MONTERREY — Most photographers have favorite subjects and preferred themes. Some are obvious and others less so. One person shoots flowers and selfies. Another also photographs flowers and themselves but, as with any art, the subject is not always just the subject. Robert Mapplethorpe’s beautiful black and white studies of calla lilies and tulips are far from ordinary photos of pretty flowers and Graciela Iturbide’s self-portraits are far more than another reflexive selfie.
Regardless of whether you are a seasoned professional, an avid amateur, or you just got your first camera last week, an excellent way to become a better photographer is to take photo-walks. Walking, of and by itself: exploring a new city, a faraway island, a familiar old trail or a nearby neighborhood is one of life’s great pleasures with or without a camera. But this story is about photo walks and one walk in particular I took with my friend, the inimitable Sebastian John, one hot day over a year ago in Mumbai, India. It was my last long walk in that city I called home for two years and similar to the first long walk I took by myself in Mumbai during the monsoon not long after we arrived. It was not quite as long as that watery hike, because Sebastian and I took our foray into Mumbai’s mad streets in the sweltering days just before the monsoon broke. The heat in that time of year is very nearly hallucinatory. The temperature, combined with the crowds, humidity, smoke and noise, can only be completely appreciated by someone who has been there. Neither a thousand words nor a thousand photos can describe the reality of the streets of Mumbai.
Part of our mission here at Field Photographer is to help our readers become better photographers. Both in person and from readers on-line, we are regularly asked for advice on how to become better with a camera. The following are five things anyone can do to improve their picture making ability. None of them are terribly complicated or very expensive. There are no cryptic, esoteric secrets involved. I don’t doubt that investing years of study and tens of thousands of dollars going to photography school would make you better than when you started (or maybe not, judging by some of what is currently in fashion from visual academia). I am advising neither for nor against formal education. What I am saying is that there are a number of things anyone who is truly interested in the art and craft of photography can do to become much better.
In the third week of the new year, I have crossed the Mississippi River from my home state of Arkansas and am passing slowly through little Mississippi towns like Rolling Fork and Cary under winter sunlight so pretty I wish it would never end. The Sunday streets are deserted, and the closer I get to the Louisiana border, it dawns on me that everyone is inside, glued to the Saint’s playoff game. Though not apt to follow sports closely, I appreciate high stakes and will always root for all things New Orleans, the great American city that she is. I am listening to the nail-biter on the radio and thinking of everyone I love in the Crescent City. On my approach into darkening Vicksburg: the crushing last-minute defeat just down river, a soon-to-be full moon emerging from a field in my rearview mirror. Evening is falling, and every direction I turn looks the way a Lucinda Williams song sounds.
There is no question that the Fuji X-Pro 1 was an incredible camera, innovative in ways that both the market and consumers didn’t see coming. But it was also riddled with annoying quirks. The hybrid optical EVF was revolutionary and alone made it the most innovative system to hit the market in a long time, but the early firmware included with the camera was buggy and the camera had issues with the autofocus system. These issues and the choice by Fuji to use the APS-C sensor led to many professionals and enthusiasts simply not taking the new Fuji system seriously. But in time Fuji would prove they were very serious, releasing firmware updates addressing user reported issues and designing a full lineup of fast best in class prime lenses as well as improved telephotos demanded by a quickly growing market.
Recently I was given unprecedented access to the Roseville Prison. The prison is now privately owned and is closed off to the public, photographers, documenters, urban explorers, journalists or anyone else who wants to see this historical and supposedly haunted location up close.
MONTERREY — I have shot tightly framed portraits of people since I began taking photos at age ten or eleven. A certain style of naturalistic headshot, the subject fully aware and looking straight into the lens, has been a major element of my work for my entire photographic life. I still have almost every negative I ever shot and though I hope I have learned a thing or two along the way, I am still rather happy with many of the portraits I took of my classmates, teachers, and family back in Junior High and High School.
The oddly and charmingly named (but what Voigtlander is not oddly and charmingly named) 35mm Color Skopar is among the smallest and lightest 35mm lenses you can get in Leica M mount. At around $500 new, it is also one of the least expensive. It is an excellent choice for your 35mm lens whether or not price is a consideration.
Go wide! Go wider!! Go as wide as you can without going too wide!!! This is how I think about the 20mm lens and, to be specific, the classic 20mm f/2.8 Nikkor in both auto and manual focus. In my long experience with this lens — I have used it in its MF and AF versions as one of my primary working optics since around 2000 — I have found it to be a special lens in particular and generally as wide an angle as one can get without entering the realm of special effects. Lenses wider than 20mm can come in handy for unique perspectives and situations, but rarely for every day use.