April 24, 2011
Light: On The Sound Side

A few days ago, I’ve received a wonderful record from The Numero Group, one of my favorite labels. It’s called Light: On The South Side and it features a 2 LP gatefold vinyl and a 132 page hard back book.

The 2 LPs are a compilation of 17 tracks of the kind of funky Chicago blues that was played in Chicago’s South Side clubs in 1975-77 and the hard back book features some incredible pictures taken by Michael L. Abramson, a white guy in that massively black neighborhood. The pictures show the crowd, not the artists, that haunted those joints back in the day. There were some incredible cats and ladies in those places. The music is captured in a ‘raw’ fashion. You could hear a hiss now and then, some background noise and other details that makes you travel back in time without living the comfort of your sofa.

While most of the selection is very good, a few tracks stand out such as Andrew Brown’s You Made Me Suffer:

Such is the power of music and pictures. Together they can create the necessary conditions to make history real and restitute a long-gone atmosphere.

March 1, 2011
On The Usefuless of Light Meters In Photography

Last year, Sascha Welter convinced me to trash my digital Nikon D90 camera and get a ‘real’ camera instead, a Mamiya C330 Professional (yeah, that “Professional” tag on the front of the camera makes you feel good but won’t improve your photography skills in any sensible way).

This venerable, sturdy camera was produced from 1969 to 1974 and it makes square (6x6) exposures. It has no light meter, no auto focus and no thousand option menu that requires a rocket scientist to operate. Indeed, this is a wonderful tool for actually taking pictures instead of having to digest a 3000 pages long manual and brag about it in tearooms.

So how would you do to get the ‘light’ right as there is no light meter? Of course, this is not a digicam. So you can’t shoot a picture at every f/stop and hope you get one right. This camera takes rolls. Either 12 or 24 exposure rolls. So every shutter release counts (as in money). The rule of thumb is to rely on the age-old Sunny f/16 or, even better, its expanded version (courtesy of Sascha).

This is how I got started. This is how I rediscovered photography and started really enjoying it instead of worrying about menus, options, RAW vs. JPEG, histograms and every other thing that gets in the way of what should be a simple, straightforward pleasure down the composition path.

Roma Memories: Ostia Antica

After some time, experience kicks in and Sunny f/16 starts to be engraved in your brain. So your “guessing” gets better. But at times, for example in the evening or inside a shop, “guessing” is about as useless as sleeping on the floor, letting your cat get your bed in the hope that Chinese rice will be better this year. Well, yeah you could wait until the daylight with your subject or if you were inside a shop, ask the shopkeeper to temporarily remove the roof.

So I got a Sekonic Twinmate L-208 light meter and took it for some field testing during a recent trip I made to Prague. Earlier this morning, I had the chance to have a quick chat about it with Sascha on IRC (yeah, I know, the cool kids in town use Facebook nowadays). Here is an excerpt of our conversation:

Sascha: don’t you think you would have had the same result with “guessing” in those conditions?
Saad: you want my sincere, unbiased opinion?
Saad: provides a mucho better experience
Sascha: hehe, yeah
Saad: the lightmeter takes away some of the fun
Sascha: the light meter is good for when you run out of guessing, e.g. inside a shop
Sascha: just continue with guessing and use the light meter only when really needed
Sascha: before Xmas I was with XXX at the place of one of her uncle’s - an old dude who used to do a lot of photography
Sascha: when I was measuring in the dining room at one point he predicted what I’d measure - and he was right to the 1/3 stop
Sascha: it’s all a matter of experience
Sascha: if you lived through times when light meters were inaccurate and too expensive to be really available, you’d use a table till you learned it by heart
Sascha: and you’d remember your exposures and thus learned what worked and what didn’t
Sascha: so you got the experience

Needless to say, I agree :-)

April 24, 2010
Please, View it Large on Black.

Mamiya C330, 80mm lens, f/22, 1/500, Kodak Tri-X 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: none.

I wanted an old-looking picture here that doesn’t look like it’s been taken in 2010. The Mini Cooper is an old model and in such an environment with old buildings I decided to give it a shot. Also, The café on the left is called “Le Progrès” which means “Progress” in French.

If I had followed strictly speaking the Sunny f/16 (well “strictly” might not apply for such a rule), I would have exposed for the shades and select f/8 or f/11 instead of f/22 and I am happy with the results as the picture is underexposed the way I wanted it.

Please, View it Large on Black.

Mamiya C330, 80mm lens, f/22, 1/500, Kodak Tri-X 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: none.

I wanted an old-looking picture here that doesn’t look like it’s been taken in 2010. The Mini Cooper is an old model and in such an environment with old buildings I decided to give it a shot. Also, The café on the left is called “Le Progrès” which means “Progress” in French.

If I had followed strictly speaking the Sunny f/16 (well “strictly” might not apply for such a rule), I would have exposed for the shades and select f/8 or f/11 instead of f/22 and I am happy with the results as the picture is underexposed the way I wanted it.

April 16, 2010
Most-Industrial Intruders In a Post-Industrial Scene

Please, View it on black.
Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: B/W treatment, picture straightening.

I fell in love with this old house at first sight but then my vision was disturbed by the shiny Porsche car and the Renault Scenic on the left. They just didn’t fit in the scene. I was about to push the shutter button when my eye caught sight of the bike coming from afar. Remember that the Mamiya’s viewfinder is horizontal and you look at it from above, without your eyes being “stuck” in it like in your typical SLR/DSLR that’s how I could see the bike coming. So I waited for it to be between the two cars and there you go!

While the Kodak Ektar 100 is color neg and I liked the way this picture looked with colors on, I think that B/W is better for this kind of scene.

Most-Industrial Intruders In a Post-Industrial Scene

Please, View it on black. Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: B/W treatment, picture straightening.

I fell in love with this old house at first sight but then my vision was disturbed by the shiny Porsche car and the Renault Scenic on the left. They just didn’t fit in the scene. I was about to push the shutter button when my eye caught sight of the bike coming from afar. Remember that the Mamiya’s viewfinder is horizontal and you look at it from above, without your eyes being “stuck” in it like in your typical SLR/DSLR that’s how I could see the bike coming. So I waited for it to be between the two cars and there you go!

While the Kodak Ektar 100 is color neg and I liked the way this picture looked with colors on, I think that B/W is better for this kind of scene.

April 14, 2010
Please, view it on black!

The following picture was taken in Chateau d’Olonne, Vendée, France with a Panasonic Lumix DMC-LX3 compact camera.

On the day it was taken, there was some pretty heavy wind and the ocean was agitated.

This place is called Puits d’enfer (Hell Pit). It is pretty intriguing as the foam from the ocean’s water looks like milk.

Please, view it on black!

The following picture was taken in Chateau d’Olonne, Vendée, France with a Panasonic Lumix DMC-LX3 compact camera.

On the day it was taken, there was some pretty heavy wind and the ocean was agitated.

This place is called Puits d’enfer (Hell Pit). It is pretty intriguing as the foam from the ocean’s water looks like milk.

April 13, 2010
Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (guess work).

Exposure number: 6.

Changes to the original: none.

I spotted this church entrance while strolling with my relatives in downtown Sables d’Olonne. Mostly aged persons went and came through this door. What drew my attention is of course the obvious association between the very old looking stones of this particular church’s walls (the Atlantic Ocean is probably 400 meters at most from this place) and the aged persons. So I decided to just stand there and wait. My back was on a closed shop’s window hence the rather tight framing and I was expecting someone like the woman featured on the picture. A few persons came out but though aged, they looked in a pretty good shape and then this woman came out and I closed the shutter and only then I realized that I had an Ektar 100 film loaded and not some nifty XP2 400 ;-).

While the picture doesn’t look particularly straight, that’s because the steps are a bit of a slope…

Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (guess work).

Exposure number: 6.

Changes to the original: none.

I spotted this church entrance while strolling with my relatives in downtown Sables d’Olonne. Mostly aged persons went and came through this door. What drew my attention is of course the obvious association between the very old looking stones of this particular church’s walls (the Atlantic Ocean is probably 400 meters at most from this place) and the aged persons. So I decided to just stand there and wait. My back was on a closed shop’s window hence the rather tight framing and I was expecting someone like the woman featured on the picture. A few persons came out but though aged, they looked in a pretty good shape and then this woman came out and I closed the shutter and only then I realized that I had an Ektar 100 film loaded and not some nifty XP2 400 ;-).

While the picture doesn’t look particularly straight, that’s because the steps are a bit of a slope…

April 11, 2010
Mamiya C330, 80mm lens, f/4, 1/500, Ilford XP2 400, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: none.

Mamiya C330, 80mm lens, f/4, 1/500, Ilford XP2 400, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: none.

April 8, 2010
Villa du Lavoir.

Mamiya C330, 80mm lens, f/2.8, 1/500, Ilford XP2 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: exposure adjusted by -0.75 to show some details at the far end and the walls surrounding the woman.

Villa du Lavoir.

Mamiya C330, 80mm lens, f/2.8, 1/500, Ilford XP2 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: exposure adjusted by -0.75 to show some details at the far end and the walls surrounding the woman.

March 11, 2010
Considering Transportation Options

Considering Transportation Options

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