Creating Art

I still find myself in Australia, just five more days….. My Leica 1 ‘ate’ my film and split it. As I advanced the film with each shot, unknown to me, the leader splice on the film was being torn in half as it advanced. Eventually it clogged the advance mechanism leaving me no choice but to open up the back and rip it out. Within that ‘process’ of splitting and advancing, the shutter is now not working so a soon to be, CLA is in order. My Leica model 2, ….with my Russian 50mm, ended up being my main squeeze.

This past week saw me in downtown Melbourne doing some street work. Extremely enjoyable as I find Melbourne to be very conducive to Street work. My Model 2 with a Russian lens had me wondering but I quickly became familiar with it. And like most film cameras I shoot, it forces me to slow down….I was relegated to a 50mm which is not my preferred street use, as I enjoy 24-28-35…But hey, it all worked out. With those few days I shot around three rolls of film. Lots of alleys, lots of architecture and some interesting people I chatted with. . In a month or so, Christmas will come as I develop my film.

Yesterday though as well as today I turned things on end by taking out my Ricoh 11. This experience proved to be a remarkable difference in what I shot, how I shot….and the experience. Let me explain…..

First…. with film….I ‘create art’….. With digital, …I ‘take pictures. Indeed yes…there is ‘that’ much of a difference. With film, the process of determining exposure and honing in with focus, composure, framing ….all add to ‘creating art’. It simply takes time and it takes creativity. When I print my images I know the image I view is all because of what I did from the start. No light meter, no AP, no P mode…no exposure comp…nada. Just my wits.

With digital (Ricoh in this case) the process just felt rushed, a bit contrived even. I already know what my end result is as I can view the shots on the camera before I take it (Live view) and obviously after the fact. With ’ live view’ i visually set my composure comp and style even beforeI press the shutter. It is that easy. While the images come out strong, the process, the experience….the feel…..all differs in that it simply ‘lacks’. I follow Sean Tucker on You Tube who shoots with his Ricoh on the streets of London (not that much different in feel from Melbourne). He shoots ‘live view’ and knows he can visually gauge exposure and contrast etc just by looking at the screen. It is pretty easy. Even though I need reading glasses, in this case…I am not here to read the photograph in terms of sharpness etc….rather, I take a wholistic approach and view the ‘LCD’ screen for composure, how light is hitting it etc. It is all about the visual ahead of time.

Now I obtain nice shots…. yet surprisingly when I look back on my shots I still get about 1 out of 36 that just hit me as being those WOW shots…not much different from my film. But shooting digital has me leave the day with ‘a lot of shots’…. as opposed to 2 full days of shooting with film and only a few rolls. Digital is just taking shot, after shot after shot. After all, a benefit is that those shots are ‘free’….yeah! But with that lack of expense outlay, I find myself being less picky, less thinking….less experiencing each shot.

Bottom line…. as I have stated in previous blogs….my film shots just make me more creative and less reliant on just snapping away. The end result in numbers of WOW shots is about even, but that experience, oh that experience of film is the greatest intangible I can think of, and is what continually draws me back to photography.

For this recent trip to Australia, I am a bit remorseful in that I didn’t bring my Leica MA or my Olympus OM-1. Next time….they are in the bag.

I still have a few days left but not sure if I will get much of an opportunity to shoot, with the exception of ‘family’ like shots. I envision a few with my Leica with grandkids and scooters and yes, film..

Barnacks...Down Under

I am off on my yearly and soon to be, bi-yearly adventure down to Australia as I have a daughter there with two grandkids and one on the way. Yes, a camera decision to make. Taking the ultra-small Ricoh GR is a give-me as I take photos of grandkids. But, which film camera to haul along? …Leica MA and if so, what lens(s)?, Leica Barnacks 1 Model A, or Olympus OM-1 and which Lens’s? My Decision…. leaned to the Barnacks…. Keep reading to understand my reasoning. You see, rarely do I shoot even a dozen images per day, when I venture into the streets. I like to frame my shots, slowly compose them…carefully craft the ending image, and yet admittedly, that goes with any camera. But it really relates to a Barnacks. Now, to grasp what a Barnacks ‘is’, let me ‘step out’ this camera to you and the process:

• Find a shot….not particularly unique here but perhaps unique in my view of the process. I look for the angle, the shadows, the tones, contrast….

• It is a Leica, so I need to make sure the lens cap is ‘off’ (same as with my MA!) and then pull out the lens and lock it in place. The Barnacks has a retractable 50mm Elmar lens.

• Advance the film manually in the Barnacks. It takes one complete turn of the knob.

• Using the sunny 16 and my 400 ISO film, I determine shutter and F-stop. Am I exposing for the shadows or the light? I cannot adjust the shutter (20, 30, 40, 60, 100, 200, 500) on the Barnack’s until after until ‘after’ I advance the film.

• Select the F stop….The stops on the Barnacks do not equal what we normally see on cameras today. The stops on a Barnacks are: 3.5, 4.5, 6.3, 9, 12.5 and 18. This requires a bit of re-thinking as the stops of yesterday, are not equal to the usual stops on cameras today, so a bit of re-adjustment in how to approach this needed.

• Then I take the protective screw off of the shutter button. This helps prevent accidental taking a shot.

• The focus on a Barnacks is not determined by a traditional rangefinder mechanism as we know of it today, unless I have an accessory called a FOKOS which fits on the top of the shoe (only reason for the shoe mount ). Otherwise the Barnacks focuses based upon ‘distance’ ….in feet or meters, depending on the version you have. It is surprisingly not all that difficult to measure by distance estimation and is rather an enjoyable part of the process.

• Once I have distance estimated or more precise using the FOKOS, I can now move the lens focus to the appropriate feet in length. On a Barnacks 1, Model A, you have to release the ‘lock’ on the focus adjuster on the lens. This is done by pressing the ‘hockey stick’ (which was what it was informally called) and sliding the lens counterclockwise to the estimated distance, in order to focus.

• After the above has been complete, I can then move my eye to the viewfinder and compose my shot. The viewfinder has no connection to focus, distance etc…merely composition as one frames the image.

• (h) Press shutter …. Then be prepared to do all of that all over for another shot, when / if, one presents itself.

FOR ME…..that entire process adds to the experience of creating, and crafting, and tooling and slowly ticking the boxes with a check. In no manner is this process akin to any automatic or “P” mode function or that of a traditional rangefinder for focus or cameras with light meters etc… You see, I am a bit of a highbrow when it comes to this particular camera, and relagate more modern camera designs to that of just taking a tourist shot, or an everyday snap shot…. A Barnacks’s is purposeful…. it is imprecise, it is slow, is can be tedious, success implies I shoot alone, so I can force myself to get into my zone, I immerse myself into the process. I demand that the tool I use, equals the rough 1930’s photographic outlook that at times, I require.

My evolution

Sometimes it is helpful to just step back and see how we have evolved as photographers….. Evolution isn’t always good/bad, but simply a new take, a new direction perhaps spurned on by something you saw, or a challenge that you want to accomplish.

When I first seriously started in my photography, I was a nature photographer and looked to capture that animal or bird and have the glint of their eyes seen in my images. But with the advent of larger lens, and camera’s with AI type elements, the actual act of photography became relatively easy. Yes, the composition or capture of the animal was needed, but some of the challenge disappeared. I was beginning to see others capture the same with little knowledge or skill, simply technology.

So I shifted, as a distant, almost hidden challenge within me was occurring simultaneously…to that of capturing the elusive ‘human’. Hence…..street photography over-powered me and where I remain today.

At first, I was relatively into ‘faces’…oddities…..the decisive moment as Henri Cartier Bresson put forth. Yet I needed more and found the works of Deido Moriyama and Takuma Nakahira. I loved the combination of ‘digital and analog’ as their work showcased. It wasn’t about just capturing the moment, but more capturing the ‘Art’ found in the streets. I turned from less of an emphasis on humans and more on the angles, geometry….. Then came Fan Ho, who I still love….. beautiful….artistic, mysterious….filmish….

I continued to grow as a photographer…… I started looking for recent photographers and while many recent street folks are just into ‘street’….I have tried to gleam what I could from a few of their works and attempt to transfer it to mine. Now, photographers like Sean Tucker or Duane Michaels interest me. Again, not just angles and lines and geometry in the buildings but more so in the shadows, all the while to continue to downplay the humans seen in the photographs. I couldn’t care less who they ‘are’, but I know I need them. They become ‘intangibles’ to my photographs but are needed. If I look at a mailbox, it is just a mailbox, but if it is part of the scene, it belongs. Just the same as humans. No reason to showcase their faces ‘up close and person’, and ti identify or place in perfect focus, but more to showcase the humanity surrounded by the situation they find themselves in….the angles, geometry, shadows….. and light. Oh the light…. This is so valuable and to find the right light, and always on the hunt for.

I look at most street photographers and see ‘me’….but a long time ago. Now I look within and I see growth…again, not good nor bad, but growth as I put forth challenges to conquer. I am no longer happy with just an image of a person with a funny face, or strange clothes or am challenged by snapping their shot without them knowing it ….but want the whole image now to ‘come together’ as ‘one’….I want the photograph to become ‘art’ with a statement it makes, a question it forces….