This is Iceland in Summer 2014. A visit to this beautiful island is highly recommended. Cheers.
It's not only to introduce some flare into your pictures or to have very strong contrasts, I regularly shoot into the sun (or an overcast sky serves sometimes equally well) to get perfectly white backgrounds and my motives stand out as the only thing left in the composition. Just overexpose by 2 to 3 stops (depends on the lighting, of course). The sun/sky is then totally overeyposed and therfore white but the the rest is nicely exposed and can tweaked in post prosessing to your liking. My left-right combination proves that nicely:
... right ...
... left, and knocked out!
You're better be fast in the streets (or when you're with your impatient girl) - you'll never know what's coming your way. So be prepared. By this I mean to anticipate any upcoming photo well ahead and having the camera set up accordingly.
Auto focus is often to slow for me or it would be to obvious I'm shooting around if a big dslr sticks in my face. Might come as a surprise for some but manual focus is much faster and the way to go for me.It's easy to preselect an appropriate distance with my manual lens. I then set aperture to let's say 5,6 and I have enough depth of field. It's enough now to roughly judge the distance and then - release the shutter.
The photo to the left is shot this way. I didn't focus and didn't look through the viewfinder as well. The Pentax dangled on its strap by my side. But no problem here. The FA31 is an extension of my body by now and I know what's going to be in the frame and where it'll be (mostly). By the way: The out-of-focus rendering of the FA31 is awesome and I really enjoy shooting this way in the streets. No need for the Leica here.
Had some days off and I'm back now.
I really like to combine the extremes. Means in this case heavy tiliting and shooting directly into the sun. I played a little with the white balance in RAW processing to enhance the warm glow of the downing sun. Can be regarded as a kind of follow up to my prev posting about architecture. I don't dislike the classical approach to architecture shooting but I like to add some of my ideas to make it less strict.
Tilt 'n' shift lenses for architecture or post processing to get straight lines? Neither is for me. In my humble opinion it steals all the dynamics from architectural photos. Instead I seek to get what is often avoided by photographers. For it to work I have to get close to the buldings and that gives sometimes the most interesting views. This turns the disadvantage of having no tilt 'n' shift into an advantage because I have lots of diagonals and lines and a very prominent vanishing point.
Some examples from my recent street shootings. This is the loosest composition I'm capable off meaning: Shooting from the hip, no viewfinder, no LCD, no chimping after taking the shoot! Setting the Ricoh GR to snap focus in TAv mode and I'm ready to go. Lot's of fun, creativity and spontanety.
You might think that everything is pure luck now. It isn't. I know the 28mm field of view by heart. I know how close to get, how to tilt the camera and how to take the background within a split second into consideration. I'm used to take mental photographs and if its wortwhile and promising I actually take the shot. Preparation is everything here.
Try it for yourself but take care: The legal situation for street shooting in German is ... well ... difficult. For now I stick to pubishing only 'no-faces-pictures'.
NewYork is sometimes very close.
What the ... ??? Honestly, I don't know.
Taking a break.
Is that the German equivalent to a double beef patty burger?
I love this picture. It draws my attention.
Taken yesterday at the Zurich airport waiting for my flight back to Frankfurt (Main). It was pure luck that the car crossed in the foreground. It gives some content to the otherwise rather empty foreground. The heavy tilt is on purpose and taken all the lines into consideration and you get plenty of dynamics (almost a kick in the a**).
The Ricoh GR gives me freedom, for I have no viewfinder, the camera is small, light, has a great LCD and has fantastic ergonomics. It invites for experimenting, spontanety, loose composition and loose movement. That feels very good and leaves very little between me and reality. I stick to compositional rules less than every and regardless that fact I am surprised to find myself with a constant stream of fine photos.
Picturewise, the Ricoh has a rough edge and leans somehow to documentary, street and stuff like that and does nothing to hide the imperfectness of reality. The Ricoh GR is something like a WYSIWYG editor for the serious photographers.
This beast stands in front of the Frankfurt (Main) stock exchange building. Nowadays it houses the Chamber of Industry and Commerce of Hesse.
It was done this weekend with the Ricoh GR and the snap focus set to 1 meter, for I did not intend to lay down on the ground to get this perspective. I passed the statue a little hunched and was rewarded with this nice exposure. The black mass stands out easiliy against the light background and dominates the scene. The highlights are blown but that is always my least concern. The tree to the left might be just a little disturbing to the sensitive observer but since I hate cropping it stays in the frame.
It's almost an optical illusion I got here. But it's actually just a bicycle rack around the corner of my flat taken from an unusual perspective. And I am at the close focussing distance of my lens. Basically I did something like this: