Understanding the Fujifilm GFX 50S and the Medium Format Mentality

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It’s no secret: lots of photographers are drooling over the idea of shooting with the Fujifilm GFX 50S medium format camera. The idea of owning something bigger than full frame 35mm (though not even the size of true digital 645) is something that is bound to attract a whole lot of photographers. Then consider the fact that everyone and their mother is a photographer these days. Everyone will want a medium format camera because they’re becoming more and more affordable. Though for what it’s worth, I’m very positive that not everyone understands medium format.

In fact, you may honestly want to stick with 35mm, APS-C, or even Four Thirds.

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“I Am Photographing Myself” – Bruce Gilden

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Screenshot taken from video. 

Bruce Gilden is renowned for his direct, confrontational, and to a certain level, controversial approach in street photography, which is a stark contrast to the traditional observe and shoot discretely methodology. This has spawned endless debates and discussions on how street photography should be defined. Nevertheless, having won multiple prestigious awards and being a Magnum photographer himself, Bruce Gilden has years and years of experience and knowledge in photojournalism and documentary work. He spoke with Time in their weekly “First Take” series, revealing the true reason why he was compelled to do photography.

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The First Camera for the Aspiring Street Photographer

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I think every photographer can relate to the first time that they fell in love with a camera, but the act of becoming smitten with a piece of gear is perhaps nowhere as important than with street photography. You see, lots of street photographers buy something and stick with it for life if they don’t need anything better. There are photographers that have acquired Leica M cameras and continue to shoot with them over and over again. This mutually exclusive relationship isn’t as big with other types of photography. Of course though, there are very big reasons for this.

First off, you should know that the ideal street photography camera is small, low profile, reliable, can be fast to focus, can deliver images that work well with the photographer’s creative vision, and will be a joy for the photographer to carry. Think of it as a companion. In the same way that you fall in love with your lover, your dog, or anything that you tend to carry with you everywhere, you’ll feel the same way about your camera.

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First Impressions: Leica Summaron-M 28mm f5.6 (Leica M Mount)

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The Leica 28cm f5.6 lens (or the Leica Summaron-M 28mm f5.6) was recently re-released by the company–touting a classic look that it can deliver in addition to an incredibly small size overall. The lens was,and still is, a favorite amongst many street photographers who shoot during the daytime. With a 5.6 aperture, it’s very tough to miss any sort of moments passing you by. As the old saying goes, “F8 and be there.” The lens is very close to being a truly pancake offering, and includes a few cool features that many photographers are bound to like.

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So Connected, Yet So Lonely: a Visual Study of People on Their Phones

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All images by Enrico De Conti. Used with permission.

It’s not uncommon for someone to see loads of people on their phones trying to get work done, perusing Facebook/Instagram, etc.–and that’s what photographer Enrico De Conti is trying to put forward in his project So Connected Yet So Lonely. Enrico is a Berlin based portrait and street photographer; and in his project he is trying to convey how people are completely absorbed by technology.

 

Enrico got into photography at a early age. “I think I was about 8 years old. I didn’t take it much seriously, in fact I went to study at the academy of fine arts in Milan, then I moved to LA to be a filmmaker.” says Enrico in an email to the Phoblographer. “In 2011, bored of my job in film production, I started assisting a celebrity photographer, Mike Ruiz. From there there was no turning back, I have been photographing portraits for business and street for passion.”

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Tutorial: Zone Focusing With Super Wide Angle Lenses

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One of the biggest strengths of manual focus lenses and the reason why so many photographers love using them has to do with a process called zone focusing–and Zeiss Milvus lenses like the 18mm f2.8 and 15mm f2.8 lens themselves well to this. For years the methods around zone focusing are what has allowed many photographers to outdo the fastest focusing autofocus cameras and lenses. Street photographers, landscape photographers, and many others have used the technique to ensure that they get sharp photos. When film photography was king, lots of photographers did this to ensure they got “the shot.” Digital photography and its inherent nature requires photographers to get even sharper photos.

When you’re shooting landscapes and architecture, you really want the best you can get. With manual focus lenses, sometimes the best thing to do is to use zone focusing.

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Has Digital Technology Ruined Street Photography?

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This is a syndicated blog post from Street Silhouettes. It and the images here are being republished with exclusive permission from Horatio Tan.

This is not going to be a popular opinion. However, in the course of starting a discussion, sometimes it is helpful to speak from a dissenting position. I want to talk about street photography.

Now don’t get me wrong. I love street photography. In fact, I have been known to do it myself. However, there is something about street photography that just isn’t sitting right with me. It has to do with what street photography has become, as a result of digital technology.

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We/You All Suck at Street Photography; and That’s Okay

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Street Photography isn’t simple and instead is something that requires a number of incredible parallel factors to all line up accordingly–and when cameras start to do nothing else but constantly log life at a higher resolution, it will require human elements beyond algorithms scrubbing for “good images” to actually have someone call themselves an artist. The art form has obviously become more and more popular with Instagram, EyeEm, and VSCO becoming a norm for photographers and people who just like taking pictures. Everyone has the potential to become a fantastic street photographer; but not everyone has the affinity, devotion, and understanding of the art to truly make it work.

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