It’s
obvious that photography is one area in the creative world that has
gained a lot of attention. Popular websites and social networks such as
Instagram, 500px, Tumblr, Flick, and much more promote how awesome it is
to use photography to express and document your life and experiences
whether you are a pro or amateur. Being able to practice photography
with quality equipment is consistently becoming more affordable and
accessible. But what if you’re stuck on where to learn or boost
photography skills? Good news, there are TONs of helpful photography
resources both free and paid out there on the web to learn from. Some
people like to learn from written resources while others prefer videos.
Well, this post is for you guys who enjoy learning from video resources
for free! In this post, I listed a variety of Photography Courses from
Skillshare, Udemy, and Youtube to get help get your photography skills
where you want them to be.
Loaning
and borrowing photographic gear has always been a delicate subject,
especially among photographers who are also good friends. It involves a
lot of trust on one side and responsibility on the other. The value of
the tools is fairly high most of the times and that makes things even
more delicate. I’m not in any position to judge whether it is right or
wrong to loan cameras, but I would like to shine a light on some of the risks that come with putting your camera in
strange hands. These are real risks you have to acknowledge and they
should have you carefully consider who it is you decide to help.
Saying goodbye to your custom settings
If you’re the kind of photographer who
likes to customize his camera, and you should be because it makes it
easier to operate, you probably have your own settings and custom
functions. When you loan the camera, chances are the person using it
doesn’t have the same working method you do and they’ll probably restore
everything or tweak it to meet their needs. All that is fine, but the
problem is most people never bother to remember what the previous
settings were, not to mention restoring them.
Accidents happen
It doesn’t really matter if you lend your
camera to a best friend or an acquaintance. They could be a long time
pro, or a beginner. Either way, accidents happen and this time I am
talking about the real, honest, unwanted ones. A lot of things can occur
and it’s not even worth counting possible scenarios. Getting back a
broken camera can be very frustrating and all that can be amplified if
it’s your main camera and you have a shoot coming up in the next couple
of days. The best way to protect yourself from these events, besides not
loaning the camera, is insurance or making sure the person you lend it to is fully capable of covering the costs.
If you do loan cameras, it would probably
be a good idea to do so only to trusted, close people. What’s very
important is to make sure there is a clear date for the return of the
equipment and only under special circumstances should it be missed. Even
so, there are cases when the camera is not returned in due time and the
owner himself has to borrow from someone else, provided the loaned
camera is the main one and the backup isn’t good enough for the job. All
that leads to tension that could ultimately damage the friendship. I’m
not saying don’t help a friend in need; just make sure to help the
friend that is aware of the return time.
It might get stolen
Don’t doubt it. I’ve heard of a recent
case in the photography community of a small town from Europe that made
me raise both my eyebrows. There was this event photographer who kept
borrowing stuff from other shooters, motivating that his own gear was in
service or had broken down the day before an event. He would usually
get back-up cameras
or other gear the others weren’t using so much anymore, so nobody
thought there was any reason to panic. All that until one of the other
photographers started to suspect something was wrong. This apparently
friendly fellow didn’t show up with his camera on time. It turned out
the guy was borrowing equipment and selling it on EBay, and since he was
so busy, no one could find him. Until the Police did of course, but it
goes to show that, sadly, even some people you think you know can turn
out to be entirely different. Regardless of goods, if loaning is
necessary, you should be extra careful who you trust with your
possessions.
It might come back in one piece, but check out all those black dots!
Not everyone is careful with cameras. Some people have a natural way of ignoring proper handling and can easily get a camera
filled with dust. It’s not that they mean it or have anything against
your camera, they probably do the same with theirs and you know what
they say, you can’t teach old dog new tricks.
The person you lend it to might not have the material ability to replace it
This is also a dreaded situation.
Something bad happens, more or less avoidable, and the camera is totally
damaged beyond repair. The person you gave it to might not have the
financial resources to replace the camera,
especially if we’re talking about a pro model. Needless to say, nobody
expected something like this to happen, and you both probably thought in
the back of your mind that the worst thing that could happen would be a
repair and that would be no problem. Situations like this are very
delicate and there isn’t a standard way of dealing with them, Insurance
is probably the only safety measure.
You might build an unwanted reputation
This also depends on who you lend to.
Helping out someone out of good will is a great thing, but if you do it
for the wrong people you might build an unwanted reputation as the go to
guy who lends stuff and is flexible on the return date. You probably
don’t want your phone to ring with photographers asking for something
every time.
Photographer Kyle McDougall
says that one question he gets asked a lot is if shooting in medium
format film, such as 645, is really “worth it” compared to 35mm film. In
this 11-minute video, he explains why he thinks it is.
While he’s clear that there are no “bad” formats, and all are quite
capable. What it really comes down to is the type of work you plan to
create and the preferences that you develop over time.
“If the format you’re working with right now suits you and is working
for you, don’t feel like you need to upgrade just for the sake of it,”
he says.
That
said, he believes that 645 is a great step up in many cases from 35mm.
Working with a larger negative mean you get finer details, less apparent
grain at similar image sizes, and smoother tones. Side by side, 645
versus 35mm are markedly different if you were to view the negatives
side by side.
645 film also offers the 4:3 aspect ratio, which many photographers –
McDougall included – find to be particularly visually pleasing.
Additionally, if you’re moving to medium format from 35mm, it’s not too
much narrower than a frame of 35mmm, unlike other medium format film
sizes which can be quite a bit narrower.
McDougall also says that in his experience, he finds that of the
medium format cameras, the 645 cameras seem to have the most compact and
readily available cameras that can be found and the options are also
more budget-friendly than other medium format options.
In summary, McDougall believes that for those who are interested in
moving to medium format film from 35mm, 645 has the most positives in
his opinion. To answer the initial question posed, McDougall basically
argues that the answer is yes: for many use cases, especially landscape
and posed portrait work, it is better than 35mm for many reasons. Not
only is image quality improved thanks to a much larger negative, but the
tradeoffs are less severe when compared to other medium format sizes.
Do you agree? Why or why not? Let us know in the comments.
For more from Kyle McDougall, you can subscribe to his YouTube Channel. Share this article.
Mid-November 2020 — 8 month months into the pandemic. We have to
distance, but the one freedom we still can experience is a walk in the
woods. Luckily, there’s a path near my home in Gloucester, Massachusetts
to neighboring Rockport that is wild, wooded, and ever-changing given
the season. In winter, it’s a whiteout. Spring, a marshy, muddy mess. In
the summer, it’s tick and mosquito-infested, but cool, clear, and crisp
in the autumn.
It’s the time to explore.
The path is only 3 miles long, filled with texture; tree bark,
leaves, erratic glacier boulders, dead tree stumps, and occasional
discarded objects, which are often rusted and have started to decompose
and transpose into the natural landscape.
A major reservoir, Cape Pond is a serene sight for nearly half of the
hour or so stroll. An occasional freshwater fisherman can be spotted,
or a Lycra wearing mountain biker. But generally, it’s a quiet
meandering trail, where you can enjoy your thoughts, or be on the watch
for interesting rectangular vistas to capture on film. It’s the perfect
length of time and variety of scenes for a roll of 36 exposure Kodak Tri-X 400.
I grabbed my Yashica Electro 35 GSN
for a variety of reasons yesterday … there was a full roll of film in
the chamber, it’s light, and I don’t need to worry about metering since I
shoot it at Sunny 16 since the meter doesn’t function,. All I need to
say to myself is “will I go with f/16, f/11, f/8, or f/5.6?”.
With the Electro I can walk with it securely anchored to my right
wrist, tethered to its tripod mount. As soon as I see what I want (to
capture), a quick swing to my eye, a fast-focus with my left thumb and
forefinger, and (as long as I pre-advanced) an instant shutter release.
And then, I’m back to the stroll.
Fortunately, in these days of instant photo gratification, the
one-two combination of Tri-X 400 and Kodak D-76 allows me to have a
strip of the exposure I just completed drying on a guy-wire strung over
my bathtub. Before I go to bed that evening, my day’s 36 moments of
compelling interest have been scanned (I’m a “shoot film / show and
print digital” kind of person).
Were all 36 great photographs? No way. But there were 5 satisfying
pictures that encapsulate the walk. Dried leaves glistening with high
contrast in their monochrome representation. Almost hidden I-beams in a
bed of autumn debris. The path itself, bending in a wave. The reservoir
framed by a tree gone horizontal. And, a field of boulders that are only
revealed because the foliage had fallen.
There were others…but these are the 5 I chose to share from yesterday’s exploration.
~ Bob
Want to submit your own 5 Frames...?
Go right ahead, submissions are open! Get your 5 frames featured on by submitting your 350+ word article by either using this Google form or by sending an email via the contact link at the top of the page.
This series is produced in conjunction with Hamish Gill's excellent 35mmc.com. Head on over to read the other half of these stories there.
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Civil rights photographer Tom Lankford dies of COVID-19
As
a reporter and photographer, Tom Lankford covered many of the important
events of the civil rights movement in the 1960s in Alabama, taking
pictures of Dr. Martin Luther King Jr. preaching in Birmingham in 1960
and future U.S. Rep. John Lewis leading marchers across the Edmund
Pettus Bridge in Selma on "Bloody Sunday" in 1965. (Photo by Dawn
Bowling)
A former Birmingham News photographer, nationally honored for documenting the civil rights movement, has died.
Tom Lankford died on Dec. 31, 2020, of COVID-19, pneumonia and heart failure, said his daughter, Dawn Bowling. He was 85.
When
U.S. Rep. John Lewis died last year, Lankford’s photos of Lewis leading
marchers across the Edmund Pettus Bridge in 1965 were among the most
widely republished photos of Lewis. Lankford took pictures of the
“Bloody Sunday” beatings of Lewis and other marchers in Selma on March
7, 1965.
In
2009, the Anti-Defamation League honored 12 former Birmingham News
photographers including Lankford in the Concert Against Hate at the John
F. Kennedy Center for the Performing Arts in Washington, D.C., with
actor Liev Schreiber as master of ceremonies.
Among
Lankford’s many historic black-and-white photos are several of Dr.
Martin Luther King Jr. speaking at Men’s Day at New Pilgrim Baptist
Church in Birmingham on March 6, 1960. King had recently resigned as
pastor of Dexter Avenue Baptist Church in Montgomery, where he led the
Montgomery Bus Boycott, to spend more time on civil rights activism.
The
Rev. Martin Luther King Jr. speaks at Men’s Day at New Pilgrim Baptist
Church in Birmingham on March 6, 1960. King had recently resigned as
pastor of Dexter Avenue Baptist Church in Montgomery, where he led the
Montgomery Bus Boycott, to spend more time on civil rights activism.
(Photo by Tom Lankford/The Birmingham News/File)Alabama Media Group
As
both a reporter and photographer for the Birmingham News, Lankford
covered attacks on the Freedom Riders in 1961, the marches led by King
and the Rev. Fred Shuttlesworth in Birmingham in the spring of 1963, the
bombing of the Sixteenth Street Baptist Church on Sept. 15, 1963, the
marches in Selma in 1965 and other civil rights events throughout the
1960s. Lankford reported on the final arrest of King in Birmingham on Oct. 30, 1967, when Major David Orange
and Lt. Dan Jordan of the Jefferson County Sheriff’s Office arrested
him at the Birmingham airport on an outstanding warrant and took him to
the Bessemer jail.
Lankford
graduated from Hokes Bluff High School in 1953, then earned bachelor’s
and master’s degrees in journalism from the University of Alabama, where
he was editor-in-chief of the student newspaper, The Crimson White, in
1958. He began working for The Birmingham News in 1959.
After
covering the civil rights movement from Birmingham throughout the
1960s, Lankford later served as editor of the Huntsville News until
1977.
“That
man was present for almost all the historical civil rights events,”
said former Birmingham Police officer Teresa Thorne, author of the
upcoming civil rights history, “Behind the Magic Curtain: Secrets,
Spies, and Unsung White Allies of Birmingham’s Civil Rights Days,” set
to be published April 20.
Lankford
shared his experiences with Thorne for her book, including his
controversial role as a “spy” for the Birmingham Police Department,
recording civil rights meetings, wire-tapping King’s phone at the Gaston
Motel and sharing intelligence with police.
“He
was embedded with the police department,” Thorne said. “By his own
admission, he became too involved and too close for an objective
journalist. He did not regret it one bit.”
Although
he was at times used by Birmingham Public Safety Commissioner Eugene
“Bull” Connor, Lankford also did a secret recording of Connor in 1962
that helped defeat Connor and led to a new mayor-council form of
government in 1963, Thorne said.
“He
got wind of a meeting in the fireman’s union hall across from city
hall,” Thorne said. “That was the famous meeting where they promised a
pay raise to the firemen. He recorded it. It was used by people
supporting a change to a mayor-council government.”
Earlier,
he took a photo of former district attorney Tom King shaking hands with
a Black man that was used as campaign propaganda by segregationist Art Hanes, who used it to help win the mayor’s race against King in 1961.
When events unfolded, Lankford always seemed to be there.
“For
him, it wasn’t about playing politics, it was about getting the story,”
Thorne said. “He did that by means we wouldn’t hold up as objective
journalistic methods.”
Lankford
once pretended to be a student at the University of Mississippi to get
the first photograph of James Meredith, the first Black student at Ole
Miss, sitting in class in 1962, Thorne said.
Lankford
was threatened with violence by the Ku Klux Klan after a mob beat up
Freedom Riders in 1961 at the Trailways bus station in Birmingham. They
dragged him into an alley and demanded the film from his camera, which
he gave up. But Lankford then went to Carraway Hospital and took what
became famous pictures of Freedom Rider Jim Peck, one of those beaten up
at the bus station, Thorne said.
“He
had a lot of respect for Martin Luther King Jr. and Fred
Shuttlesworth,” Thorne said. “He admired their courage. He was on a
friendly basis with them.”
Few
people had such access to both civil rights leaders and the inner
workings of the police department that enforced segregation.
“It wasn’t that he believed in Connor’s racism,” Thorne said. “He did it for the purpose of getting a story and having access.”
Bowling,
one of his two daughters, said her father cultivated close friendships
with law enforcement officers “so he would always have the relationship
he needed,” to get a story or picture.
“Daddy
had very close ties with the police department, state troopers, the
sheriff’s department and the FBI,” Bowling said. “One of his best
friends was Sheriff Mel Bailey,” who was sheriff of Jefferson County
from 1963-1996.
In the end, Lankford got pictures that became an important part of the historical record.
“He was a complex man, and it was a complex time,” Thorne said.
After
his newspaper career, Lankford worked in public relations for the
Parson/Gilbane Joint Venture and Dravo Utility Constructors, then Saudi
Arabian Parsons Limited, as a liaison with the Saudi Royal Commission
during construction of the city of Yanbu. He worked for the Saudi Royal
Commission from 1987-99.
He
lived from 1981-1999 in Saudi Arabia, and sometimes made presentations
to Saudi princes in the desert under tents on Persian rugs set on the
sand, said Bowling.
He
returned to Hokes Bluff and began gardening, but then decided he wanted
to be a cross-country truck driver, Bowling said. He and his wife of 35
years, Tan, whom he had met in Thailand, both got certified as
commercial truck drivers. After several years of driving 18-wheelers
from Alabama to California, with his wife and their golden retriever, he
had a heart attack in 2008 near the U.S.-Mexico border.
He
gave up truck driving, but in recent years had become a greeter at the
Sam’s in Oxford. He always wore a tie and dress shoes, as he had during
his newspaper days, and struck up conversations with customers coming
into the store.
He
gave up his Sam’s greeter job in March 2020 when coronavirus lockdowns
began. “He was a dapper dresser, always wearing a tie,” said Bowling.
She recalled that when her parents divorced in the early 1960s, Lankford
would pick up her and her sister, Carrie, for the weekend and take them
with him as he worked.
“He was very tall, had these long legs, walked really fast, and he always had a camera on his shoulder,” she said.
She
recalled one time he had taken pictures of the Ku Klux Klan at a
meeting, and asked them to take their hoods off. “He stood on the back
of a pickup truck and they posed for him with their masks off,” she
said. “Then they changed their mind. They came to the house and demanded
Daddy’s camera. They searched the house and found it in the crawl
space. They tore up his camera and took his film.”
What a New, Budget-Friendly Leica M 35mm Camera Might Be Like
by: Johnny Martyr
In the eyes of many, 35mm film photography was snuffed out in the
early 2000s. But a small, dedicated fan base has continued to smolder.
For all intents and purposes, Leica launched the 35mm camera. And it
seems that nearly a century later, they are still committed to fanning
the flames that they themselves ignited.
Word on the street
is that Leica may offer a budget-friendly 35mm rangefinder camera to
join their current MP and M-A 35mm models sometime in 2021.
This got me wondering; what form might the new hypothetical camera take?
It will surely be an all-metal and manual M-mount rangefinder camera
that looks and feels true to the Leica legacy. But how will Leica
provide this for the rumored $2,000 to $3,000?
Let’s take into account that Leica has always built the most
expensive 35mm cameras in the world. But now they’re taking aim at a
demographic who have grown accustomed to buying sub-$300 Japanese
antiques, albeit of very high quality, courtesy of rapid market
devaluation.
The new 35mm Leica will have to be appreciably different from the MP
and M-A in order to squash the price without destroying the surprisingly
strong market for those cameras. But the new Leica will also have to be
appreciably similar to the MP and M-A, or perhaps the still-popular M6,
in order to inspire sales to begin with.
Made in Germany?
The first and biggest cost-saver can be found in the very first thing
that people think of when they think of Leica; Germany. Leica recently
announced a line of budget M-mount lenses that will be assembled at
their Portugal plant. German labor has always commanded a premium so it
seems obvious that an affordable Leica cannot be emblazoned with the
coveted MADE IN GERMANY engraving. This isn’t the first time that Leica
built a 35mm camera outside of Germany though. Many M4’s and even some
M3’s were actually made in Canada.
The Body
The finely engraved brass top plate of Leica cameras is
cherished by classic camera enthusiasts. But decades of M5 and M6 models
featured a molded zinc top plate and I think that we can expect to see
the same for this new Leica M. They may even choose to use magnesium
alloy such as Cosina did with the Voigtlander Bessa series. This move on
materials would not only reduce the cost of the new M but it would
maintain an important distinction between Leica’s premium and budget
35mm cameras. Leica has experimented with this before when they released
special edition M6 TTLs with brass top plates instead of their
conventional zinc ones.
The body must follow the same form and size as the MP and M-A, both
to maintain Leica’s timeless styling but also so that fewer unnecessary
changes to the innards and tooling will be required. Leica is all about
simplicity.
If they use zinc, Leica can offer silver and black chrome finishes.
If they go with magnesium, expect to see silver and black enamel
finishes instead. And expect to see very little engraving on the body.
Film Loading
Many new Leica shooters would probably like to see conventional film
loading such as the Voigtlander Bessa series offered. This threatens the
iconic Leica rangefinder silhouette and handling though. So I think
that the new Leica M will be a bottom loader, sharing the same bottom
plate with the MP and M-A. Not reinventing the wheel will minimize costs
and extend history.
Leica could even save money by returning to the loading style of its
earliest products. They might exclude the rear film door altogether.
Doing so might further alienate and discourage some, but seasoned Leica
shooters probably wouldn’t miss it and the difference would be another
feature to keep new Leica shooters saving for the MP or M-A as a second
body or upgrade.
Film Rewind
We will probably see a conventional rewind crank assembly. The MP and
M-A returned to the early Leica knurled knob rewind, for a retro nod
and also for better reliability. However, it’s cheaper to build a
componentized rewind crank than to mill a knob out of a solid chunk of
metal. Since the top plate will have to be different, it wouldn’t be a
big deal to make an M4-type angled rewind crank. I also think that a
crank will appeal to new Leica shooters more than a knob and is another
way for Leica to recognize another unique styling cue in their history.
Viewfinder/Rangefinder
I could see the viewfinder/rangefinder on the new Leica M go one of two ways.
Leica could fit this camera with the same VF/RF used on
the MP and M-A. If they do this, they will skimp on small features.
While the baselength will remain at 68.5mm and magnification will remain
.72x, the outward-facing optics will not be UV coated and the condenser
lens will be omitted. These items aren’t essential to the assembly and
were not featured on M6’s either. The result would be an accurate
rangefinder but less pretty viewfinder.
I tend to think that they won’t go this route because it probably
won’t shave enough of the cost or do anything to inspire rookies.
I imagine that Leica will shorten the rangefinder baselength and/or
magnification as a further distinction from the MP and M-A and because
they can use parts from their digital rangefinders where they’ve already
made this trade-off. Doing so saves not only on the assembly cost but
also in providing service because the adjustments will be less fine.
Because the top plate will not be shared with the MP or M-A, Leica is
free to install whatever VF/RF inside it that they see fit. Shortening
the baselength and/or magnification would result in a prettier
viewfinder but less accurate rangefinder. Leica used short baselengths
and high magnification on their early screw mount cameras and
Voigtlander sold many 35mm rangefinders in the early 2000s which had
short EBL’s, largely because the viewfinders were so bright and clear.
For photographers using a 50mm f2 or 35mm f2 as go-to lenses, a shorter
effective baselength will be totally adequate and impress the eye on an
enjoyment-of-use level.
Framelines
From the beginning in 1954, every Leica M has had automatic
framelines. You mount a lens and the correct framelines for it appear in
the viewfinder. I cannot see any reason why Leica wouldn’t just ditch
the automatic framelines. Only professional photographers really need
this feature and of them, many probably wouldn’t miss it. Leica will
retain the front-mounted frameline selector and simply lose its
automatic linkage. What framelines will be available? 28mm, 35mm, 50mm,
75mm, 90mm, and 135mm – just like the MP and M-A with .72x finders.
Doing this allows Leica to use the same frameline mask in their existing
cameras and encourages shooters to buy more Leitz lenses every time
they look in the eyepiece!
Film Advance Lever
Leica shooters love the solid brass film advance lever fitted to the
MP and M-A so much that many buy them to be retro-fitted to older Leica
models that used a combination metal and plastic hinged advance lever. I
expect that we’ll see a return to the segmented, plastic-type lever or
something like it.
Light Meter
The Leica MP features a beautiful built-in three LED meter. Leica
eliminates electronics all together in the M-A. While it’s obviously
cheaper to eliminate the meter, newer/budget shooters will sooner buy a
used M3 or M2 before they buy a new Leica without a meter. In order to
be successful, the new Leica needs to weigh in cheaper than or about the
same as a used M6 and it has to be at least as well featured. A version
of the new camera without a meter could become an option later, just
like the M-A was to the MP.
Leica will likely have to outsource a cheaper meter than what is in
the MP. Luckily, there have been a lot of improvements to small, digital
light meters since the MP was introduced. Again, this will be a point
of distinction between the new Leica and the MP. The new meter can
perhaps have a narrower sensitivity range, perhaps a wider angle of
measurement and not be as bright/informative as the MP meter. But as
long as it’s got a three LED display, I think that shooters will buy
into it over the two LED M6 and potentially the unsupported three LED M6
TTL. OLED displays have been popular in accessory meters lately\. A
swing needle display would be interesting to throw in the mix but is
unlikely.
Shutter Etc.
The shutter and principal mechanisms will be more or
less identical to those found inside the MP and M-A. A steel gear might
be substituted with nylon for example. But I think that Leica has
historically demonstrated that they don’t fix that which is not broken.
And it will be cheaper to manufacture and support the same innards
across three camera bodies than change things up for one. Additionally,
this will give the photographer the confidence and enjoyment that
they’re looking to get out of operating the camera. Even with a plastic
advance lever and cheaper shutter dial and rewind, photographers will
still feel that classic, quiet, smooth mechanism below.
An electronically timed shutter such as Leica employed for the M7
with aperture priority mode would be cheaper for most manufacturers to
build and could be another outsourced part. While some shooters would
like to have an aperture priority Leica, the M7 was discontinued only
two years ago so this doesn’t indicate a strong enough market for that
kind of product. I also think that this just isn’t in Leica’s wheelhouse
so they’ll stick to what they can do well rather than take unnecessary
risks on an already surprising product.
So those are my thoughts on what we can expect, assuming the rumors
are true, from a new Leica 35mm M-mount rangefinder camera. You probably
have your own theories and personal boxes to check that would inspire
you to buy a new Leica camera. Let me know your ideas in the comments
and hey, what is this camera going to be called? M1? MP-A? M6-P? Let’s
keep the fire burning. Thanks for reading and happy shooting!
About the author: Johnny Martyr is an East Coast
film photographer. The opinions expressed in this article are solely
those of the author. After an adventurous 20 year photographic journey,
he now shoots exclusively on B&W 35mm film that he painstakingly
hand-processes and digitizes. Choosing to work with only a select few
clients per annum, Martyr’s uncommonly personalized process ensures
unsurpassed quality as well as stylish, natural & timeless imagery
that will endure for decades. You can find more of his work on his website, Flickr, Facebook, and Instagram.
Saturday, January 2, 2021
Photographer recreates 20th century scenes from model cars
Do you enjoy vintage photos from the mid-20th century? Photographer Michael Paul Smith
has a vast collection of such photographs. They show the world as it
was from the 1920s to 1960s – but they were all made using model cars
and model buildings he makes himself. His photos are so masterfully
done, you would never say those cars and houses aren’t real.
Michael uses model cars and builds model houses to recreate the
scenes from a fictional place Elgin Park. It all started as an exercise
in model-making and photography, but it turned into a very successful
project. Elgin Park project was also a way for Michael to deal with hard
times. But it doesn’t only represent Michael’s fantasy. In a way, he is
documenting the 20th century and recreates the scenes from
the past. They are based mainly on his childhood memories, but also on
the stories he has heard.
He has a collection of diecast cars, which at some point amounted to
over 300. This made Michael start creating model buildings to give these
cars some context. At the same time, he learned how to use a digital
camera and a computer, so everything came together perfectly. He was
able to make, photograph, edit and publish his work. And all of this
started when he was fifty years old.
As you can see, the photos look really life-like. Michael photographs
car and building models and uses various props to make the scenes look
more realistic. And as for the gear, he’s minimalistic about it and uses
only a point and shoot camera. Another interesting fact is – there is
no Photoshop. There is some color editing, but no manipulation – all the
photos were made from a single shot.
Michael says he has always loved to draw, build stuff and make up
stories. Throughout his life, many interesting jobs came his way. He
worked in advertising, designed museum displays, illustrated text books,
hung wallpapers and made architectural models. He was even a mailman
and a bartender. He says you can learn something from everything you do,
and you will use it later on in life. And his work definitely brings
together some of the skills he learned at his numerous jobs.
At first, Michael was uncomfortable with showing his work, as his
hobby could have been seen as odd. It was years before he first
published something online. He posted his work on Flickr for the first
time in 2008, and a huge wave of interest occurred. His work got
published in a British car magazine, and it had a huge response both
there and online. Michael says he didn’t see this coming. As he is a bit
shy, and so he has been since childhood, the recognition he receives is
still a bit strange and difficult for him. But in my opinion, he
deserves to be recognized.
Michael’s work brings out memories and emotions in people. It reminds
them of their childhood or of certain situations they had. And in a
way, it’s a recreation of his past, too. Here are more photos from Elgin
Park project:
Tags: Photography for Beginners, Elderly, Photography
byDavid Peterson
You've
probably seen all the articles on tips for photographing kids and
teens. They're popular lens candy due to their smooth skin and
expressive faces. But, senior citizens bring a totally different
character to the lens that shouldn't be dismissed.
Kids tend to live in a state of wonder where seniors live in a state
of wisdom. Life experience has given them that right. As a photographer,
it's an ideal opportunity to capture that wisdom in their expressions,
their wrinkles, and in their energy. Whether posed or candid, pulling
those decades of experiences to the surface and through the lens is an
art in and of itself.
In honor of the elderly generation, I'm providing 7 tips for photographing them.
In most cases, those who are elderly now have images of themselves as
children that are black and white or sepia tone. They've either chosen
to adapt to technology or they haven't. But, since you're the
photographer, it's up to you to break down that barrier of potential
fear of technology and make them forget there's even a lens.
Posed vs Casual Shots
Part of capturing seniors is tapping into their character. The best
way to do this is through candid shots. Candid photos are always more
natural and often more expressive. However, as seniors, they've probably
had their photo taken hundreds or more times over the years, so it may
feel quite natural to them to pose and still give you a great facial
expression or gesture. Usually when someone sees a lens, they become
camera shy or self-conscious. But with the wisdom of seniors comes an
air of confidence.
If you do have a somewhat shy subject, and even if they're not,
engage them in a conversation about their childhood. There's often no
better way to brighten the face and eyes of an elderly person than to
ask them about their childhood. While they're talking, you will be
guaranteed the chance the capture some great expressions.
Bring in the Family
The blend of old and young is intriguing. If the people you're
photographing have grandchildren, see if you can involve them in an
activity together. This should open up the lens of opportunity to some
great candid shots. You can certainly have them pose for more formal
portraits as well. If you can get a multi-generational shot, that will
be one for their records and photo albums.
Photograph Them In Action
The elderly these days are still extremely active and youthful. Go to
a park or a coffee shop or an outside mall and observe them in action.
You may be surprised by what you see, and could end up with some good
street photography that involves seniors. There are senior leagues for
different sports that would be worth stopping by. Or even better, many
of the umpires for little leagues are retirees who do it because they
love the sport and being around kids. The photo below is a great
example.
Use Natural Light
No matter what portraits you shoot, it's always a good idea to avoid using a flash. For one thing, a flash is a big distraction to the subject. It can jar them and almost always ends up ruining the moment.
Studio lights
are a good second option to natural light, since they are a constant
light source. And soft, diffused lighting is a nice touch for the
glowing skin of old people. Occasionally, a strong side light (natural or studio) and high contrast
is effective for bringing out the details in their faces. Take your
time to experiment with side-lighting, especially that of a window, and
edge lighting to add drama to your images and details, even in the
wrinkles!
Fill The Frame
Filling the frame is also an effective way to shoot portraits. By
being up close and personal, you can capture the fine details like
facial expressions, wrinkles, the ruggedness of hands, the sparkle in
their eyes, and the depth and wisdom conveyed.
Note that just because wrinkles and age marks can add character, play
around and try using a soft focus filter to help you smooth out the
harsh details. The women will especially appreciate this.
Shoot In Color and Black and White
Mix and match your images in both color and black and white (which you can do in post processing).
Even though shooting in color is known to be effective for creating
mood and communicating the emotions, black and white can add a timeless
and simpler impression. Some color images can be too busy, so black and
white works well at toning that down and allowing the subject to stand
out more. You can play with contrast and even color adjustments in black
and white mode to enhance certain aspects till you achieve your ideal
image.
Add Image Effects
While you're in Photoshop Elements or Adobe Lightroom (or whichever
program you use), try some of the built in features such as sepia tone,
nostalgic retro or an old classic vintage look to add dimension. The purpose of these effects
is to revive a sense of history that your subject comes from in the
first place. Play around with the filters and adjustments until you get
the look and feel that best compliments your subject’s expression and
the mood of the image.
If you need seniors to photograph, go where they are... parks, senior
centers, and even places like aquatic classes! Think outside the box
and you'll be sure to have a nice collection of senior portraits.
Loaning
and borrowing photographic gear has always been a delicate subject,
especially among photographers who are also good friends. It involves a
lot of trust on one side and responsibility on the other. The value of
the tools is fairly high most of the times and that makes things even
more delicate. I’m not in any position to judge whether it is right or
wrong to loan
#photographyhobbyist #photographybestoftheday #photographyforever