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10 LFI 3/2012

A unique series of photos, taken from the treasure trove of Constantine Manossarchives, has recently resurfaced. It was taken nearly fifty years ago in the

capital of the former Soviet Union. Within two weeks, the photographer puttogether an impressive documentary, with a relaxed atmosphere still palpable

today. A wonderful glimpse back at the summer of 1965.

The RussIans

LM

PhOTOGRaPhY: COnsTanTIne ManOs

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MaGnuM FeCOnsTanTIne M

Street photo r phy i Moscow: I dditioto loc l i h bit ts, Co st ti e M os ofte

photo r phed the citys s mmer to rists,i cl di this ro p looki t the domes of

St. B sils C thedr l t Red Sq re

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Moneyor LIFePhoTograPhy: ToMas MunITa

The export of natural resources flows, while rural traditions ebb both need the same thing to survive: water. The dilemma has beenintensifying for decades now, gradually leading to a completetransformation of the landscape surrounding the river Loa in theAtacama desert. This is brought across very clearly in the symbolicpictures by Chilean photographer Toms Munita.

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Miners live under the shadow of death, they drinkpure alcohol with an image of the d evil under-ground. The mines are blessed with their blood andthey expect to die young. tomas munita

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tech talk leica m system

40 lFi 3/2012 3/201

21 moments

captured using the 21 lenses currently available in the M range, offeringfocal lenghts between 16 and 135 millimeters, and lens speeds of f/0.95 to f/4.

An overview of prices and attributes, inspired by our readers creativecontributions to the LFI gallery.

Angle of view(diagonal/ horizontal/vertical)

16 mm: 107/97/74 degr.18 mm: 100/90/67 degr.21 mm: 92/81/60 degr.

Elements/groups 10/7

Closest focusing distance 50 cm

Dimensions(diameter x length)

54 x 62 mm

Weight 335 g

Filter E77 w. sep. filter holder

Price 4850 Euro

TRI-ELMAR-M 16-18-21 mm f/4 ASPH

It had just stopped raining, and initially Ibecame aware of the interesting contrast

between the white lines and the dark asphalt.Then, at the last moment, I noticed theapproaching cyclist and quickly pressed the

shutter with no time to set a precise focus.What fascinates me with the Tri-Elmar is notonly the extreme picture angle at 16 mm,but also its incredible corner-to-corner detail

resolution.

Michael Booth, USA

I had taken the 18 mm f/3.8 on my M9 to walk around at Berlin Central Station. The glass

wall along the platform reflected the formidable roof structure, which was flooded by the ligof the low setting sun. The Super-Elmars still managable size and barely noticable distortiomake it a great choice for photographing interior achitecture.

Carsten Fische

A picture paints a thousand words: Maythe photos on the following pages providethose amongst you, who are currently

wondering which lens they simply haveto add to their personal wish list, withinspiration and information. Each one of them offers a good demonstration of thecharacteristic attributes of each of the21 current M lenses. Our special thanks

goes out to the photographers from allover the world who have made theirimages available for this overview. OS

Angle of view (diagonal/ horizontal/vertical)

100/90/67 degrees

Elements/groups 8/7



61 x 58 mm

Weight 310 g

Filter E77w. sep. filter holder

Price 2450 Euro

SUPER-ELMAR-M 18 mm f/3.8 ASPH

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In the early morning, on my way to Thamel,Kathmandu, I saw this man sitting at the

side of the road, lost in thoughts. At first Ihesitated because of the sun coming directlyfrom the front, but then I decided to take ashort break, took out the M9, left the rest

up to the Summilux 21 mm f/1.4, and got

the exact picture I had envisioned. TheSummilux is my faithful companion on every

journey. What I like about it most is the wayit is able to seperate the main subject fromthe background, and thereby creates a threedimensional appearance.

Erwin Soegondo, Indonesia

The Super-Elmar 21 mm has quickly becomemy favourite lens for the road. It is handy andlight, exhibits very low distortion and is very

sharp. I encountered the Lady in Red in

London; all around, the sunlight was reflectedin all directions by the windows of the tallbuildings, creating a peculiar atmosphere. I

spent quite a while sitting on a wall oppositethe strangely luminous tree and waited, to seewho might be coming along.

Simon Henley Phillips, Great Britain


92/81/59 degrees

Elements/groups 10/8



59.5 x 66 mm

Weight 580 g

Filter Series VIII

Price 5500 Euro

SUMMILUX-M 21 mm f/1.4 ASPH


91/80/59 degrees

Elements/groups 8/7



53 x 43 mm

Weight 279 g

Filter E46

Price 2250 Euro

SUPER-ELMAR-M 21 mm f/3.4 ASPH

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tech talk street photography

64 lFI 3/2012 3/2012

poetry oF chanceBeneath the trivia of everyday life a myriad of visual treasures await discovery bythe keen observer. The abundance of chaos in the u rban environment is

the promised land of street photography. Four photographers offer insights intotheir motives, and methods.

Street photography is on an upwards trend.Whether we are experiencing an overloadof the photoshopped hyper-perfection of studio aesthetics, or whether there comes a

point when youve somehow seen enoughof the static coolness which domineeredmajor art photography movements of the last decade; or whether it is simplybecause nowadays, absolutely anyone cannot only photograph anything, but also

make it publically available via platformslike Flickr: whatever the reason may be,street photography has experienced amajor resurgence. While for a long time,it was mostly placed within the context of musealising evocative impressions of the

past, associated with names like Cartier-Bresson, Kertsz, Winogrand or Levitt, theconcept of photographically capturing asingular moment in the public space hasonce again become the subject of a highly

productive practise. So productive in factthat it has not only sparked a host of artisticco-operatives, founded by similarly minded

photographers, but has even effectedthe publication of magazines especiallydedicated to the genre.

The prerequisites for street photographyare incredibly small: Unlike with

photojournalism, no prior research into atopic is necessary. In a way, all you have todo is leave the house and bring your camera.There is always something going on, you

just have to be forward enough to point yourcamera at it.

Yes, we know it is not quite as simple asthat, because despite the infinite number of subjects, the majority of pictures publishedunder the umbrella of street dont warranta second look. A fact which no longerseems surprising once you imagine that

when you capture a picture at, say, 1/500 of a second, 500 of a similar kind would stillonly encompass one second of real time.Being defeated by the fleetingness of the

moment is therefore a case of the norm.And that is exactly what demonstrates

what is so magical about this particular photographic practice: If 1/500 of a secondfrom now everything will be completelydifferent, then the ability to use onesobservation, intuition, abstract thinking,spacial awareness, and precision timing, inorder to wrench a picture from a fleetingsegment of time a picture which canhold up as an image in its own right mustbe considered a high form of art. GarryWinogrand hit the nail on the head when hesaid that his attention was not on the actualscene in front of his camera, but instead onthe picture which he knew could be foundthere: I photograph to see what something

looks like as a photograph. Its the way theelements of the real world are positioned

within the two-dimensional frame thatdetermines whether a photograph is goingto have an intense effect or not.

A successful street photo can give off asense of the magical when everything in theframe is perfect. Positions, gestures, looks,

Ever since 2006, I have been taking pictures almost entirely of people and

situations on the street. I have alwaysenjoyed going out for walks, taking

pictures along the way. There was a point where I began to focus on a particulartype of subject and on the best waysto emphasise them. Im going out fora walk and taking my camera quicklyturned into I'm going out to take some

within everyday life. In my homBerlin, I have four or five possib

points for beginning one of mtours but in general I follow my inmeandering is probably the bestdescribe it. You have to pay ato a gut feeling, look for sohappening or some location whlight seems promising. In pstreet photography can of cou

guIdo steenkamp, berlIn

objects, all arranged into a composition inthat fraction of a second, revealing a newaspect of a reality it could be a surreal ora humorous quality which is concealedfrom the ordinary passer-by, and whichcan only the photograph can invoke. It isdifficult to put into words what exactlyit is that makes a good street picture, butits easy to recognise one when you see it.It contains a moment of astonishment; it

has a surprising way of connecting thingsthat, in the flow of reality, are not usually

perceived in conjunction with each other.This is why street photography is such acongenial expression of the asynchronicityof urban existence. It gives off a sense of ease without actually being easy to read. Ittakes an unlikely configuration and freezesit in time, or it composes an ordinary sceneinto an aesthetically striking form.

From the large number of protagonistscurrently practising street photography, wehave chosen four, and have presented them

with some questions. The personal insightsthey have shared in their answers may serveas inspiration to anyone taking pleasurein going on long, meandering walks with

their camera: Guido Steenkamp, born 1973,from Berlin; Siegfried Hansen, born 1961,from Hamburg; Mister Hoveeto, born 1971,from Paris; und Simon Becker, born 1988,from Berlin. To be continued. OS

pictures. By 2008, I had joined up witheleven photographers from Germany

and Austria who share a similar interest.Together, we created the photographersco-operative Seconds2Real, and havecollaborated on exhibitions, workshopsand publications ever since.

For me, a good street picture brings outthe extraordinary within the ordinary, alucky coincidence, or a small miracle

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then stay with them and wait for a goodmoment. If you have been taking photos inthe same city for a long time, you also cometo know where the light is good at which

points of the day, or where there tends tobe a lot of people, and at which corners itmay be worthwhile to wait around for a

little while. On the other hand, I feel thatbeing in a strange city makes me muchmore alert. Three days in Vienna, forexample, produce a significantly largercollection of images than a few afternoonsof shooting in Berlin. According to my

photographer friends from Vienna, theyexperience a similar thing in reverse.

place anywhere; however, the chances of a decent picture increase when you aremoving through areas where there is a lotof life in the streets. There is a brilliantquote by Jim Richardson: If you want tobe a better photographer, stand in frontof more interesting stuff.

Over time, you inevitably learn somesmall but useful things. At some point

you start to recognise in advance wherean interesting situation could be aboutto develop, and which side of the streetcould offer an interesting background.Also, I often focus on promising looking

people, trying to get the right distance, and

Preceding page: Vienna 2011. Above: Berlin 2011. Below and right page: New York 2008.Page 68: Berlin 2010, Vienna 2008

I would say that through photography, I have become mucaware of my surroundings in Even at times without a camera ostill pay so much more attention small, unique moments in life. find myself thinking, click, tha

have been a good photo. Howedoes not mean that I have turnedfanatical pursuer of images. In fanot a fan of all the references to hcommonly used in street photoI am a rambler with a camerahedgerow sniper. I always use length of 35 mm, with whic

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