There is a lot to learn here.

[FUJI]

 

 

All good stuff for the thinking photographer.   FUJI

 

 

[Korky]

I have mixed feelings about that one, Fooj. It's obviously put out by Leica to promote their wares, but I'm not sure all the photographs are that good.

The photographer waxes lyrical about his experience and his use of Leicas and 5x4 cameras, but the images don't match up. The 9/11 shots are great, but others are no better than so-so.

I think there's lots and lots of photographers out there doing far better work on far less expensive cameras.

Korky

[FUJI]

Thanks Korky!

Yes! I can agree with your observations in part, but, there is one in which he is explaining that he isn't a ......Photographer of Things......a collector of Vvisual items.....instead, he seeks out visual relationships, then attempts to fill the frame with them.

He does use probably the best of camera's, but to me, that makes little difference to what he is attempting to explain, the fact that we all have the ability to take in a scene in three dimensions, through 365 degrees by turning our eyes and heads, whereas a camera, through the viewfinder, and within the Frame is in two dimensions and consideration is required to fill it in the most pleasing/Arty/dramatic manner according to our ability and skills.

Apparently, Leica's Rangefinder, allows an area of view outside the actual frame, so the wider scene can be observed, and acted upon as a compositional aid......But he states rightly that photographers with any camera should always consider the wider view, then fill the frame with visual  relationships, rather than just a thing or things.

I had watched a few of his videos, and perhaps didn't choose the best for him to get this photographic philosophy across.

One of my shooting pals is a Leica man, he has all the best gear, being an ex pro Leica/Hassleblad man.........Me? I compete with him, using my GX7 fitted with £15-£40 vintage Russian lenses.......we both get decent results.....he using all his pro skills.....compared to me who just relies on a spontaneous Arty mind set.

But both of us attempt to fill the frame with visual relationships and not just.....things.

Hope all of this makes sense?......I was up at 05:00 this morning.

 

FUJI 

[fuzzyedges]

I am with korky here 

There is a very slim line between good street Photography and snap shots 

By this I mean images often have that I havnt seen that before or nostalgia element, where as street relies on showing you everyday life but in a different context  that makes you go wow his are a mere record I dont think his do in relation to what he is saying, although in 30 years time they probably will as nostalgia kicks in  

[kev7d]

If street photography is your game, for me, this guy is likely up there with the best as a contemporary of this genre, assuming of course that you can actually define such a genre.

I have come across his images before and he does some excellent work that is inspirational for me as a hobbyist.  

[Black Pearl]

Can anyone bullet point the things we can learn - I absolutely refuse to sit through a YouTube video as they bore me to death.

[kev7d]

1 minute ago, Black Pearl said:

Can anyone bullet point the things we can learn - I absolutely refuse to sit through a YouTube video as they bore me to death.

I don't know. I did not watch the video!  

[FUJI]

Sorry if you missed the point folks.......but put very simply, this what I learned.....

Please forgive the capitals but using occasional italics on an iPad is a pain.

Joel, points out that a camera frame can be very restricting, if it isn't used to its full potential.......we humans have the ability to turn our heads to see through a full circle in three dimensions........whereas a camara allows you to see then then records things in two dimensions but only WITHIN  it's frame. ( he does mention here that a Leica Rangefinder has the offers a wider view to allow you to see subjects about to enter or leave the frame) 

The essential, core message from Joel is that a thinking photographer should ANTICIPATE what might enter or leave his current frame, recording ONLY the subjects that fill the frame best according to his/her vision at the time.

He also teaches that a thinking photographer, should seek out VISUAL RELATIONSHIPS to place within his frame, for best visual impact.....examples are......human interaction.....light and shade.....textures.....emotions.....humour.....bizarre ....... and so on....

He tries to avoid becoming just a ......RECORDER OF THINGS/ITEMS........that is just too easy.....Ok for fashion, products and science etc.....but for aphotograph to WORK as a visual statement filling the frame with a visual relationship is a KEY factor.

Hope it makes sense now?

 

I am guessing that many folks don't have the time or patience to absorb YouTube tutorials as much as I tend to.....I find them invaluable learning aids.

 

FUJI