Leica photography - Ric Savid's B&W imagery

I just picked up the April 2005, issue 36 of B&W magazine. there is a

feature article on Ric Savid's environmental portraits of peoples of

the Philippine's that were poignant and highly-sensitive. Ric's

bio-image shows him with an M7, and the images are distinctly

Leica-rangefinder styled. these images represent the kind of

street/documentary imagery that I find very moving, and contain a

depth of respect and sensitivity that is missing in many attempts.

 

I mentioned Leica-rangefinder styling, because it appears to me that

the camera is invisible. on one of my trips to San Miguel, I was

horrified when I saw myself in a mirror as I walked past the shops

with my Hasselblad and large-lens ... very intimidating and it had a

negative effect on my results. I only used a Holga from then on.

later, I watched others in our workshop trudge across the

cobblestones with Canon 1v's or Nikon F5's and 70-200mm lenses ... a

large tripod and sometimes a large flash upon the camera body.

 

I am sure their images where sharp as a tack .. but I watched from a

distance how their environment recoiled by their presence.

 

lesson learned ...

So you think a small camera is not visible?

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<img src="http://www.photo.net/bboard/image?bboard_upload_id=22200484">

<img src="http://www.photo.net/bboard/image?bboard_upload_id=22200684">

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Seriously, the advantage of small camera is that it is easy to carry. You can take "rangefinder style" photo with a large camera if you carry it with you. People don't see your camera when they are busy doing something.

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This one was shot with a 645 camera.

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<img src="http://www.photo.net/bboard/image?bboard_upload_id=20279884">

If Daniel himself is uncomfortable pointing a big rig at people, as he says, then you can't argue with him.

 

Apart from that, I agree that people tend to be less visibly affected when you're shooting with a smaller camera, on the whole.

<i>So you think a small camera is not visible?</i><P>Oh heck, not this debate again....

this thread wasn't borne from polemics, but it does pay notice to some of the rangefinder-style argmuments that surface periodically. I found that a telephoto-lens had a threatening aspect to it that affected the subject. a smaller camera, perhaps a Leica, and most of all ... a respectful and compassionate photographer were far more important than the quality of optics/flash/tripod used. I am generalizing - my prerogative here, that most of the workshop attendees were good photographers but highly-insensitive to their impact on subject and environment.

 

Ric Savid's imagery reminded me of the powerful Morrie Camhi photographs from his 'The Jews of Greece' series. yes, many images could be made from other cameras, but the fact remains, that the ones that I see that are wholly successful on many levels, are trending to be from the same camera and philosophy.

<p><i>I was horrified when I saw myself in a mirror as I walked past the shops with my Hasselblad and large-lens ... very intimidating and it had a negative effect on my results. I only used a Holga from then on.

later, I watched others in our workshop trudge across the cobblestones with Canon 1v's or Nikon F5's and 70-200mm lenses ... a large tripod and sometimes a large flash upon the camera body.

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I am sure their images where sharp as a tack .. but I watched from a distance how their environment recoiled by their presence. </i></p>

<p>But what were their photos like? The fact is, great photographs, even "street photographs," have been taken with big ol' Nikon F's, Rolleicords, and other cameras. As has been mentioned several times in various groups, your actions are the critical component in setting your subjects as ease.

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<p>As for flash, I've seen some rather nice examples of flash units being used in street photography. In fact, I'm seen some such photos posted in this forum. I really liked the results.

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Tripods can also be surprisingly useful in street photography IF you're willing to wait. The camera becomes part of the every day clutter when on a tripod if the photographer isn't peering through the lens at you. This is quite useful when you're trying to capture a shot of the street or a detail of, say, a colourful wall, but you want some people in the frame to add interest. Just set up the shot and wait for someone to walk by and complete the image.

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<p>I do agree, however, that a long, fast lens pointed at them would make people feel uncomfortable. But even then, the photographer's interaction with the subjects, even if they're strangers, makes all the difference.</p>

 

<p>I recommend that you watch <b>War Photographer</b>. It's a documentary featuring James Nachtwey. His photographs are beautiful and moving (the photos were more of human suffering and determination, rather than actual war footage), and he took them with pro-grade Canon SLRs and usually with what appears to be a fast, wide-to-portrait zoom. Some of them he took while a mini video cam was attached to his camera so you see things from his perspective while he is at work. What really struck me was how Nachtwey's movements and facial expressions conveyed his compassion and empathy for his subjects. You knew just by watching him work that he was moved by what he saw.</p>

 

<p>Larry</p>

<i>You can take "rangefinder style" photo with a large camera if you carry it with you.</i><P>Sheesh, I missed that one....

<i>using the one camera one lens approach would be hugely counterproductive to personal development</i>

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I think that also depends on individuals. Recently I limit myself to one camera + one lens + one film. Thinking about work-around is fun too, after a few work-arounds, it becomes your comfort zone.

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I am sure those pros have reason to carry their huge SLRs, lenses and flashes. But being a hobbyist, I have the luxury of shooting with limitation.

Peter A - you just don't get it do you? check out the magazine, turn the pages slowly, look at the images as if you were the external camera off the page, read my posting once again, look-up 'forum' in the dictionary, and make a note the difference between enlightenment and embattlement.

 

no one is talking absolutes, no one is making an attempt to state that SLR cameras, large or small, black or silver, cannot create a poignant latent image upon a film-base. what I am saying, is that there is a style of photography that apparently benefits from a small, rangerfinder, digi-cam, or SLR camera in the hands of someone who understands the relationship between their lens and subject.

 

look at the imagery that I reference and then come back and present an informed response.

Daniel, I went to see Michael Reichmann's (Luminous Landscape)photo exhibit of Bangladesh last weekend, and it featured quite a bit of steet style candids that did not all work that well. Looking at his website I see most of them were shot with a Canon 1Ds II, and a 300 2.8.

 

The pictures have that distant "shot from the other side of the street" look to them, I couldn't help thinking how much better they would have looked shot with an unobtrusive camera and 35 mm lens.....a M6 and 35 cron would be perfect!

<i>"Daniel, I went to see Michael Reichmann's (Luminous Landscape)photo exhibit of Bangladesh last weekend, and it featured quite a bit of steet style candids that did not all work that well."</i><p>

While I agree that more suitable equipment may have helped him, the fact is that Reichmann just isn't much of a photographer. He's a justly famous gear commentator who uses that fame to promote his unremarkable photography.

Reichmann doing street/candid photography. Now that's a laugh, even with a small cam,

which wouldn't make a difference...

I doubled with Beau - we're saying the same thing.

Michael Reichmann bought himself a Konica Minolta A2 and managed some wonderful street photography, in my estimation. much better than his giga-pixel efforts with medium-format digital backs. again, I am generalizing, but it did strike me that there was a certain liberation that occurred for him ... like leadened-weights lifted off his shoulders. it just struck me, as his thesis and seems to run contrary to his photographic successes.

 

Brad, I wish you might share your observations as to your digi-cam photography and your new DSLR. I see many influences in your latest work, so it might be difficult to evaluate. I am seeing Gibson, Kertesz, Frank, and perhaps Lyons in your new stuff. Ralph Gibson's works are insanely powerful. I am sure you've studied 'Deus ex Machina' (Taschen), but if not, check it out.

I have noticed that if the camera is BIG enough, sometimes people dont care about it all, just smile.

In this case it was sinar 5x7" monorail when i was shooting architechteru and urban landscapes.

Also i do shoot rangefinder style too, with a canon eos and hexar.

One thing is sure, shoot with the camera you are most confident and

it will reflect on your style. It can be whatever ;)

"I only used a Holga from then on."

 

Send me your hassie if you don't want it anymore ;)

 

Seriously though, I think "poignant and highly-sensitive" portraits can be taken with any camera as long you put some work into disarming your subject. It's all about getting to know them; less taking pictures, more talking.

I've been around here long enough that dismissing Peter A's sophomoric rants is rather easy. sorry Peter A. 'sticks and stones ...'. here's the deal -- listen up. I took the time to inform Leica-users and fanciers of a certain style of photography, to suggest they check-out a magazine and a book from excellent photographers using Leica's. after what this forum had gone through of late, I felt validation was warranted. this is, after all, the Leica forum, where the camera-type and the personality behind the lens ... might make a subtle difference. I wasn't arguing sharpness of lenses, or promoting Summicron versus Summilux debate. there is some excellent photography that projects something unique ... and alluring. not Leica specific, not rangefinder specific, but the fact remains that the end-result succeeds.

 

I think that it is important to publish findings, on a forum, of photographic efforts that do succeed, in some small-part ... perhaps, due to the contributions of the camera and style the forum champions.

 

again, no absolutes ... my observations were my own. however, on the bus-ride back to the airport with David Alan Harvey, his double-barreled commentary on this subject re-affirmed my observations.

 

study the photographs .. use this forum to help nurture your photography and promote new ideas. take the time to post something of value to an audience greater than your self.

<i> I use an H1, XPan, MP, DSLR on the street all the time, no one has ever 'recoiled' any more or less from me in using any of the cameras</i>

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No, the recoil comes when you display your pictures.