Search Results for: joel

Joel Meyerowitz Photographer

Joel Meyorowitz is a contemporary of Tony Ray-Jones. His YouTube videos are both educational and inspirational.

Here he describes how his photography is not the record of a single thing, but the coming together of two different things. This is about contradictions and connections in photographs which we talk about frequently in these pages. However for Meyerowitz it is about having the scene as busy as possible so that the eye is not necessarily drawn to just one thing.

This is how he works and why it is important to photograph in colour, and not have a single thing dominate the image.

Tony Ray-Jones

by John Gough

There is an exhibition at the Martin Parr Foundation of work by Tony Ray-Jones.

The exhibition is on until December 21st 2019.

Pioneer

Ray-Jones was a pioneer and an inspiration to Parr.

“Tony Ray-Jones was one of my initial inspirations. His imagery showed me what was possible photographing my own country.” – Martin Parr

He is famous for photographing the eccentricities of English life. After studying in the US, he returned to England. Between 1966-68, Ray-Jones travelled around England in a VW camper van, capturing the customs and peculiarities of the British people, on the street, on holidays in seaside towns, and at social events. The ubiquitous class system so prevalent in 60’s Britain was a constant theme.

As he explained to Creative Camera in 1968:

I have tried to show the sadness and the humour in a gentle madness that prevails in a people. The situations are sometimes ambiguous and unreal, and the juxtaposition of elements seemingly unrelated, and the people are real. This, I hope helps to create a feeling of fantasy. Photography can be a mirror and reflect life as it is, but I also think that perhaps it is possible to walk, like Alice, through a Looking-Glass, and find another kind of world with the camera.

Influences

During his time in the States at the Yale School of Art, he knew and was influenced by young American documentary photographers like Gary Winogrand and Joel Meyerowitz.

Returning home in 1965 he was full of ideas with notebooks full of lists and what to do next.

“Get more involved (talk to people),” began one typical list of these notes to self. “Stay with the subject matter (be patient). See if everything in the background relates to the subject matter. NO MIDDLE DISTANCE.”

There followed six years of photography that defined him, where he searched for the essence of Englishness. As the Guardian shows here it was an England that was not so swinging. The Ray-Jones version was how the 60’s really looked

In 1971 he was back in the States with his wife Anna working at a teaching position at the San Francisco Art Institute. He was diagnosed with leukaemia in 1972. He returned to England to be treated at the Royal Marsden Hospital but died aged 31.

I have curated some of his work here

Camera Wrist Strap

I have avoided dropping my camera so many times using a simple wrist strap like this one. Cameras and expensive lenses do not bounce!

Street Photography Update

by John Gough

Jerk Pork / John Gough / Canon EOS 6D

What is happening in the world of street photography?

I found a film on Amazon Prime called Everybody Street, which has street photographers from New York, including Bruce Davidson, Mary Ellen Mark, Elliott Erwitt, Ricky Powell and Joel Mayerowitz, talking about how and why they take pictures.

Everybody Street

I have since sourced the film on YouTube:

As I watched the film I jotted down some insights from these iconic photographers:

Why do some photographers go to the street and others go to the studio?

Learning to read your culture is a great fascination for photographers

Capture what might be of interest in the future. When its gone, you realise that you missed taking a picture of it

There are too many bad photographs, but the good ones illuminate and entertain and get some sort of emotion, laugh or cry or something in between

Invisibility, a little camera makes you look like a sneak

Definition of public and private is smashed, so objecting to having a camera in your face is obsolete

You make the picture in the moment, turn left you have a picture, turn right and you don’t get one

Rendering the human condition, sharing the world as it is, recording life my way

More and more I want to take pictures, because I have less and less time left

Photography is about description, that is what a camera does. However as human beings we learn to understand minute little exchanges. It is down to us believing that this slice of a moment will present its self. There are a lot of people that don’t believe that the world is going to present itself in that way, so they don’t see it because they don’t look for it.

If you have a spare hour and a half and you love street photography you will love this film.

I recently saw Damien Demolder talk about street photography

Damien Demolder

Damien is an interesting speaker. He was editor of Amateur Photographer for around fifteen years. He is now a journalist, photographer, reviewer of kit and a judge on some big photography competitions. I recently saw him speak about his photography. Street photography he defines as people and architecture. His work is here

This was just some of the learning I took away.

Photography and especially street photography is showing ordinary things in an extraordinary way.

Light is important. Our subject is light. Wait for light.

Photographers are more observant than other people. Look for that decisive moment.

Shoot with a standard lens. Need to be involved with the subject not standing far away

Holding a viewfinder to your head cuts you off from the world. 98% of pictures are taken from head height. If you have a flip up the screen then shoot from the hip. It is a different view and you can see the picture coming next.

Hold your camera in front of you. Use the screen. You look like an idiot but not like a photographer.

Here is Damien talking about street portraiture:

Sony a6000 for Street Photography

by John Gough

The Baron of Beef / John Gough / Sony a6300

I am researching what the Sony a6000 and its’ derivatives the a6300 and a6500 are like at street photography. Not so long ago (well 60 years ago) you set forth into the streets of New York. (See Joel Meyerwitz) with Leica in hand. Now we are all striving to be street photographers, and there are lots of alternatives to a Leica.

These include the mirrorless Sony, Fuji, Panasonic and Canon cameras. But how good are they? Concentrating on the Sony a6000s, here are some views from some street photography bloggers:

Thomas Fitzgerald Photography

The big advantages of the A6000 for street photography are as follows:

1. It’s really fast in operation. The camera responds quickly and you are never left waiting for it to catch up, which can be an issue with some older mirrorless cameras, especially in this price range.
2. The flip up screen is great for shooting from the hip. It’s great for being stealthy when shooting on the street.
3. The autofocus is superb. It’s still one of the better autofocus systems that I’ve used on a mirrorless camera. I find it better than my X-Pro 2 for autofocusing (send your hate mail to….) especially when shooting street photography. It’s very fast and it locks on really quickly. Also, the face detection works well, and is a really useful option when shooting street shots.
4. It’s really small and discrete. When coupled with a small lens it’s not much bigger than a compact camera.
5. You can adapt it to an incredibly wide range of lenses (pretty much anything). While it doesn’t autofocus with adaptors as well as the newer A6500, if you’re willing to manual focus, and have old glass, there is more than likely an adaptor for it. And some of these adaptors are pretty cheap too.

Steven Brokaw Photography

There are MANY reviews on the A6000 focusing on features & performance, so I won’t try to do one myself. I would recommend if you are looking at an ILC for street then check out the online reviews, blogs and go to your local camera store to get the feel of the Sony A6000.

However, I did want to highlight what I liked about the camera. They are:

Lighting fast focus,
Easy to use menus & menu layout,
Fine lineup of Sony lenses and readily available adapters for non Sony lenses,
Focus tracking is awesome,
Burst rate is stupid fast,
OK (but, not great) low light performance,
Feels good in my hand (very sticky),
APS-C sensor,
Good video,

Crazyaboutcameras

The Five Best Cameras For Street Photography On The Market

The main benefit of the a6000 is its portable size. The ability to put a camera in a coat pocket and take it out everywhere with you is not to be underestimated. Especially with street photography where you may want to be discreet.

But apart from the portability, we are just amazed by the image quality that a camera of this size can produce. The a6000s sensor is incredible and is widely regarded as being one of the best in this “size class” of cameras. It picks up colors well and the processor that powers the whole product can accurately adjust the balance on auto mode.

Some other cameras without a digital viewfinder can struggle in bright lighting conditions making the shot reasonably difficult (or impossible) to take. The OLED viewfinder on the a6000 makes it well suited to shooting in bright conditions. It is perfect for the street where you never know when the next shot might arise.

Tim Brookes MakeUseOf

Why Mirrorless Cameras Are Great for Street, Candid, and Shy Photographers

For street photography, this matters. As someone who’s always been a bit shy when it comes to pointing a camera in people’s faces, a smaller and more discreet camera allowed me to get closer and push myself further than an SLR ever has. The amazing thing is that modern mirrorless cameras don’t require you to sacrifice image quality — I’ve been shooting 24.2 megapixel images in RAW format images in RAW format and the excellent low-light performance and 425 points of autofocus on the A6300 allowed me to trust the camera completely.

Aforementioned street photographer Eric Kim notes that “ultimately capturing the moment, emotion, and feeling of a scene is more important than how many pixels or how sharp it is.” This could apply to a whole manner of photographic applications, but it’s especially true for street photographers and anyone who wants to get into candid photography. Kim’s top pick for a dedicated street camera is the Richoh GR-II, a compact camera with a fixed lens and an APS-C sensor that retails for around $700.

Considering the flexibility offered by an interchangeable system, Sony’s A6000 is cheaper and ultimately more versatile. The newer A6300 has a groundbreaking autofocus system and full silent shooting for around $1,150 with a kit lens. These are easily two of the best mirrorless cameras on the market in terms of value for money, raw performance, and overall size — so be sure to check them out if you’re planning your next move as a photographer.

The Phoblographer

Review: Sony a6300

In many ways the Sony a6300 is an excellent camera. Great image quality, very versatile RAW files, a small size, great autofocus, and more. What more could you possibly ask for? My qualms with it have to do with the fact that the high ISO output is starting to fall behind the competitor and that I genuinely feel like the ergonomics need to take a step up at this point. Otherwise, it’s a very solid camera.

It is interesting gaining the views of actual users. The Sony a6xxx have fantastic autofocus, good IQ and are small and discrete, ideal for street work. May also have to invest in some primes. the Sigma 30mm 1.4 looks a good option very highly rated by DPReview.

Plus a top tip, if the 30mm is too tight then take a few pictures and stitch together in Lightroom

Where to Buy Your Equipment

I buy my equipment from Wex because of their exceptional customer service. I once returned a camera after 30 days, and the next day they called to return my money to my account. Their prices are always competitive and they offer good prices on the trade in of your used gear