Friday, January 9, 2015

HAS PHOTOSHOP IMPROVED PHOTOGRAPHY



A while ago I got into a discussion with a colleague about digital photography and Photoshop on the internet.  He still prefers to use film and argued that all pictures should be shown “the way the camera saw them, the way they come out of the camera” and he went on to say that Photoshop should not be used.

I definitely disagree with that and answered:

“Why?  Digital photography and Photoshop have considerably lowered my overhead (no film to buy, no processing costs) and I have full control over the final looks of my images instead of having to rely on some lab’s idea about what my images should look like.  Film is a thing of the past.  Just because Photoshop is available doesn't mean that the photographer doesn’t need the same skills as in the film days.  Composition, lighting etc. are still as important as ever.  Shooting digital is essentially nothing more than using a different means to record the image.  The addition of Photoshop has enabled us to control the final outcome of our photographs to a greater degree than ever before which, when used correctly, will ultimately deliver the best quality images possible.”

He answered:

“However, when you change that image to some other image, then it is a second image.  I know what you are saying above but I also know that you change some of your images to make them into something else.....and so do others.  I just happen to think that the original image is what the end result should be.”

I answered:

“I understand what you are saying.  However, just because Photoshop has the ability to substantially alter an original image doesn’t mean that its use will always lead to that.  Photoshop offers the ability to ‘tweak’ our photographs to ultimately end up with better results.  We have the ability to alter contrast and color saturation, both of which are much easier to do with Photoshop than during the film days.  In the past photographers routinely retouched their photographs to reduce blemishes, for instance.  Photographers used changes in exposure and development to reduce or increase contrast.  Are these accepted methods really any different than using Photoshop to obtain the same results?  Isn’t either approach effectively altering the image from what the camera saw?  Then, of course, there is the question of what the ultimate purpose of taking a photograph is.  Isn’t the final image, as envisioned by the photographer, what counts?  In the past we used methods like solarization, for instance.  That certainly is a considerable departure from what the initial photograph looked like, the same goes for posterization or bas relief images, all of which were routinely used to create photographic art beyond the original image as it came out of the camera.  If those methods were okay in the past, then why isn’t the use of Photoshop acceptable as a means to create pieces of art derived from otherwise ordinary photographs?  Even simple cropping is altering an image beyond what originally came out of the camera.  Since none of us is perfect, we naturally get often useless photographs because of a variety of reasons.  In many cases Photoshop has enabled me to save such photographs with the help of Photoshop.  I see that as a benefit”.

I have come across similar opinions fairly often and I wonder if it is really a conviction or if it is more a resistance to change, combined with an underlying fear of learning a new method of working with our photographs.

To which extend Photoshop or similar programs are going to be used is ultimately a personal preference.  However, it is a tool that should not be rejected off hand.  If we are honest about our own work, most of us probably reject or throw away more of our photographs than we save and with digital photography that ratio has most likely increased.  But with Photoshop we also have the possibility to save an otherwise useless picture and make it into something worth keeping.

     

This is a picture my wife took at a wedding.  The original was nothing special and it was almost deleted.  However, after taking a closer look, she asked me to apply my Photoshop skills.  I tightly cropped the group to remove as much as possible of the clutter in the room which was further eliminated with various Photoshop tools.  I then modified the image to give it a painting like appearance.  The final result certainly is not at all what came out of the camera, but it is a photograph worth keeping.  As it turned out, it is one of the favorites of the bride.  

 


This photograph was taken by my father in Hamburg in 1949.  He enhanced the sunrays in the background by carefully applying graphite dust to the rays on the negative to lighten them in the final enlargement and thus make them stand out more.

Two photographs, both manipulated to allow for a better end-result; photographs that would have less impact, which would be visually less pleasing had they not been enhanced.  There should be no question that Photoshop or conventional retouching are means that enable us to make our photographs better than what our cameras are capable of doing by themselves.  I consider that something very worthwhile.

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Thursday, January 8, 2015

PRE-LEICA 35mm CAMERAS



It is often said that the Leica was the first 35mm camera.  However, that does require some qualification.  If we look at cameras at their prototype stage, the Leica was there almost from the very beginning.  But even the Ur-Leica, the original prototype, was not the first still camera that used 35mm film.

The credit to have established 35mm photography as we know it goes without a doubt to the Leica.  It was of a revolutionary design and practicality that eluded all the early 35mm cameras to the point that the only thing they had in common was the fact that they utilized 35mm motion picture film.

In their infancy motion picture cameras used a large variety of different films and types of perforation.  As a matter of fact, even photographic plates were used at one time.  These were carefully fastened in wooden frames, connected between two leather belts with grommets. which had the same function as the film perforation.  This was the invention of a Scottish gentleman.  The system worked, but it was very prone to failure and ultimately, while working in principle, was way ahead of its time.  This was at the middle of the 1800s, and we had to wait until the end of that century before practical motion pictures did reach the market.

Here the main credit goes to the Lumiere brothers in France and Thomas A. Edison in the US.  Both used perforated film material to assure proper handling of the film within the camera and projector.  However, while Edison used a small, enclosed viewing device, accessible to only a couple of people at a time, the Lumiere’s were the first to project film onto a large screen in a theater.

The 35mm film as we know it today came about upon the initiative of Edison and George Eastman of Kodak.  They both realized that the multitude of different film formats and perforation arrangements needed to be standardized.  They decided on a film with a width of 35mm and perforation on both sides of the film and an image of 18mm x 24mm.

These films proved to be of a rather good quality, far better than the glass plate material available at the time for still photography.  Thus it should come as no surprise that some people rightly figured that the same film should be useful for standard still photography as well.  All that was necessary was a suitable camera.

Just as the film was spun off from motion pictures, the cameras used the same path.  Virtually all of the early 35mm still cameras were essentially no more than motion picture cameras, converted for single frame operation.  As a matter of fact, some even used unperforated 35mm film to allow for a larger image size.  In those cases the film was made with a paper backing like conventional roll film.  The cameras that did use standard 35mm film initially all utilized the 18mm x 24mm image size or something quite similar.

This shows the great farsighted ness of Oskar Barnack, the inventor of the Leica.  Even his prototype camera, the so called Ur-Leica did away with any of these conventions.  Rather than running the film vertically, like in all motion picture cameras, he decided to run the film horizontally.  This allowed for a twice as large 24mm x 36mm image size which was to become the standard of the industry.  In spite of the large image size, the camera was substantially smaller, which is another reason for the later success of the Leica.

 
Leica Prototype or Ur-Leica 1913

The world’s first 35mm camera design goes back to June 25, 1908 when a patent was issued to Dr. Alberto Lleo, a physician, Pablo Audouard, a photographer and Claudio Baradat, an engineer, all from Barcelona.  As far as it is known, the camera was never produced.

 Lleo 35mm Camera

The first 35mm camera with the 24 x 36mm format was designed by George P. Smith of Richmond Heights, Missouri in 1912.  But it never went beyond a handcrafted working prototype.  The camera never went into production.


Smith 35mm camera

Another early example of a 35mm camera was the Tourist Multiple from 1913.  It was made by the Herbert & Huesgen, New Ideas Mfg. Co. in the US and was the first commercially produced 35mm camera ever.  The camera used a 50 foot magazine for the film which allowed 750 half frame 18mm x 24mm exposures to be made.

 
Tourist Multiple 1913

The Tourist Multiple was soon followed by the Simplex in 1914, made by Multi Speed of New York.  It was the first 35mm camera manufactured and sold with the 24 x 36 mm format.  A lever allowed to close half of the film gate to switch to the 18 x 24mm half frame format, giving the camera a capacity of 800 exposures.

 
Simplex 1914

Needless to say, because of the great length of film, these cameras were rather large and heavy.  It wasn’t until 1915, when Levy Roth of Berlin introduced the  Minigraph that film length became a lot more manageable.  The Minigraph used film for 50 exposures in special cassettes.  It was the first 35mm camera to be sold in Germany.  But this camera too followed the motion picture cameras with its half frame format.

 
Minigraph 1915

Another camera with a 50 half frame capacity was the Le Phototank from 1922.  It was made by Victor Houssin in France.  Another camera from 1922 was the Sico, madeby Simons & Co in Switzerland.  The Sico took a different path by utilizing unperforated 35mm film.  This allowed for a much larger 30mm x 40mm negative size with a capacity of 25 exposures. 

 
Le Phototank 1922

 
Sico 1922

These cameras were followed in 1923 by the Sept.  It was made in France by Debrie.  The camera was equipped with a spring driven motor which essentially made it a motion picture camera with a still frame feature.  Even though the camera itself was relatively compact, it was very heavy and not very comfortable to use.

 
 Sept 1923

1924 saw the introduction of the Krauss Eka camera.  It was made in Paris.  It was a relatively small, well designed camera, using unperforated 35mm film with an image size of 30 x 42 mm and 100 exposures.

Krauss Eka

The last pre-Leica 35mm camera was the Amourette, made by Jaques Singer from Vienna, Austria.  It too used unperforated 35mm film with an image size of 24 x 30mm with 50 exposures.  The camera was produced until 1930.


Amourette

One of the 35mm cameras produced in the US was the Ansco Memo made by the Agfa Anco Corporation.  There is conflicting information about when it was first made and marketed.  By design, the camera definitely precedes the Leica  The first instruction book shows a printing date of 1926 and first advertisements date back to 1927.  However the GAF Corporation, the successor to Agfa Ansco stated in a letter to photo historian DR. Joseph A Bailey that the first Memo was introduced in 1924.  That, however, seems to be a misprint which most likely meant to say developed, because there is little doubt that the camera was introduced in January of 1927.


Ansco Memo

One other camera deserves to be mentioned.  It is of an uncertain vintage, most likely made in Germany.  Apparently never went beyond the working prototype stage.  The camera somewhat resembles the Leica Reporter offering spool to spool film transport for 150 exposures of 24 x 36mm negative size.  Considering its Schneider Xenon 45mm f/2 lens, this camera seems to be an early post Leica effort.  Unfortunately it too was relatively bulky because of its large film capacity.


German 35mm prototype

Thus it was not surprising that the Leica created quite a sensation when it was introduced at the Leipzig Spring Fair in 1925.  The camera was substantially smaller and lighter than anything seen before.  In addition the camera used the 24mm x 36mm full frame format which assured noticeably better results.  This was further enhanced by the outstanding performance of the 50mm f/3.5 Anastigmat lens.

 
Leica 1 or Model A

The camera quickly gained acceptance by a wide range of photographers from professionals to amateurs.  Finally there was a camera that was easy to use and, because of its diminutive size, easy to carry.  It was this camera that put 35mm photography on the map, so to speak.  As a matter of fact, the Leica influenced photography to a much greater extent than any other camera before or after.  Photography as we know it today simply would not have happened without the Leica.


Summary of35mm cameras up to the introduction of the Leica

From Camera and Images International






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Tuesday, January 6, 2015

BUS CRASHES AT LEITZ PARK



The new Leica facility at Leitz Park in Wetzlar witnessed the crash of a bus on Monday, January 5.  Instead of entering the roundabout in front of Leitz Park, the driver went straight for undetermined reasons.  By doing so, the bus tore down traffic signs and flattened a tall street light before coming to rest in a muddy field besides the roundabout.

<p>(Foto: Heller)</p>
Foto: Heller

There were no injuries, but the street to Leitz Park had to be closed for several hours to allow a crane to remove the bus from the scene of the accident.  The cost for removing the bust, its repair and the replacement of the street signs as well as the street light is estimated to run as much as 100 thousand Dollars.

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LEICA LENS IN SMART PHONE COMING TO THE US



This summer, Panasonic will begin selling the CM1 smart phone in the US.  It caused a small sensation at the Photokina last fall when it was first shown.  Equipped with a Leica DC Elmarit f/2.8 lens, this phone puts a far greater emphasis on image quality than any other smart phone currently available.

Also referred to as a smart camera, the CM1 combines the photographic quality and operation of a premium compact camera with those of current smartphones and Android OS.

lumixcm1b

lumixcm1-626x401

The CM1 comes with a 1 inch MOS sensor with 20 megapixels.  This is times larger than the sensors commonly used in smartphones.  The Leica DC Elmarit f/2.8 lens has a fiull frame equivalent focal length of 28mm.  The Venus Engine processor provides signal processing especially adapted to for photography.  It goes far beyond the normal standard in smartphones.

The camera/smartphone also offers many manual settings.  By rotating the lens ring, it offers direct access to shutter speeds, aperture, ISO settings, white balance, exposure as well as manual and auto focus.  Pictures are taken in JPEG as well as RAW format.


Considering the close relationship between Panasonic and Leica, could it be possible to see a Leica camera smartphone in the future?

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Monday, January 5, 2015

DO PROFESSIONAL PHOTOGRAPHERS USE LEICAS?




Recently I came across a small pamphlet with the title “Meisterwerke berühmter Leica Fotografen” (Masterworks of famous Leica photographers).  It is in reference to an exhibition in memory of Ernst Leitz II as the pioneer (besides Oskar Barnack) of the Leica.  The photographs appear to be from the collection of Dr. Knut Kühn-Leitz, but no date or location was given.

The back of the brochure makes reference to a relatively new book about Ernst Leitz II, titled “Ernst Leitz – Pionier der Leica” (Ernst Leitz – Pioneer of the Leica).  It is publisjed by Heel Verlag, Königswinter, 208 pages with more than 200 photographs.  ISBN: 3-89880-551-4

 

The brochure has a list of the Leica photographers whose works are (were) shown in the exhibition.  They are:

Gianni Berengo Gardin
Werner Bishof
Henry Cartier-Bresson
Rene Burri
Elliott Erwitt
Ernst Haas
Thomas Hoepker
Franz Hubmann
Hanns Hubmann
Barbara Klemm
Stefan Kruckenhauser
Robert Lebeck
Ulrich (Bernhard Gerhard Antonius) Mack
Will McBride
Inge Morath
Hilmar Pabel
Mark Riboud
Fulvio Roiter
Sebastã0 (Ribeiro) Salgado
Erich Salomon
Emil Schulthess
Paul (Heinrich August) Wolff

That is certainly an impressive list of photographers, but most of them are no longer alive.  That reminded me of the many Leica haters that claim the Leica to be irrelevant these days because nobody uses Leicas anymore, that its very existence is supported only by collectors.  Many even announce the imminent demise of Leica.

Obviously those are silly arguments, especially in view of the fact that Leica these days is doing better than ever before.  The company is on solid footing, the new multimillion headquarters in Wetzlar is approaching the first anniversary of its opening in spring of 2014, the Leica S system has gained an impressive following during its relatively short presence on the market where already it claims over 25 percent market share, and there are rumors of new products to be introduced shortly.

But this criticism made me think of who among the world’s leading photographers is using Leica equipment.  So I set out to make a list.  I certainly cannot claim for it to be complete, but I think it definitely dispels the notion that nobody is using Leicas any longer.

Here is the list:

A
Abbas - 1944- b.Iranian, based in Paris
Michael Akermann - 1967- American b.Tel Aviv, based in Berlin
Nubar Alexanian - 1950- American
Neil Ambrose - British
Evgenia Arbugaeva - Russian
Bernd Arnold - 1947- German
Eve Arnold - 1912- American
Jane Evelyn Atwood - American
Ragnar Axelsson - 1958- Icelander
Ivan Azzopardi - Maltese

B
Lee Balterman - 1920- American
Micha Bar-Am - 1930- Israeli b.Germany
Bruno Barbey - Moroccan
Johannes Barthelmes - German
Letizia Battaglia - 1935- Sicilian
Nomi Baumgartl - German
Harry Benson - Scottish/American
Louis Berk - British
Julio Bittencourt - 1980- Brazilian
Philippe Blayo - French
Philip Blenkinsop - Australian, based in Thailand
Pep Bonet - 1974- Spanish, based in Bangladesh
Vieri Bottazzini - Turkish
Eleanor Brown - American
Rinze van Brug - Dutch/American
René Burri - 1933- Swiss

C - D
Debbie Fleming Caffery - 1948- American
Tomeu Coll - 1981- Spanish
Anton Corbijn - 1955- Dutch
William Coupon - American
Bruce Davidson - 1933- American
Frank Hallam Day - American
Roger Deakins - 1949- British
Reza Deghati - 1952- Iranian/French
Nick DeMarco - British
Raymond Depardon - 1942- French
Claudine Doury - 1954- French
David Douglas Duncan - 1916- American
Conrad Duroseau - Spanish, based in Haiti
Jeff Dunas - 1954- American

E - F
Nikos Economopoulos - 1953- Greek
Claudio Edinger - 1952- Brazilian
William Eggleston - 1939- American
Elliot Erwitt - 1928- American b.Paris
Hans Georg Esch - 1964- Germany
Jason Eskenazi - 1960- American
Valeriy Evenkov - Russian
Benedict J. Fernandez - 1936- American
Donna Ferrato - American
Martine Franck - 1938- Belgian
Robert Frank - 1924- American b.Zürich
Bill Franson - American
Jill Freedman - American
Howard French - 1957- American
Lee Friedlander - 1934- American
Paul Fusco - 1930- American

G - H
Giammi Berengo Gardin - 1930- Italian
Ralph Gibson - 1939- American
Bruce Gilden - 1946- American
Nan Goldin - 1953- American
Jan Grarup - 1968- Danish
Stanley Greene - 1949- American
Ara Güler - 1928- Turkish
David Alan Harvey - 1944- American
Lois Hechenblaikner - 1958- Austrian
Douglas Herr - American
Thomas Hoepker - 1936- German
Hubertus Hohenlohe - 1959- Mexican
Sander van Hulsenbeek - Dutch

J - K
Frank Jackson - American
Ciril Jazbec - 1987- Slovenian
Sam Jones - American
Jonnek Jonneksson - 1974- German
Richard Kalvar - 1941- American
Michael Kamber - American
Klaus-Peter Kappest - German
Paul Kay - British
Mike Kirkinis - World
William Klein - 1928- French b.New York
Barbara Klemm - 1939- German b.New York
Mark Klett - 1952- American
Gary Knight - American
Michael Koch - 1973- German
Josef Koudelka - 1938- Czech/French
Antonin Kratochvil - 1947- Czech/American
Birgit Krippner - based in New Zeeland
Imants Krumins - Latvian

L - M
John H. Langmore - American
Jens Olof Lasthein - 1964- Swedish
Robert Lebeck - 1929- German
Saul Leiter - 1923- American
Ben Lieberman - American
Jesse Lirola - American
Liz Loh-Taylor - 1979- Australian b. Singapore
Kadir van Lohuizen - Dutch
Alex Majoli - 1971- Italian
Guy Mancuso - American
Tina Manley - American
Constantine Manos - 1934- American
Mary Ellen Mark - 1940- American
Jim Marshall - 1936- American
Peter Martin - Canadian
Charles Mason - American
José Antonio Martínez - 1950- Mexican
Will McBride - 1931- American/German
Don McCullin - 1935- British
Seve McCurry - 1950- American
Susan Meiselas - 1948- American
Jeff Mermelstein - 1957- American
Joel Meyerowitz - 1938- American
John Lou Miles - American
Daniel Milnor - American
Kai Müller - German /Icelandic
Tomas Munita - 1975- Chilean

N - O - P
James Nachtwey - 1948- American
Sven Nieder - 1976- German
Chris Opel - 1966- American, based in Switzerland
Bert Otten - Dutch
Thorsten Overgaard - 1965- Danish
Tim Page - 1944- British/Australian
William Palank - American
Gilles Peress - 1946- French
Sylvia Plachy - 1943- American b.Budapest
Mark Power - 1959- British

R - S
Jim Rakete - 1951- German
Marc Riboud - 1923- French
Eugene Richards - 1944- American
Norbert Rosing - 1953- German
Jean-Jacques Ruchti - Swiss
Sebastião Salgado - 1944- Brazilian
Nanni Schiffl-Deiler - German
Wolfgang Schmitzberger - Austrian
Craig Semetko - American
Fazal Sheikh - 1965 American
Jonathan Slack - 1952- British
Klavdij Sluban - French, b.Eastern Europe
Emmanuel Smague - French
Andy Spyra - 1984- German
René Staud - German
Chris Steele-Perkins - British
Guido Steenkamp - 1973- German
Bruno Stevens - 1959- Belgian
Thomas Stoffaneller - Austrian
Mikhael Subotzky - 1981- South African

T - U - V - W - Z
Kenneth Tanaka - American
Edmond Terakopian - 1969- British
John Thawley - American
Guy Tillim - 1962- South African
Larry Towell - 1953- Canadian
Christopher Tribble - British, based in London
Victor Ben Tzvi - Israeli
Nick Ut - 1951- Vietnamese/American
Riccis Valladares - American, based in Miami FL
Florian Wagner - 1967- German
Alex Webb - 1952- American
Stewart Weir - British
Wim Wenders - 1945- German
Gary Whalen - American
Johan Willner - Swedish
Vanessa Winship - 1960- British, based in Istanbul

Piotr Zbierski - Polish

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Sunday, January 4, 2015

MASTER PHOTOGRAPHER OF THE FEMALE NUDE - GÜNTER RÖSSLER




Just a few days ago, January 1, was the second anniversary of the death of East German photographer of the female nude, Günter Rössler.  He died at the age of 86.

Günter Rössler im Dezember 2005 in seinem Atelier in Markkleeberg bei Leipzig.
Günter Rössler in december 2005 in his studio in Markleeberg by Leipzig

In the West he was often referred to as Helmut Newton of the DDR.  He himself didn’t like this title at all.  He preferred to show women more pensive and assertive at the same time in the sensitive aesthetics of black and white.  He explained on his 85th birthday, “With Newton, the poses dominate.  For me it is important to show the highest possible authenticity of the girls”.

Günter Rössler worked with a multitude of cameras, including Leica.

Rössler-Akt "Renate, 1969": In der DDR erschienen seine Aktfotos in der...
"Renate" 1069

He became famous with his photographs in fashion magazines like “Sybille” and “Magazin”, a journal which published a nude photograph on a monthly basis, more often than not photographed by Günter Rössler.  In addition Rössler became the head photographer for the DDR fashion magazine “Modische Maschen” (Fashionable Mesh) which was published four times per year with fashion photographs, including knitting instructions, which made it one of the most popular magazines of then DDR.

In 1984 even Playboy published a ten page pictorial of Rössler’s nude photographs titled "Mädchen der DDR" (Girls of the GDR) in their German edition.  The Playboy concept of the girl next door presented no problem for Rössler, it was simply the result of his daily work routine.  Since modeling was not very well paid under the East German socialism, Rössler’s subjects usually were not professional models.

"Heidrun, 1977": Der Fotograf Günter Rössler starb am 31. Dezember 2012 mit 86...
"Heidrun" 1977

After the German reunification, Rössler’s popularity initially suffered considerably.  He was told that his work was no longer needed.  The East German magazines that he had worked for were all discontinued by 1995.  Even Playboy had little interest in his work after the reunification.

"Jutta, 1974": Anders als Helmut Newton, mit dem man ihn oft verglichen hat,...
"Jutta" 1974

However, in recent years Rössler and his work gained renewed interest.  In 2005 he published a new book with the title "Mein Leben in vielen Akten" (My live in many nudes) which turned out to be an autobiography with a multitude of photographs.  In 2010 he followed with the publication of "Starke Frauen im Osten" (Strong women of the East) and "Akte 1953-2010" (Nudes 1953 – 2010).   Finally, in 2012 a documentary film by Fred R. Willitzkat called "Die Genialität des Augenblicks" (The genius of the moment) paid tribute to the photographer.

"Stefanie, 1997": Obwohl das Interesse nach der Wiedervereinigung stark abnahm,...
"Stefanie" 1997


Anyone interested in this genre of photography will do well to remember the genius of Günter Rössler and his work.


Other articles about nude photography:

FINE ART NUDE PHOTOGRAPHY

FINE ART NUDE PHOTOGRAPHY – GALLERY 2

FINE ART NUDES – A DIFFERENT APPROACH

PHOTOSHOP ART

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