. You ’ l l l ike ly be moving towards your subject , and you subject might a l so be moving, so a fas t shutter speed (1/200th of a second of fas ter) wi l l prevent unwanted motion b lur . Focusing on the move, and without looking through the v iewfinder i s t r icky but us ing a narrow aperture wi l l g ive you a wider depth of f ie ld , which means that your focus ing doesn ’ t need to a accurate to get a sharp image. Unfortunate ly , a fas t shutter speed and a narrow aperture wi l l make your image darker , so a higher ISO might
be needed to compensate . Of course , h igher ISO’s introduce noise/grain into your image, so you need to f ind a ba lance be-tween motion b lur , sof t focus , and noise/grain . With pract ice , making this trade-of f wi l l be-come second nature to you as you gain a bet ter understanding of your camera ’ s capabi l i t ies .
Set Focus/Autofocus
Autofocus can be a he lpful a id , but i t can take to long to focus when shoot ing from the hip . I f you are us ing i t , see i f your camera has an AF lock feature .
AF lock a l lows your camera to autofocus once , and then lock in the foca l d is tance . Even as your camera moves , the foca l d is tance won’ t change.
When approaching your subject , dec ide ear ly on how far away you want to be when you take your shot . Then, i f you ’re us ing manual focus , set your chosen dis tance on the focus r ing on your lens . I f you ’re us-ing autofocus , a im your camera at a spot on the ground that ’ s the r ight d is tance away, focus on i t , and lock in that foca l d is tance .
Shoot ing from the hip a l lows a photographer to capture an im-age, of ten at c lose range, with-out a lert ing the subject that they ’ re being photographed.
The best s treet photography i s a l l about get t ing candid shots of everyday l i fe , so a technique that catches people unawares i s perfect . I t ’ s eas ier than i t sounds , i t ’ s fun, and the photos you ’ l l capture should be more honest representat ions of your subject than i f you a lerted them to the presence of a camera by ra is ing i t to your eye to com-pose your shot .
You ’re choice of camera i sn ’ t hugely important , but your choice of lens i s . A wide lens , somewhere between 24mm and 50mm, wi l l he lp to minimise motion b lur , widen your depth of f ie ld , and le t you get c lose enough to be able to proper ly v isua l i se what your camera i s see ing. While your choice of camera i sn ’ t hugely important , i f you l ike f i lm cameras , the o lder Twin Lens Ref lex camer-as such as a Rol le i f lex or Lomo Lubite l le ts you see what you ’re shoot ing through a v iewfinder on the top of the camera . To passers by , i t wi l l not be appar-ent that you ’re taking a photo.
DSLRs with f l ip out screens of-fer a s imi lar advantage . Some would say , however , i f you can see what you ’re shoot ing, you ’re not shoot ing from the hip .
Technique
The technique descr ibed here i s a personal favouri te of mine, and should work wel l for any-one, but experiment with your own techniques and f ind one that works for you, your cam-era , and your environment .
Set Exposure
Manual exposure i s
‘ ‘You’re choice of camera isn’t hugely important’ ’
TECHNIQUE
Shooting from the Hip - Capture your subjects without them even knowing. Words and Photos: Andy Doyle.
Shooting from the Hip
Compose
Composing your shot i s the most d i f f icul t part of shoot ing from the hip . Without being able to look through the v iew-f inder , you ’re probably not go-ing to be able to get the exact composi t ion you want s tra ight of f the camera . Try to frame your shot s l ight ly wide , so that i t can be cropped to your de-s ired composi t ion la ter .
Shoot
You’re approaching your sub-ject with your camera set up for the correct exposure , and with a
1/30, 1/60, 1/125, 1/250 sec-ond, the apature control i s a t-tached to the g lass of the lens and has the opt ions of f/4 , f/5 .6 , f/8 , f/11, f/16. To focus the Triplet 43 , 40 mm lens you turn i t in the des ired direct ion within the range of 1m to inf in-i ty . Then the shutter i s cocked with a lever bes ide the shutter speed r ing and to re lease the 3 b lades d iaphragm shutter you press the shutter re lease button on top of the camera .
For f lash the camera i s equi-ped with a PC socket a l lowing for f lash synchronisat ion at ev-ery shuit ter speed.
The camera i s uses 35mm f i lm and has a f i lm wind and rewind knobs and a l so a f i lm counter wheel just above the door on the back of the camera .
The viewfinder i s in the le f t hand top corner of the camera , looking from the back, which means for a s l ight movement of the camera upwards and le f t in order to capture the des ired frame as this i s not a through the lens type viewfinder .
The camera makes for very exci t ing picture taking, the lens g ives this lomo a unique contrast and saturat ion that , aprt icular ly when shoot ing co-lour , makes a scene pop out of the negat ive . While i t i s not a rangef inder camera and you need to focus by judging the d is tance from the camera to the subject when everything goes correct ly this camera actua l ly makes s tunning photographs .
I t ’ s l ight and compact s ize a l so makes i t a perfect cam-era to carry around on a l l oc-cas ions , as opposed to chunky SLRs and lenses , of medium
47
REVIEW
Lomo Smena 8M
The Lomo Smena 8M is poss i-b ly the most iconic and famous camera in the Smena fami ly . While the f i s t in the Smena l ine ro l led of f the Soviet product ion l ine in the Lomo factory in St . Petersburg, in 1952, the Smena 8M was a chi le of the la te 70s and ear ly 80s .
The Smena name trans lates roughly into Engl i sh as ‘young generat ion ’ and that ’ s exact ly what this camera was for . I t ’ s l ight p las t ic body with a coated g lass lens , provided a s imple , easy and af fordable way for
young people , interested in photography, to s tart out their l i fe in picture taking.
To ca l l this a toy camera , would be a b ig mistake , i t has so much more to of fer than the s impl ic i t ies found in toys . I t i s a fu l ly manual camera , with most of i t ’ s controls bui l t into the lens mechanism, that wi l l teach any aspir ing photographer about shutter speeds , apature and even f lash photography.
The camera i s operated by i t s large r ing to control shutter speeds , which are bulb , 1/15,
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Gal lery
An exhibi t ion of the best pho-tographs submitted to View-f inder Magazine this month.
Feature : 30 Years on the Street
Viewfinder meet with Dubl in based s treet photographer Paul Freeney to d iscuss why he loves capturing l i fe on the s treets .
Technique: Shoot ing from the Hip
Andy Doyle takes us through one of the most popular techniques used in s treet photography.
Review: Lomo Smena 8M
A rea l c lass ic , low budget , gem from the o ld Lomo company.
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34
44
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NEWS
The Sony World Photography Awards has opened i t s doors for entr ies . This year , there are f ive compet i t ions avai lab le to submit your images to , inc lud-ing a new Yout h compet i t ion a imed at young photographers under the age of 20 .
This year a l so sees the ex-pansion of the Moving Image
Awards to inc lude s ix new cat-egories due to the huge popu-lar i ty of the inaugura l Moving
Image Award in 2011. Other new categories that
have been introduced, inc lude Nature and Wild li f e in the Pro-
fe s s ion a l compet i t ion and a Low
Light category in the Open com-pet i t ion. A fu l l l i s t of the com-pet i t ions and their categories can be found at www.world-photo.org/compet i t ions/ .
The Awards are open unt i l Wednesday 4 January 2012 and the winners wi l l be announced and receive their respect ive
A Leica O-Series camera from 1923 has become the world ’ s most expensive camera a f ter being auct ioned for an unex-pected $1.9m.
The camera was re-portedly the f i rs t ever camera exported by Leica as i t was sent to New York to the patents of f ice .
The camera was de-scr ibed by the West l icht Auct ion house as being 7th in the ser ies of 25 cameras produced to tes t
Sony World Photography Awards 2012
World’s most expensive camera
awards in la te Apri l 2012. The winner of the L ’ Ir i s D ’Or Sony World Photography Awards Photographer of the Year Award wi l l a l so be revea led and presented with $25,000 p lus some nice camera equipment . The overa l l Open compet i t ion winner wi l l rece ive $5,000 p lus camera equipment . A col lect ion
of entr ies and winning images wi l l go on display in Somerst House , London, as part of the Worldwide Photography Fest i-va l in Apri l and May 2012.
The Worldwide Photogra-phy Fest iva l wi l l tour the g lobe in 2012 a l though not a l l c i t-ies that i t wi l l be v is i t ing have been announced.
the market in 1923. AP reported that the cam-
era went to a ‘ p r i -vate Asian
col lector a f ter a nai l -bi t ing, 20-minute b idding process .
Good news for those on the analogue s ide of the ana-
logue vs . d ig i ta l debate but i t i s perhaps worth not ing that whoever paid this much money for the camera , i s , un-fortunate ly , most l ike ly never going to run a ro l l of f i lm run through i t .
Pic tured i s a Le i ca
O-Ser i e s rep li ca camera
which was manufac tured
by Le i ca a f ew years ago .
5
Picture : Copyright : © James Chong courtesy of Sony World Photography Awards 2011
Adult Enter-ta inment pho-tographer An-ton Fury i s s t i l l none the wiser s ince CNN made publ ic , l as t month, the images he found of Mari-lyn Monroe in 1980.
P u b l i s h e d on his b log on 4 June 2011 Fury s tated : ‘ I had hoped to learn something about these pho-tos/negat ives , but as of today, I don ’ t know any more, than I knew then. I have gotten doz-ens of ca l l s and emai l s f rom a l l over the world… a l l f rom press . With a l l th is coverage , I ’m amazed that nobody has any information. So, the negat ives have gone back into the drawer – actua l ly a sa fety deposi t box – where they ’ l l s tay for perhaps another 30 years ’ .
Fury had hoped that f rom CNN publ i shing the images that they would spark somebody ’ s memory, and the photogra-pher can be ident i f ied . L .A. art dea ler David Streets , who helped Fury decide to make the pictures publ ic sa id : ‘Hopeful-ly someone out there , perhaps another photographer , wi l l be
able to shed some l ight on this . ’In 1980 Fury was at a garage
sa le in New Jersey and pur-chased an envelope conta ining 33 negat ives , for $2 .
After developing the nega-t ives in his home dark room, he rea l i sed what he had s tumbled upon. ‘ I couldn ’ t be l ieve what I was see ing. I t was freakin ’ Mari lyn Monroe! ’ but for 30 years Fury fa i led to track down the photographer behind the photographs .
Needless to say this proved to be qui te a b ig task , and as Fury sa id in a recent interview with the New York Dai ly News: ‘When I found them there was no Internet , there were l imited resources to research them. ’
According to Streets , the im-ages are from the ear ly 1950 ’ s when Monroe was only 24 . This month she would have turned 85.
Fury with no Monroe clues
6
Picture : Anton Fury
DSPFEATURES
Founded in February 2011, Dubl in Street Photographers are a co l lect ive of photogra-phers working long term to def ine the c i ty of Dubl in us ing s treet photography.
I t i s comprised of s ix mem-bers , Stephen Boyle , Br ian Newel l , Dermot Marrey and the three members of the View-f inder team.
Each photographer , in the col lect ive , br ings their own unique s ty le to observe , explore and search for something new on the s treets of Dubl in , and to try and capture a l i t t le p iece of
the spir i t of the c i ty , as i t ex is ts today .
To use s treet photography to capture the essence of a c i ty or a country i s far f rom novel . Robert Frank did i t for 1950s America , Wil l iam Klein did i t for New York in the same pe-r iod, Brassa i d id i t for Par is in the 30 ’ s , and Henri Cart ier-Bresson did i t for Europe.
Some of the b iggest names in the bus iness were , or are , s treet photographers .
There are count less books , websi tes , documentar ies and exhibi t ions dea l ing with s treet
photography from every corner of the g lobe .
I t i s probably the most d i f f i -cul t of a l l photography ’ s genres to keep shoot ing new, unique and interest ing works .
I t i s a good t ime to undertake such an ini t ia t ive , in Dubl in , consider ing how i t has changed so much over the past 30 years or so .
Dubl in Street Photographers a im to make images that de-f ine the c i ty as i t i s now, in i t s raw and pure form, and show e lements of the c i ty that some have never seen before .
Dublin Street Photographers
7
www.dubl instreetphotographers .com
8
Picture : Stephen Boyle
9
Picture : Andy Doyle
10
Picture : Br ian Newel l
11
Picture : Paul Murphy
12
Picture : Dermot Marrey
13
Picture : Sean O’Flaherty
www.f l ickr .com/shaneconnaughton
S h a n e C o n n a u g h t o n
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I walked into a bar somewhere abroad one night , I had my camera with me, that ’ s the f i rs t moment I th ink I rea l ly s tarted taking photographs .
Street photography, night t ime photography, bar photog-raphy, whatever way you want to labe l or c lass i fy i t . I t s tarted as a hobby and i t wi l l a lways be a hobby of mine.
Most of the shots I take are of s trangers . Bars are probably my favouri te p lace to shoot , the d immer the bet ter , I only use ambient l ight , no f lash , none of
that nonsense . You ’ve a lways got such a
range of characters in these scenes , people having a great night and others having the complete opposi te , people are a lways less inhibi ted and I l ike observing these things . I t ry to capture the mood and atmo-sphere , and create a s tory out of the picture .
I only l ike to shoot sponta-neous ly , sometimes you have to be a l i t t le pat ient and bide your t ime. Yeah, you get the odd out of focus , b lurry , shot but maybe
that ’ s the way i t ’ s meant to be . Sometimes i t looks more inter-est ing that way. I t ’ s a l l chance . But , I ’d rather take a shot than say f ive minutes la ter , ‘why didn ’ t I just c l ick the button? ’ .
There ’ s never a reason not to .
Take Another Left an ex-hibi t ion by Shane Connaughton & Diarmait Grogan, takes p lace from 7th-12th Ju ly 2011, in the Block T Gal lery , 1-6 Haymar-ket , Smithf ie ld Square , Dubl in .
h t t p : / / 2 0 1 1 . p h o t o i r e l a n d . o r g /
program/take-anot her - l e f t/
FACT BOX:
Name: Shane ConnaughtonNationality : I r i shLocation: Dunlaoighre , Dubl inWebsite : f l i ckr .com/shaneconnaughtonFavourite Camera: I only have one so i t has to be my Pentax K1000 and temprementa l second hand Sol ignor 60-300m Macro lens I found somewhere .Favourite Film: Fuj i Superia 400 Colour .Favourite thing to Photograph: People I don ’ t know.Person you would most l ike
to Photograph: I thought I got a shot of Ju l ie t te Binoche in Mc-Donalds one la te night , on ‘ re f lec-t ion ’ the next day i t wasn ’ t sadly , so the rea l Ju l ie t te Binoche in McDonalds sometime! I ’ve never rea l ly thought about this to be honest .Inspiration: The two photog-raphers who ’s work i rea l ly l ike are Anders Petersen for the way he captures mood and Enrique Metinides for his t iming and drama.Interests outside photography: Music , the footbal l , b leak German f i lms, Scott i sh detect ive dramas , BBC Radio and music again .
Self-Portrait
23
GALLERY
Picture : NYC Block DrugstorePhotographer: Rachel Carr ierCamera: Polaroid SX-70Film: Imposs ib le Project PX 680 Color Shade Beta Test Fi lmFlickr: rachelcarr ier
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Picture : GeorgetownPhotographer: JEO
Camera: Holga 120NFilm: I l ford HP5 Plus 120mm ISO 400
Flickr: j eophotos
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Picture : Bus to NowherePhotographer: Victor BezrukovCamera: Pentax Spotmat ic FFlickr: s - t-r-a-n-g-e
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Picture : 1-0Photographer: Sam InglesCamera: Pentax ME Super
Film: Fuj i Sensia S l ide Fi lm 200Flickr: samingles
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Picture : E lv isPhotographer: Nick LeonardCamera: Kodak 35mm Super Saver Disposable Camera Flickr: n ick leonard
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Picture : Crazy Photographer: Tim Wil l iams
Camera: Canon AE-1Film: Ektar 100Flickr: bono66
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Picture : Abandoned BarnPhotographer: Johnny BrianCamera: Holga 120NFilm: Rol le i Retro 400SFlickr: l imnidyt is
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Picture : Unt i t ledPhotographer: Lasz lo Gerencser
Camera: Kodak EasyShare ZD710 ZoomFlickr: thewrongdevice
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Picture : C ’Mon Tiger!Photographer: Agnieszka BernackaCamera: Nikon D60Flickr: redkoala1
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Picture : Ref lect ions KyotoPhotographer: Marc Miesyerus
Camera: Nikon F65 Film: Fuj i 400
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‘ I fo l lowed a g ir l down to Cork, in 1979, and l ived there for about a year and a ha l f , and bought my f i rs t SLR, a Ricoh KR5’ that ’ s how Paul Freeney, a Dubl in nat ive , began his l i fe as a s treet photographer .
For over 30 years he has gone through di f ferent phas-es of technique, advancing his s ty le and abi l i t ies and host ing ta lks and photowalks on the photographic genre .
There were gaps in the pho-tography over the years part ic-ular ly with the unt imely death of h is Rocoh KR5, a t the hands of a f r iend, when he returned to Dubl in in the 1980s . An Olym-pus OM1 was i t s successor . However , a few years la ter , the costs of f i lm and process ing be-came too much but ‘d ig i ta l has made i t so access ib le for every-body now, so I got back into i t . ’
Not want ing to d isc lose what d ig i ta l gear he i s now us ing, Paul ins is ts that ‘ you wouldn ’ t go into the k i tchen of a res-taurant to ask the chef what oven he used. ’ A fa ir and s trong point that the photo i s a l l that matters .
When Paul s tarted shoot ing ‘Street Landscapes ’ , as he re-fers to them, as he admits that : ‘ I was shoot ing s treet photog-raphy before I even knew what i t was ’ . ‘ I shot on any f i lm, the cheaper the bet ter but most ly b lack and white . ’
His inspirat ion comes from
one of the photographers cred-i ted with the invent ion, or d is-covery , of s treet photography, Henri Cart ier-Bresson. ‘His book The Dec i -
s ive Moment i s a mi lestone in p h o t o g r a p h y apart f rom the fact that the three words ‘The Decis ive Moment ’ sum up Street Pho-tography for me. ’
‘ I a l so love the work of Mar-t in Parr , h is book The Las t Re-
sor t : Pho tographs o f New Brigh-
ton i s as good representat ion
of s treet as you wi l l f ind anywhere . ’
Paul , however , doesn ’ t t ry to think about his inf luences whi le
out shoot ing the s treets ‘ the adrena-l ine i s rushing and I am con-centrat ing on what I am try-ing to capture and create . ’
‘ I love the fact that when
you capture a moment on the s treet , i t wasn ’ t there a moment before and i t ’ s gone the mo-ment a f ter . I t ’ s there and cap-tured forever . I t i s complete ly
30 years on the streetViewfinder met street photogra-pher Paul Freeney to discuss why he loves capturing l ife on the streets. Words: Paul Murphy Pho-tos: Paul Freeney.
‘ ‘You wouldn’t go into a kitchen and ask a chef what oven he used’ ’
At the O’Connel l Monument
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unposed and s p o n t a n e o u s . I ca l l what I do pure s treet p h o t o g r a p h y because i t ’ s unposed, i t ’ s not s treet por-tra i ture . The people are never aware that the photo-graph has been taken. ’
‘You see on the Inter-net , v ideos of people going up into peo-ple ’ s faces and shoot ing them, that ’ s not s treet , that ’ s p ho to g r a p hin g people ’ s reac-t ions to the camera . ’
Almost a l l of Paul Free-ney ’ s s treet photography i s shot from the hip , (a technique discussed on page 42) , ‘ I never make eye con-tact ’ i s how Paul a t tr ibutes the anonym-ity of the cam-era in the scene and you can see from his images that the camera , and photographer , are complete ly separate from the photograph.
Paul doesn ’ t look for the in-stant grat i f icat ion found on the back of a d ig i ta l camera to see
i f he has captured the image or not . He sometimes waits a few hours before looking back at what he captured.
He a l so acknowledges that
s treet photo-graphs can be-come a his tor i-ca l document . A s treet pho-tograph that i s not necessar-i ly great im-mediate ly can become an im-portant his tor-ica l document , p a r t i c u l a r l y in a c i ty l ike Dubl in where the s treets have changed beyond rec-ognit ion over the past few decades .
Paul ’ s s ty le and technique has led to him being sought out by camera c lubs to g ive ta lks on the p h o t o g r a p h i c
genre . I ’ve done ten photowalks to
date , the las t one I d id , I rent-ed a room in a hote l , 17 people showed up and we did an hour and hal f workshop on s treet photography. I then spl i t them up into groups and sent them out on to the s treets .
For more info on Paul Freeney
pho towalks v i s i t facebook . com/
paul freeneyphoto and f ind h im on
f li ckr a t f li ckr . com/sebfo to
Grafton Strol l
‘ ‘I split them up and sent them into the streets’ ’
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The United Faces of Dubl in
39
Head Shop
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Saint Patr ick ’ s Day 2011
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Saint Patr ick ’ s Day 2011
42
Opposi tes
43
Wearing the trousers . . .
To see more of Paul Freeney ’ s work vis i t f l i ckr .com/sebfotos
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recommended. You ’ l l l ike ly be moving towards your subject , and you subject might a l so be moving, so a fas t shutter speed (1/200th of a second of fas ter) wi l l prevent unwanted motion b lur . Focusing on the move, and without looking through the v iewfinder i s t r icky but us ing a narrow aperture wi l l g ive you a wider depth of f ie ld , which means that your focus ing doesn ’ t need to be accurate to get a sharp image. Unfortunate ly , a fas t shutter speed and a narrow aperture wi l l make your image darker , so a higher ISO might
Shoot ing from the hip a l lows a photographer to capture an im-age, of ten at c lose range, with-out a lert ing the subject that they ’ re being photographed.
The best s treet photography i s a l l about get t ing candid shots of everyday l i fe , so a technique that catches people unawares i s perfect . I t ’ s eas ier than i t sounds , i t ’ s fun, and the photos you ’ l l capture should be more honest representat ions of your subject than i f you a lerted them to the presence of a camera by ra is ing i t to your eye to com-pose your shot .
You ’re choice of camera i sn ’ t hugely important , but your choice of lens i s . A wide lens , somewhere between 24mm and 50mm, wi l l he lp to minimise motion b lur , widen your depth of f ie ld , and le t you get c lose enough to be able to proper ly v isua l i se what your camera i s see ing. While your choice of camera i sn ’ t hugely important , i f you l ike f i lm cameras , the o lder Twin Lens Ref lex camer-as such as a Rol le i f lex or Lomo Lubite l le ts you see what you ’re shoot ing through a v iewfinder on the top of the camera . To passers by , i t wi l l not be appar-ent that you ’re taking a photo.
DSLRs with f l ip out screens of-fer a s imi lar advantage . Some would say , however , i f you can see what you ’re shoot ing, you ’re not shoot ing from the hip .
Technique
The technique descr ibed here i s a personal favouri te of mine, and should work wel l for any-one, but experiment with your own techniques and f ind one that works for you, your cam-era , and your environment .
Set Exposure
Manual exposure i s
TECHNIQUE
Shooting from the Hip - Capture your subjects without them even knowing. Words and Photos: Andy Doyle.
Shooting from the Hip
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be needed to compensate . Of course , h igher ISO’s introduce noise/grain into your image, so you need to f ind a ba lance be-tween motion b lur , sof t focus , and noise/grain . With pract ice , making this trade-of f wi l l be-come second nature to you as you gain a bet ter understanding of your camera ’ s capabi l i t ies .
Set Focus/Autofocus
Autofocus can be a he lpful a id , but i t can take too long to focus when shoot ing from the hip . I f you are us ing i t , see i f your camera has an AF lock feature .
AF lock a l lows your camera to autofocus once , and then lock in the foca l d is tance . Even as your camera moves , the foca l d is tance won’ t change.
When approaching your subject , dec ide ear ly on how far away you want to be when you take your shot . Then, i f you ’re us ing manual focus , set your chosen dis tance on the focus r ing on your lens . I f you ’re us-ing autofocus , a im your camera at a spot on the ground that ’ s the r ight d is tance away, focus on i t , and lock in that foca l d is tance .
‘ ‘You’re choice of camera isn’t hugely important’ ’
Compose
Composing your shot i s the most d i f f icul t part of shoot ing from the hip . Without being able to look through the v iew-f inder , you ’re probably not go-ing to be able to get the exact composi t ion you want s tra ight of f the camera . Try to frame your shot s l ight ly wide , so that i t can be cropped to your de-s ired composi t ion la ter .
Shoot
You’re approaching your sub-ject with your camera set up for the correct exposure , and with a
46
TECHNIQUE
certa in dis tance dia led in . Your camera should now be hang-ing over your shoulder , around your neck, or in your hand by your s ide . When you approach your chosen shoot ing dis tance , t ry your best to v isua l i se where the camera i s point ing. Aim i t a t your sub-ject , and take your shot .
S ince you c o m p o s e d your shot s l ight ly wider than needed, you ’ l l need to use pho-toshop, photo edi t ing sof tware of your choice , or an equiva lent
darkroom technique to crop your image. I f you ’re us ing a computer , keep in mind that when you crop, you reduce the resolut ion of your image, so try to use the composi t ion that wi l l require the least amount
of cropping. Using a modern dSLR, you should be able to crop considerably , and s t i l l end up with an image of usable
resolut ion.I t takes pract ice to be able to
v isua l i se what your camera i s see ing, so don ’ t g ive up i f your f i rs t few images turn out badly . Pract ice by taking photos of ob-jects on the s treet . Bins , lamp-
posts , and parked cars make good test subjects .
Being able to shoot with-out us ing a
v iewfinder i s a handy ski l l to have , and i s a lot of fun, so get shoot ing and submit your re-sul ts to the magazine .
Image before cropping Image after cropping
‘ ‘Try your best to visualise
where the camera is pointing’ ’
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Image before cropping
Image after cropping
REVIEW
Lomo Smena 8M
The Lomo Smena 8M is poss i-b ly the most iconic and famous camera in the Smena fami ly . While the f i rs t Smena rol led of f the product ion l ine in the Lomo factory in St . Petersburg, in 1952, the Smena 8M is a chi ld of the la te 1970s and ear ly 80s .
The Smena name trans lates roughly into Engl i sh as ‘young generat ion ’ and that ’ s exact ly what this camera was for . I t ’ s l ight p las t ic body with a coated g lass lens , provided a s imple , easy and af fordable way for young people , interested in
photography, to s tart out their l i fe in picture taking.
To ca l l this a toy camera , would be a b ig mistake , i t has so much more to of fer than the s impl ic i t ies found in toys . I t i s a fu l ly manual camera , with most of i t ’ s controls bui l t into the lens mechanism, that wi l l teach any aspir ing photographer about shutter speeds , aperture and even f lash photography.
The camera i s operated by a large r ing to control shutter speeds , bulb , 1/15, 1/30, 1/60, 1/125, & 1/250, the aperture
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control i s a t tached to the g lass of the lens and has the opt ions of f/4 , f/5 .6 , f/8 , f/11, & f/16.
To focus the Triplet 43 , 40 mm lens you turn i t in the de-s ired direct ion within the range of 1m to inf ini ty . Then the shutter i s cocked with a lever bes ide the shutter speed r ing and to re lease the 3 b lades d ia-phragm shutter you press the shutter re lease button on top of the camera .
For f lash the camera i s equipped with a PC socket a l-lowing for f lash synchronisa-t ion at every shutter speed.
The camera uses 35mm f i lm and has a f i lm wind and rewind knobs and a l so a f i lm counter wheel just above the door on the back of the camera .
The camera makes for very exci t ing picture taking, the lens g ives this lomo a unique con-trast and saturat ion that , par-t icular ly when shoot ing colour , makes a scene pop out of the negat ive .
I t ’ s l ight and compact s ize a l so makes i t a perfect cam-era to carry around on a l l oc-cas ions , as opposed to chunky SLRs and lenses , of medium format cameras .
Far from the unpredictabi l -i ty of toy cameras , th is entry leve l p las t ic bodied camera g ives photographers fu l l con-trol over capturing a scene.
A l i t t le known fact about this l i t t le Soviet beauty i s that i t be-came a controvers ia l and some-what contraband i tem in the United States a f ter a Smena 2 camera was found in the apart-ment of Lee Harvey Oswald fo l lowing the assass inat ion of pres ident John F Kennedy.
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Submit to the Magazine
1. By submitt ing an image to the magazine , you give us permis-s ion to use that image on our websi te and in our magazine .
2 . P ictures must be at least 300dpi and at least 2000 pixe ls on the shortest s ide .
3 . P ictures can be taken on any camera , analogue or d ig i ta l .
4 . I f submitt ing analogue work p lease have the camera and f i lm type inc luded in e i ther the metadata , tags , or capt ion.
Submission Guidelines
How to submit your work to Viewfinder Magazine :
Flickr: f l i ckr .com/groups/viewfindermag/
Tumblr: viewfindermag.tumblr .com
Email : submiss [email protected]
5. Your submiss ion may be re-fused without reason, as due to the nature of the publ icat ion we cannot contact everyone in-dividual ly to expla in why work was not accepted.
6 . We cannot pay photogra-phers for their work; any mon-ey earned from the Magazine i s immediate ly put back into im-proving the magazine and the accompanying podcast .
7 . You can only submit your own work. Work that i s found
to have been taken from some-one e l se wi l l not be accepted.
8 . By submitt ing a photo you are assur ing Viewfinder that you are the so le copyright owner of the photograph and as such should any quest ion about own-ership arr ive a f ter publ icat ion of the image you are accept ing fu l l l iabi l i ty and responsibi l -i ty i f i t turns out that you are not the copyright owner of the photograph.
Source : f l i ckr .com/nesster