Issue 137 of the SNYC Newsletter
Greetings!
In this issue of the newsletter I’m doing something a little different. Actually, I am always seeking out different things to do and to write about. Have I mentioned that I get bored easily? Hopefully I don’t bore you.
So I’ve recently been looking at how I can learn something new. I narrowed the list down a bit by deciding against attending classes on a part time in-person basis or even doing online classes. They are often designed to be either purely technical or are geared towards the lowest common denominator.
It isn’t easy to find classes that teach the kinds of things that I’m looking for. So after seeing the ads for the Master Classes series numerous times, I actually took the leap and paid for it.
Meanwhile, workshops are chugging along very slowly. The international borders are still closed though Canadian and Mexican borders seem to be open now. It has been a long and very slow hurry up and wait to get my business back off the ground again. Ugh. Patience is a virtue in street photography and life!
I hear that my friends in Australia are in lockdown again and I hope that everyone everywhere around the world reading this newsletter is doing well. Also, I am happy to say that a subscriber friend from Mexico was in town visiting and we spent a few hours together walking around and taking photos. It’s great to see people in person! OMG.
Happy shooting and stay safe! And have a good time. Really enjoy.
The real act of discovery consists not in finding new lands but in seeing with new eyes. Marcel Proust
Caution
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Did you know?
You can like the newsletter at the top and at the bottom of this issue? You can also share it on all of the usual platforms. And, best yet, you can comment! Yes, your comments and suggestions are always welcome. Dialogue is cool
New Camera Alert
So I got a new camera! How very exciting is that? It’s a Fuji X 100V. I don’t usually talk tech and in general, I don’t normally put much into thinking a camera makes a huge difference.
I’ve always worked with what I have and many of my cameras were given to me secondhand. Thank you to everyone for them!
But all of a sudden I’m really thinking that my photos are better. Maybe it’s just love. The two above and photo below were taken with it. And of course, now I have to figure out where everything is and play around with the new features.
A camera is of course merely a tool. What works for one person doesn’t necessarily work for another. But all of the reviews for it combined with the things that were important for me in a camera clinched the deal.
Happy shooting includes being happy with your camera and being able to get it to translate what you see into a photo. If you’re frustrated with your camera you have a few choices.
One, watch some videos on how to achieve what you want it to or get a new one. I’ve seen a few people having problems working with their cameras and not able to capture the photos they would like.
Yes, cameras aren’t cheap. That said, you need to work with a tool that you can control and that is the right one for your needs.
Annie Liebovitz - Master Class
The first thing I should say about Annie Liebovitz is that I’m not a fan of her work. I subscribed to Rolling Stone magazine from its inception in about 1968 for about 4 years. So I saw her photography quite a bit during that time and I appreciated it as the photos were of musicians that I admired.
There are a few photos like John and Yoko (above photo) which I love. But not enough to hang it on my walls. Of course, I say that in hindsight. But even so, way back then I had numerous posters on my walls of rock stars.
As well, Liebovitz is of course a portrait photographer. While I do take the occasional portrait photo, I have no intention of switching genres. And I probably learn more from painters and photographers outside of street photography than those working in street photography.
In the above photo of the artist Julian Schnabel, the sofa is cut off on the left and his feet are cut off as well. I often hear people tell me when shooting street that a shot didn’t work because some part of a person or thing was cropped out of the frame.
That isn’t to say that there’s an easy formula about deciding what works and what doesn’t. But it does teach us to realize that it’s not an all or nothing paradigm.
Unlike street photography, absolutely every aspect of a photo shoot is planned in advance. From researching the subject to post processing, very little is left to chance. Chance is of course a key element in street.
To put it another way, her photos are manufactured. They are designed to portray a message. The Caitlin Jenner photos were published for the world to see for the first time, the transformation of Bruce Jenner.
While Vanity Fair has a number of top notch journalists, it really is the photos and especially the cover of the magazine that sells. We want to see the photos!
There were a few things that Liebovitz talked about that were of interest no matter what kind of photography you do. The first thing was that when shooting film you don’t know if you managed to get the shot that you intended.
While I try to not preview my shots too often and I coach others to not do so as well, it was interesting to hear a professional commercial photographer talk about it even if it has been quite awhile since those days.
There is a line that is used during the advertisement of the series where Liebovitz says that technology is the last thing that you should be thinking about when you’re shooting, and if you are you’re not taking pictures.
While I entirely agree with her statement which I paraphrased, there is an irony considering she uses some of the most expensive equipment made.
I often wonder when I look at photos of famous people how much the photographer had to do with the way a photo turns out versus the personality of the subject. The same holds true in street photography as a random photo of a beautiful or eccentric person isn’t enough to make a lasting image.
When you can afford it, you can create your image in photos that are fantasies. I think that in fact, many of Liebovitz’s best photos somehow illustrate the dreams or interior lives of her subjects.
By the way, you can take the Staten Island Ferry for free and try your hand at a copy of the Lady Gaga photo above. But you probably won’t be allowed to get so close to the barrier.
My takeaways from the masterclass:
She places more emphasis on which lens you use than camera and no surprise, she like many famous photographers think that a fixed focal length lens used on a regular basis will train your eye.
She’s afraid of sunny days as she isn’t able to control the light. Her photos that look like natural light are very much created using strobes and other methods of directing and manipulating the light. This is not something that concerns us as street photographers.
It’s important to spend time looking back at your work and what you’ve done. You can’t go back but you can learn from it.
What you see digitally on a computer screen is more luminous than what gets printed. As I’ve mentioned in the past, I think it’s important to print your photos occasionally to see what they look like even if they aren’t professional prints.
Finally, the thing that really impressed me the most was how she talked about how photos are reduced to rectangles or squares. It is the structure and the constraint that we are faced with and we have to learn to work with. As well, you should learn to trust what you are compelled to shoot.
What did I think of the masterclass overall? I think that it’s an interesting concept but in the end the class aspect of it didn’t really work so well. There are a number of assignments but they are brief and of course, you’re on your own doing them.
As I mentioned in the beginning, I wanted to learn something new and I didn’t want to go for the standard methods easily available. I was very conscious of the fact that Liebovitz does commercial portraits. And yet, I learned both about the things that we have in common and those that we don’t.
Learning happens even when you’re studying things that don’t fall within your area of focus. I hope that you enjoyed my entirely biased review of the masterclass. Yes, do leave your comments or questions. They are very much welcome and encouraged.
Social Media Corner
So I guess I haven’t done a very good job of stimulating interest in the social media corner. Another issue with no comments. For this issue I have one thought to throw out there for you to comment on. Or you can also supply your own comment or critique. And do watch the video in Further Viewing.
When you spend time on social media, how much time do you spend looking at a photo? Are you able to make quick decisions about whether you like a photo or not and do you think about that when you post a photo?
I guess what I’m trying to say is can we learn something about what works in our own photos by making quick decisions about photos by others?
I look forward to your comments. Let’s dialogue. It’s easy as hitting reply.
Biweekly Photo Assignment - Reflections
I do love reflections and there are so many possibilities. Whether you use puddles, windows, mirrors or any other reflective surface, it can be a self portrait and even be abstract. The choice is up to you!
You can interpret this assignment and don’t be afraid to post creative photos. As well, it’s good to know why you chose the photos you did and it’s maybe best to post them individually so they don’t get buried.
This is a voluntary assignment if you want to take part. You can submit your photos to the Facebook group for Shoot New York City and also on Instagram tag @shootnycity. If you're not a member of the Facebook group yet, all you have to do is request to join.
It would be great if as a group people would comment on photos submitted as well. Let's have fun! Happy shooting and sharing! And you can connect with other people that you share an interest with.
Further Viewing:
I really enjoy Alex’s videos. This one is a critique of social media as well as talking about the photography of Vivian Maier.
Upcoming Workshops:
Workshops are still a maximum of 3 people. Social distancing and masks are required. And with fewer people in each workshop everyone can gain even more individual attention.
For those who haven't done a workshop or photo tour with me in the past I have a number of reviews on my website and also on TripAdvisor! Workshops are both for people who live here and also travelers, as are photo tours.
Photo tours are one-on-one and arranged on an individual basis for both neighborhood and photographic style and can be designed as a workshop as well. They are customized to your interests and level. Thank you for your patience and Stay Safe!
It’s been nearly 3 years since I participated in your Midtown Manhattan street photography workshop with my x100s. Since then, I’ve continued to enjoy your newsletters and an upgrade to a x100v and feel that I’m still trying to figure out where everything is and assess which settings are most beneficial to my photography. You noted that don’t usually “talk tech” but would be interested in hearing more about any preferred settings that you have for the x100v. Thanks for sharing your insights and talents!
I LOVE LOVE LOVE my x100v! I take it everywhere. I even favor it over my new xt4. Still working out workflow w the raw files which tend to be “wormy” at times (more so w the Xt4), but a lot of the times I really love the added “grain” or texture it shows up as. ENJOY!!
(Also Julian is my dad’s 1st cousin so it’s funny that that was the photo you used as an example )