Last time I talked about building a photographic library and looking at books. Now I want to talk about paintings. I’ve written here many times that we as photographers can learn a great deal from looking at paintings.  That’s right … paintings … most of which are in beautiful color!  I know, the vast number of paintings are not monochromatic (however there was a very nice black and white watercolors), so as black and white photographers, what’s the point?

Just to be clear, I’m no expert on paintings and those who have painted them, but I love to go to exhibits.  I’m lucky enough to live a few minutes away from the Michener Museum of Art here in Doylestown and I go there often.  I also have an easy drive to the Philadelphia Museum of Art and have become a frequent visitor.  I even go to New York, Boston and Washington, DC to see shows. The reason for all my visits to view the work of great painters is simple. As a photographer, I can learn a lot about light and composition from viewing great paintings. But that’s not all. I also learn a lot about presentation (horizontal vs. vertical), subject matter and perspective of view (think normal vs. wide angle or telephoto lenses).

A number of years ago I saw a wonderful exhibit of the great Bucks County painter Daniel Garber at the Michener. Garber has one of the most incredible senses of light I have ever seen and I have often taken students to the museum to see many of his wonderful paintings that are in its permanent collection. Why? Because as beginning photographers they can learn a lot about all the things I mentioned above!  But here’s the thing … you really need to actually go to see the paintings! You cannot get the full appreciation of the sense of light unless you are standing in front of their work!

Ok, so what about looking at exhibits of color photographs? Nah … not the same.  I feel differently about color paintings than I do about color photographs. Paintings seem to have a depth and luminosity that color photographs lack … especially digitally created ones.

Final thought … go and look at paintings … lots of paintings, but my favorites by far are the works of the impressionist masters. I’m a sucker for them. You want to learn about light … more importantly the feeling of light and composition related to light  … go see impressionist art!!

Stay well,

Michael

Fred Picker talked about the value of buying prints and that’s a wonderful idea, but it can be pretty expensive. I really wish I could own prints of the all the greats I admire. Unfortunately I’m not independently wealthy so I do the next best thing. I buy books, and own lot of them. While I do own some prints by photographers I admire, I am very proud of the library of monographs I have built over the years.

So let’s cut to the chase, shall we? Every serious photographer should have a library of wonderful books. We all have different tastes and there are enough quality books out there to satisfy all of them. I gaze at their contents to enjoy myself, to be inspired and most of all to learn. Ok, so what’s to learn?  Well for starters how about light, composition, where to stand when making a photograph and technique. And then about the tools used to get the job done and why they were chosen. This can be incredibly helpful to those just starting out, to those who are confused or have lost their way, and to those that want to sharpen their seeing and craft. Oh, and by the way, as recently reported, after seeing several wonderful videos about Don McCullin that featured his use of the Mamiya Universal medium format rangefinder camera and subsequent purchases of his wonderful landscape books, I decided to buy one for myself, along with a few lenses to go with it.  I absolutely love the camera and when I need it, it is helping me to make the kinds of pictures I want to make!

So, if you don’t have a library, start one! And if you have one, see if there are any holes in it that need to be filled. But most important of all, enjoy these gems, learn from them, and be inspired to create your own special art! A far better investment than that uber wide angle or big honker telephoto you really don’t need, but want, so you can finally fill that empty compartment in your camera bag.

You’ll be a better photographer for it!

Stay well,

Michael

A Basic Guide to Photographic Bliss and Making Better Pictures … A Series of Periodic Musings …  #2 Adopting a Two Hour Plan

 A couple of months ago I posted the first entry of my humble Basic Guide to Photographic Bliss and Making Better Pictures … A Series of Periodic Musings. Without further ado, here’s my second installment. That’s right baby, were talking about the Two Hour plan! I’ve written about it a number of times, starting with an entire entry to the topic. To say this epiphany has had a tremendous impact on my photography would be an understatement; it has liberated me in a way that has been surprising!  Here’s what I wrote:

Two Hours

 That’s the name of the new focus I have established for myself, and I am suggesting it might be one for you as well.  So what do I mean by Two Hours?  Glad you asked. Looking out for and discovering things of obvious and potential photographic interest that are within two hours of where I live. That sounds pretty vague but I actually think it’s a stroke of genius.  I can always be on the lookout for interesting and even bizarre and other out of the ordinary events to checkout. Or I can learn about things that are important to those I live near me and hang out with them. And guess what – it takes a lot of pressure off me concerning what to be photographing.  Now I’m surrounded by all sorts of opportunities!

All of the sudden local news and nearby events become more worthy of note.  For example, over the past few months I have attended several protest events here in Doylestown organized and made up mostly of high school students (my faith in the young has been rekindled!), attended the annual Peace Festival put on by a local Quaker school here in Bucks County about 10 minutes from where I live (I felt like I stepped back into the Sixties), visited Ocean Grove NJ, a small community on the Jersey Shore founded by Methodist clergymen in 1869, and mingled with some strange rangers at the annual Zombie Walk held in Asbury Park.

So you might say I am pretty lucky to live where I do and that I have an unfair competitive advantage – Bucks County, Philadelphia, the Delaware River, New York City, the Jersey Shore, the Poconos … I could go on.  Yes it’s great, and I love living here, but I don’t think I am better off than anyone else. I truly believe that there’s always fertile opportunity wherever one might be if you’re open to it.

None of this means I have dispensed with specific projects. Far from it!  A benefit of the Two Hour plan is that with enough outings and results new themes demanding additional focus may emerge.

I never thought about this idea before, despite it being so utterly simple and obvious.  Now that I’ve had this news flash I feel much looser, less pressured, and yes, somewhat liberated. When I am out and about I feel more creative and have even more fun.  Consider the Two Hour plan for yourself. You might get similar benefits!

Stay well,

Michael

I think I have things pretty much figured out. So what’s been going on?  A couple of months ago I talked about the need to complete my Visions of America work and wanted to continue using a medium format camera whenever possible, especially for pictures of urban architecture and murals I’ve been making of late. I went on to say that I had  been trying out another medium format rangefinder with changeable lenses with the hope that it could become my go to for urban architecture, murals and other non-people related images. Now it’s time for the big reveal! Drum roll please… yes, it’s a Mamiya Universal! That’s right, the same camera the great Don McCullin has used for many years to do much of his striking personal work.

I had been struggling to find a medium format camera for some time that would give me the option to use more than one lens when I needed it, and to serve as a backup for my Plaubel Makina. And now for another drum roll … I’m especially happy to announce that I finally got my Plaubel back from the repair shop! And boy oh boy, I can’t wait to use it again!!!

Back to the Mamiya, after a year or so I am very comfortable and happy with the camera, but it was a bit of a journey, not without a lot of fits and starts. After seeing several wonderful videos about McCullin that featured his use of the camera, I decided to work on finding one in great shape, along with a few lenses to go with it. Easier said than done, because the cameras are old and most have seen far better days. I was lucky to find one in Japan on eBay that was barely used, if at all, and it came with the last version of the standard 100mm f/3.5 lens, 6×7 Type III roll film back , pistol grip, special cable release, metal carrying case and other goodies. Then I tracked down some other equally cherry lenes … the 75mm with its beautiful auxiliary viewfinder and a 150mm short telephoto. NOTE: When using the 6×7 film back the 100mm lens is similar to a 50mm focal length in terms of the 35mm format, the 75mm is similar to a 35mm and the 150mm is similar to a 75mm.

I immediately sent the camera, lenses and back off to my repair guy for a CLA. Once I got everything back I needed to figure out how to use it. That may sound funny, but the typical way to do that is to use the pistol grip attached to the body.  The grip has a button that engages the special cable release attached to it on one end, and to the lens’s leaf shutter at the other end, tripping shutter as is done with a view camera lens.

I didn’t like it.

Too big and bulky and too kluged.

I looked at the McCullin videos again. Just as I remembered, he was holding the camera and making exposures without the grip. It was easy to see that he was holding the camera with one hand griping one of sides of the very wide film back, the other hand was underneath the lens at the bottom of the camera body. But I couldn’t quite determine exactly how he was releasing the lens’s leaf shutter.

The Type III back that came with the outfit has a shutter release on it that connects to the lens via the same cable release that works with the pistol grip. To make a long story short, it’s sort of Rube Goldberg affair that sometimes works and sometimes not. At least that was my experience. So forget that idea.

I went back and looked at the McCullin videos, even looked at still images on the web of McCullin holding the camera. I even tried to zoom in on the pictures to see if I could figure out what he was doing. No luck. Finally it came to me that he must be tripping the shutter on the lens with his finger! I tried it out and it worked … at least after some practice!  My first few outings with the camera were not the smoothest experiences. But I soldiered on and I’m glad I did! I got the hang of it and am now pretty proficient with the procedure, despite the fact that each lens’s shutter release positioning is a little different due to lens size, etc.

The Mamiya Universal has a great rangefinder, with an easy to see focusing patch and frame lines that are adjustable for 100mm and 150mm lenses. The body can accommodate multiple backs including roll film 6×7 and 6×9.  I now have two 6×7 backs and just purchased a 6×9 back. 6 x9 provides more film real estate and approximates the dimensions of a 35mm negative. All the backs have been gone over by my repair guy. No matter how pristine a back looks when you get it you need to have it checked for light leaks. Chances are very good the foam light seals will need to be replaced!

Let me conclude about the Mamiya Universal by pointing out that it’s a screaming deal!!! Depending on condition you can pick up an entire outfit for a song. With some patience you can find everything in near mint condition for not much more.  And the lenses are great! Just ask Don McCullin!

Highly recommended!

Now that I have my beloved Plaubel Makina back I will return to the routine I have settled into over the past several years that utilizes it for a variety of applications including candid situations where I know I won’t be hurried or don’t require the fastest of response in close quarters. When the Plaubel is not the appropriate tool for the job I use my Leicas. Tri-X film with both systems.  In the last year I have exposed a lot of 120 and haven’t felt conflicted in the least over which camera/format to use. Either camera would work, but I have found what is the best combination for me at this time.

Now the Mamiya with its changeable lenses will become my go to for urban architecture, murals, the occasional landscape and other non-people related images. Interestingly, I am sorry to say that I have not used my trusty 35mm Leica SLRs, Frank and Elsa, in some time and will have to see how this plays out. But right now I feel a new sense of energy and excitement about the gear I have. Easy decisions on what to use and when to use it, without stress. The right tools for the right jobs! What could be better!

Stay well,

Michael