Creative Photography

June 2011 | Issue 02

Source : f l i ckr .com/nesster

The VF Team

Shoots on 18 film cameras from little plastic lens toys to pro SLR. Also shoots digital on a Canon EOS 450D.

ContributorsStephen Boyle,

Brian Newell,

Dermot Marrey

(dublinstreetphotographers.

com), Shane

Connaughton (flickr.

com/shaneconnaughton),

Rachel Carrier (flickr.

com/rachelcarrier), JEO

Photogrphy (flickr.

com/jeophotos), Victor

Bezrukov (flickr.com/s-

t-r-a-n-g-e), Sam Ingles

(flickr.com/samingles),

Nick Leonard (flickr.

com/nickleonard),

Tim Williams

(flickr.com/bono66),

Johnny Brian (flickr.

com/52637134@N03),

Laszlo Gerencser (flickr.

com/thewrongdevice),

Agnieszka Bernacka

(flickr.com/redkoala1),

Marc Miesyerus, Paul

Freeney (flickr.com/

sebfotos).

Paul Murphy Editor

Editorial

Welcome to Issue 2 of View-f inder Magazine , a magazine that ce lebrates a l l forms of cre-at iv i ty found in photography.

This month we dedicate our pages to the f ine art that i s Street Photography.

We take a look at a new col lect ive of photographers ca l led Dubl in Street Photographers who s tr ive to shoot the c i ty of Dubl in in i t s raw and pure form.

Our featured photographer shoots with a part icular f lare for night , bar and s treet scenes .

We interview Paul Freeney,

Inside this month’s issue

DSPAdult Enter-ta inment pho-tographer An-ton Fury i s s t i l l none the wiser s ince CNN made publ ic , l as t month, the images he found of Mari-lyn Monroe in 1980.

P u b l i s h e d on his b log on 4 June 2011 Fury s tated : ‘ I had hoped to learn something about these photos/negat ives , but as of today, I don ’ t know any more, than I knew then. I have gotten dozens of ca l l s and emai l s f rom a l l over the world… a l l f rom press . With a l l th is coverage , I ’m amazed that nobody has any information. So, the negat ives have gone back into the drawer – actua l ly a sa fety deposi t box – where they ’ l l s tay for perhaps another 30 years ’ .

Fury had hoped that f rom CNN publ i shing the images that they would spark somebody ’ s memory, and the photogra-pher can be ident i f ied . L .A. art dea ler David Streets , who helped Fury decide to make the pictures publ ic sa id : ‘Hopeful-ly someone out there , perhaps another photographer , wi l l be

able to shed some l ight on this . ’In 1980 Fury was at a garage

sa le in New Jersey and pur-chased an envelope conta ining 33 negat ives , for $2 .

After developing the nega-t ives in his home dark room, he rea l i sed what he had s tumbled upon. ‘ I couldn ’ t be l ieve what I was see ing. I t was freakin ’ Mari lyn Monroe! ’ but for 30 years Fury fa i led to track down the photographer behind the photographs .

Needless to say this proved to be qui te a b ig task , and as Fury sa id in a recent interview with the New York Dai ly News: ‘When I found them there was no Internet , there were l imited resources to research them. ’

According to Streets , the im-ages are from the ear ly 1950 ’ s when Monroe was only 24 . This year she would turned 1985.

FEATURES

Founded in February 2011, Dubl in Street Photographers are a co l lect ive of photogra-phers working long term to def ine the c i ty of Dubl in us ing s treet photography.

I t i s comprised of s ix mem-bers , Stephen Boyle , Br ian Newel l , Dermot Marrey and the three members of the View-f inder team.

Each photogrpher , in the col lect ive , br ings their own unique s ty le to observe , explore and search for something new on the s treets of Dubl in , and to try and capture a l i t t le p iece of

the spir i t of the c i ty , as i t ex is ts today .

To use s treet photography to capture the essence of a c i ty or a country i s far f rom novel . Robert Frank did i t for 1950s America , Wil l iam Klein did i t for New York in the same pe-r iod, Brassa i d id i t for Par is in the 30 ’ s , and Henri Cart ier-Bresson did i t for Europe.

Some of the b iggest names in the bus iness were , or are , s treet photographers .

There are count less books , websi tes , documentar ies and exhibi t ions dea l ing with s treet

photography from every corner of the g lobe .

I t i s probably the most d i f f i -cul t of a l l photography ’ s genres to keep shoot ing new, unique and interest ing works .

I t i s a good t ime to undertake such an ini t ia t ive , in Dubl in , consider ing how i t has changed so much over the past 30 years or so .

Dubl in Street Photographers a im to make images that de-f ine the c i ty as i t i s now, in i t s raw and pure form, and show e lements of the c i ty that some have never seen before .

Dublin Street Photographers

Fury with no Monroe clues

76

www.dubl instreetphotographers .com

www.f l ickr .com/shaneconnaughton

S h a n e C o n n a u g h t o n

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Feature : Dublin Street

Photographers

A brief look at a new col lect ive of s treet photographers shoot-ing Dubl in c i ty .

Featured Photographer

This month ’ s most inspir ing photographer i s a s treet/bar/night/ l i fe photographer .

Sean O’Flaherty Creative Editor

Andy Doyle Podcast Producer

Shoots with a Canon EOS 5D and 450D and a 35mm Pentax SP1000. Is also not a stranger to the world of the Diana F+.

Canon EOS 7D ex-pert but from time to time he swaps his DSLR for his old Praktica and Lubitel cameras.

flickr.com/analoguepaul

flickr.com/seanof

flickr.com/andywithcamera

Streetwho has been shoot ing s treet photography for over 30 years .

Also , ins ide you ’ l l f ind our regular ga l lery of the best pho-

tographs submit-ted to us , here , a t Viewfinder over the las t month as wel l as the la test news and we take a specia l look at an o ld Soviet era camera .

The Viewfinder team a lso produce a monthly podcast , which i s a great ac-

companiment to this magazine so whi le you ’re reading you can l i s ten to us a t vi ewf inderpodcas t .

com

3

Viewfinder Magazine info@viewfindermag.com©2011 Viewfinder Magazine

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Creative Photography

June 2011 | Issue 02

- the VF Team

GALLERY

Picture : NYC Block DrugstorePhotographer: Rachel Carrier

Camera: Polaroid SX-70Film: Imposs ib le Project PX 680 Color Shade Beta Test Fi lmFlickr: rachelcarr ier

Picture : GeorgetownPhotographer: JEO

Camera: Holga 120NFilm: I l ford HP5 Plus 120mm ISO 400

Flickr: j eophotos

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‘ I fo l lowed a g ir l down to Cork, in 1979, and l ived there for about a year and a ha l f , and bought my f i rs t SLR a Ricoh KR5’ that ’ s how Paul Freeney, a Dubl in nat ive , began his l i fe as a s treet photographer .

For over 30 years he has gone through di f ferent phases of technique, advanceing his s ty le and abi l i t ies and host ing ta lks and photowalks on the photographic genre .

There were gaps in the pho-tography over the years part ic-ular ly with the unt imely death of h is Rocoh KR5, a t the hands of a f r iend when he returnedto Dubl in in the 1980s . An Olym-pus OM1 was i t s successor . However , a few years la ter , the costs of f i lm and process ing be-came too much but ‘d ig i ta l has made i t so accessable for every-body now, so I got back into i t . ’

Not want ing to d isc lose what d ig i ta l gear he i s now us ing Paul i sns i ts that ‘ you wouldn ’ t go into the k i tchen of a restau-raunt to ask the chef what oven he used. ’ A fa ir an poignant point that the photo i s a l l that matters .

When Paul s tarted shoot ing ‘Street Landscapes ’ as he re-fers to them as he admits that ‘ I was shoot ing s treet photog-raphy before I even knew what i t was ’ . ‘ I shot on any f i lm, the cheaper the bet ter , most ly b lack and white . ’

His ins ipat ion comes from

one of the photographers cre i-di ted with the invent ion or d is-covery of s treet photography, Henri Cart ier-Bresson. ‘His book The De-cis ive Moment i s a mi lestone in photography apart f rom the fact that the three words ‘The Decis ive Moment ’ sum up Street Pho-tography for me. ’

‘ I a l so love the work of Mart in Parr , h is book The Last Resort : Photographys of New Brighton i s as good

representat ion of Street as you wi l l f ind anywhere . ’

Paul , however , doesn ’ t t ry to think about his inf luences whi le

out shoot ing the s treets ‘ the adrena-l ine i s rushing and I am con-centrat ing on what I am try-ing to capture and create . ’

‘ I love the fact that when

you capture a moment on the s treet , i t wasn ’ t there a moment before and i t ’ s gone the mo-ment a f ter . I t ’ s there and cap-tured forever . I t i s complete ly

30 years on the streetViewfinder meet street photog-rapher Paul Freeney to discuss why he loves capturing l ife on the streets. Words: Paul Murphy Pho-tos: Paul Freeney

unposed and s p o n t a n e o u s . I ca l l what I do pure s treet p h o t o g r a p h y because i t ’ s unposed, i t ’ s not s treet por-trature . The people are never aware that the photo-graph has been taken. ’

‘You see on the inter-net v ideos of people going up into peo-ple ’ s faces and shoot ing them, that ’ s not s treet , that ’ s p ho to g r a p hin g people ’ s reac-t ions to the camera . ’

Almost a l l of Paul Free-ney ’ s s treet photography i s shot from the hip , (a technique discussed on page 42) , ‘ I never make eye con-tact ’ i s how Paul a t tr ibutes the anonimity of the camera in the scene and you can see from his images that the camera , and photogra-pher , are complete ly seperate from the photograph.

Paul doesn ’ t look for the in-stant grat i f icat ion found on the back of a d ig i ta l camera to see

i f he has captured the image or not . He sometimes waits a few hours before looking back at what he captured.

Paul a l so ac-knowldges that s treet pho-tographs can a l so become a his tor ica l document . A s trret photo-graph that i s not necessar-i ly great im-mediate ly can become an im-portant his tor-ica l document , p a r t i c u l a r l y in a c i ty l ike Dubl in where the s treets have changed beyond rec-ognit ion over the past few decades .

Paul ’ s s ty le and technique has seen him being saught out by camera

c lubs to gove ta lks on the pho-tographic genre .

I ’ve done ten photowalks to date , the las t one I d id , I rent-ed a room in a hote l , 17 people shoed up and we did an hour and hal f workshop on s treet photographt and then spl i t them up into groups and sent them out on the s treets .

For more info on Paul Free-ney photowalks v is i t facebook.com/paul freeneyphoto and f ind

‘ ‘You wouldn’t go into a kitchen and ask a chef what oven he used’ ’

At the O’Connel l Monument Grafton Strol l

‘ ‘I split them up and sent them into the streets’ ’

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recommended. You ’ l l l ike ly be moving towards your subject , and you subject might a l so be moving, so a fas t shutter speed (1/200th of a second of fas ter) wi l l prevent unwanted motion b lur . Focusing on the move, and without looking through the v iewfinder i s t r icky but us ing a narrow aperture wi l l g ive you a wider depth of f ie ld , which means that your focus ing doesn ’ t need to a accurate to get a sharp image. Unfortunate ly , a fas t shutter speed and a narrow aperture wi l l make your image darker , so a higher ISO might

be needed to compensate . Of course , h igher ISO’s introduce noise/grain into your image, so you need to f ind a ba lance be-tween motion b lur , sof t focus , and noise/grain . With pract ice , making this trade-of f wi l l be-come second nature to you as you gain a bet ter understanding of your camera ’ s capabi l i t ies .

Set Focus/Autofocus

Autofocus can be a he lpful a id , but i t can take to long to focus when shoot ing from the hip . I f you are us ing i t , see i f your camera has an AF lock feature .

AF lock a l lows your camera to autofocus once , and then lock in the foca l d is tance . Even as your camera moves , the foca l d is tance won’ t change.

When approaching your subject , dec ide ear ly on how far away you want to be when you take your shot . Then, i f you ’re us ing manual focus , set your chosen dis tance on the focus r ing on your lens . I f you ’re us-ing autofocus , a im your camera at a spot on the ground that ’ s the r ight d is tance away, focus on i t , and lock in that foca l d is tance .

Shoot ing from the hip a l lows a photographer to capture an im-age, of ten at c lose range, with-out a lert ing the subject that they ’ re being photographed.

The best s treet photography i s a l l about get t ing candid shots of everyday l i fe , so a technique that catches people unawares i s perfect . I t ’ s eas ier than i t sounds , i t ’ s fun, and the photos you ’ l l capture should be more honest representat ions of your subject than i f you a lerted them to the presence of a camera by ra is ing i t to your eye to com-pose your shot .

You ’re choice of camera i sn ’ t hugely important , but your choice of lens i s . A wide lens , somewhere between 24mm and 50mm, wi l l he lp to minimise motion b lur , widen your depth of f ie ld , and le t you get c lose enough to be able to proper ly v isua l i se what your camera i s see ing. While your choice of camera i sn ’ t hugely important , i f you l ike f i lm cameras , the o lder Twin Lens Ref lex camer-as such as a Rol le i f lex or Lomo Lubite l le ts you see what you ’re shoot ing through a v iewfinder on the top of the camera . To passers by , i t wi l l not be appar-ent that you ’re taking a photo.

DSLRs with f l ip out screens of-fer a s imi lar advantage . Some would say , however , i f you can see what you ’re shoot ing, you ’re not shoot ing from the hip .

Technique

The technique descr ibed here i s a personal favouri te of mine, and should work wel l for any-one, but experiment with your own techniques and f ind one that works for you, your cam-era , and your environment .

Set Exposure

Manual exposure i s

‘ ‘You’re choice of camera isn’t hugely important’ ’

TECHNIQUE

Shooting from the Hip - Capture your subjects without them even knowing. Words and Photos: Andy Doyle.

Shooting from the Hip

Compose

Composing your shot i s the most d i f f icul t part of shoot ing from the hip . Without being able to look through the v iew-f inder , you ’re probably not go-ing to be able to get the exact composi t ion you want s tra ight of f the camera . Try to frame your shot s l ight ly wide , so that i t can be cropped to your de-s ired composi t ion la ter .

Shoot

You’re approaching your sub-ject with your camera set up for the correct exposure , and with a

1/30, 1/60, 1/125, 1/250 sec-ond, the apature control i s a t-tached to the g lass of the lens and has the opt ions of f/4 , f/5 .6 , f/8 , f/11, f/16. To focus the Triplet 43 , 40 mm lens you turn i t in the des ired direct ion within the range of 1m to inf in-i ty . Then the shutter i s cocked with a lever bes ide the shutter speed r ing and to re lease the 3 b lades d iaphragm shutter you press the shutter re lease button on top of the camera .

For f lash the camera i s equi-ped with a PC socket a l lowing for f lash synchronisat ion at ev-ery shuit ter speed.

The camera i s uses 35mm f i lm and has a f i lm wind and rewind knobs and a l so a f i lm counter wheel just above the door on the back of the camera .

The viewfinder i s in the le f t hand top corner of the camera , looking from the back, which means for a s l ight movement of the camera upwards and le f t in order to capture the des ired frame as this i s not a through the lens type viewfinder .

The camera makes for very exci t ing picture taking, the lens g ives this lomo a unique contrast and saturat ion that , aprt icular ly when shoot ing co-lour , makes a scene pop out of the negat ive . While i t i s not a rangef inder camera and you need to focus by judging the d is tance from the camera to the subject when everything goes correct ly this camera actua l ly makes s tunning photographs .

I t ’ s l ight and compact s ize a l so makes i t a perfect cam-era to carry around on a l l oc-cas ions , as opposed to chunky SLRs and lenses , of medium

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REVIEW

Lomo Smena 8M

The Lomo Smena 8M is poss i-b ly the most iconic and famous camera in the Smena fami ly . While the f i s t in the Smena l ine ro l led of f the Soviet product ion l ine in the Lomo factory in St . Petersburg, in 1952, the Smena 8M was a chi le of the la te 70s and ear ly 80s .

The Smena name trans lates roughly into Engl i sh as ‘young generat ion ’ and that ’ s exact ly what this camera was for . I t ’ s l ight p las t ic body with a coated g lass lens , provided a s imple , easy and af fordable way for

young people , interested in photography, to s tart out their l i fe in picture taking.

To ca l l this a toy camera , would be a b ig mistake , i t has so much more to of fer than the s impl ic i t ies found in toys . I t i s a fu l ly manual camera , with most of i t ’ s controls bui l t into the lens mechanism, that wi l l teach any aspir ing photographer about shutter speeds , apature and even f lash photography.

The camera i s operated by i t s large r ing to control shutter speeds , which are bulb , 1/15,

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Gal lery

An exhibi t ion of the best pho-tographs submitted to View-f inder Magazine this month.

Feature : 30 Years on the Street

Viewfinder meet with Dubl in based s treet photographer Paul Freeney to d iscuss why he loves capturing l i fe on the s treets .

Technique: Shoot ing from the Hip

Andy Doyle takes us through one of the most popular techniques used in s treet photography.

Review: Lomo Smena 8M

A rea l c lass ic , low budget , gem from the o ld Lomo company.

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NEWS

The Sony World Photography Awards has opened i t s doors for entr ies . This year , there are f ive compet i t ions avai lab le to submit your images to , inc lud-ing a new Yout h compet i t ion a imed at young photographers under the age of 20 .

This year a l so sees the ex-pansion of the Moving Image

Awards to inc lude s ix new cat-egories due to the huge popu-lar i ty of the inaugura l Moving

Image Award in 2011. Other new categories that

have been introduced, inc lude Nature and Wild li f e in the Pro-

fe s s ion a l compet i t ion and a Low

Light category in the Open com-pet i t ion. A fu l l l i s t of the com-pet i t ions and their categories can be found at www.world-photo.org/compet i t ions/ .

The Awards are open unt i l Wednesday 4 January 2012 and the winners wi l l be announced and receive their respect ive

A Leica O-Series camera from 1923 has become the world ’ s most expensive camera a f ter being auct ioned for an unex-pected $1.9m.

The camera was re-portedly the f i rs t ever camera exported by Leica as i t was sent to New York to the patents of f ice .

The camera was de-scr ibed by the West l icht Auct ion house as being 7th in the ser ies of 25 cameras produced to tes t

Sony World Photography Awards 2012

World’s most expensive camera

awards in la te Apri l 2012. The winner of the L ’ Ir i s D ’Or Sony World Photography Awards Photographer of the Year Award wi l l a l so be revea led and presented with $25,000 p lus some nice camera equipment . The overa l l Open compet i t ion winner wi l l rece ive $5,000 p lus camera equipment . A col lect ion

of entr ies and winning images wi l l go on display in Somerst House , London, as part of the Worldwide Photography Fest i-va l in Apri l and May 2012.

The Worldwide Photogra-phy Fest iva l wi l l tour the g lobe in 2012 a l though not a l l c i t-ies that i t wi l l be v is i t ing have been announced.

the market in 1923. AP reported that the cam-

era went to a ‘ p r i -vate Asian

col lector a f ter a nai l -bi t ing, 20-minute b idding process .

Good news for those on the analogue s ide of the ana-

logue vs . d ig i ta l debate but i t i s perhaps worth not ing that whoever paid this much money for the camera , i s , un-fortunate ly , most l ike ly never going to run a ro l l of f i lm run through i t .

Pic tured i s a Le i ca

O-Ser i e s rep li ca camera

which was manufac tured

by Le i ca a f ew years ago .

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Picture : Copyright : © James Chong courtesy of Sony World Photography Awards 2011

Adult Enter-ta inment pho-tographer An-ton Fury i s s t i l l none the wiser s ince CNN made publ ic , l as t month, the images he found of Mari-lyn Monroe in 1980.

P u b l i s h e d on his b log on 4 June 2011 Fury s tated : ‘ I had hoped to learn something about these pho-tos/negat ives , but as of today, I don ’ t know any more, than I knew then. I have gotten doz-ens of ca l l s and emai l s f rom a l l over the world… a l l f rom press . With a l l th is coverage , I ’m amazed that nobody has any information. So, the negat ives have gone back into the drawer – actua l ly a sa fety deposi t box – where they ’ l l s tay for perhaps another 30 years ’ .

Fury had hoped that f rom CNN publ i shing the images that they would spark somebody ’ s memory, and the photogra-pher can be ident i f ied . L .A. art dea ler David Streets , who helped Fury decide to make the pictures publ ic sa id : ‘Hopeful-ly someone out there , perhaps another photographer , wi l l be

able to shed some l ight on this . ’In 1980 Fury was at a garage

sa le in New Jersey and pur-chased an envelope conta ining 33 negat ives , for $2 .

After developing the nega-t ives in his home dark room, he rea l i sed what he had s tumbled upon. ‘ I couldn ’ t be l ieve what I was see ing. I t was freakin ’ Mari lyn Monroe! ’ but for 30 years Fury fa i led to track down the photographer behind the photographs .

Needless to say this proved to be qui te a b ig task , and as Fury sa id in a recent interview with the New York Dai ly News: ‘When I found them there was no Internet , there were l imited resources to research them. ’

According to Streets , the im-ages are from the ear ly 1950 ’ s when Monroe was only 24 . This month she would have turned 85.

Fury with no Monroe clues

6

Picture : Anton Fury

DSPFEATURES

Founded in February 2011, Dubl in Street Photographers are a co l lect ive of photogra-phers working long term to def ine the c i ty of Dubl in us ing s treet photography.

I t i s comprised of s ix mem-bers , Stephen Boyle , Br ian Newel l , Dermot Marrey and the three members of the View-f inder team.

Each photographer , in the col lect ive , br ings their own unique s ty le to observe , explore and search for something new on the s treets of Dubl in , and to try and capture a l i t t le p iece of

the spir i t of the c i ty , as i t ex is ts today .

To use s treet photography to capture the essence of a c i ty or a country i s far f rom novel . Robert Frank did i t for 1950s America , Wil l iam Klein did i t for New York in the same pe-r iod, Brassa i d id i t for Par is in the 30 ’ s , and Henri Cart ier-Bresson did i t for Europe.

Some of the b iggest names in the bus iness were , or are , s treet photographers .

There are count less books , websi tes , documentar ies and exhibi t ions dea l ing with s treet

photography from every corner of the g lobe .

I t i s probably the most d i f f i -cul t of a l l photography ’ s genres to keep shoot ing new, unique and interest ing works .

I t i s a good t ime to undertake such an ini t ia t ive , in Dubl in , consider ing how i t has changed so much over the past 30 years or so .

Dubl in Street Photographers a im to make images that de-f ine the c i ty as i t i s now, in i t s raw and pure form, and show e lements of the c i ty that some have never seen before .

Dublin Street Photographers

7

www.dubl instreetphotographers .com

8

Picture : Stephen Boyle

9

Picture : Andy Doyle

10

Picture : Br ian Newel l

11

Picture : Paul Murphy

12

Picture : Dermot Marrey

13

Picture : Sean O’Flaherty

www.f l ickr .com/shaneconnaughton

S h a n e C o n n a u g h t o n

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I walked into a bar somewhere abroad one night , I had my camera with me, that ’ s the f i rs t moment I th ink I rea l ly s tarted taking photographs .

Street photography, night t ime photography, bar photog-raphy, whatever way you want to labe l or c lass i fy i t . I t s tarted as a hobby and i t wi l l a lways be a hobby of mine.

Most of the shots I take are of s trangers . Bars are probably my favouri te p lace to shoot , the d immer the bet ter , I only use ambient l ight , no f lash , none of

that nonsense . You ’ve a lways got such a

range of characters in these scenes , people having a great night and others having the complete opposi te , people are a lways less inhibi ted and I l ike observing these things . I t ry to capture the mood and atmo-sphere , and create a s tory out of the picture .

I only l ike to shoot sponta-neous ly , sometimes you have to be a l i t t le pat ient and bide your t ime. Yeah, you get the odd out of focus , b lurry , shot but maybe

that ’ s the way i t ’ s meant to be . Sometimes i t looks more inter-est ing that way. I t ’ s a l l chance . But , I ’d rather take a shot than say f ive minutes la ter , ‘why didn ’ t I just c l ick the button? ’ .

There ’ s never a reason not to .

Take Another Left an ex-hibi t ion by Shane Connaughton & Diarmait Grogan, takes p lace from 7th-12th Ju ly 2011, in the Block T Gal lery , 1-6 Haymar-ket , Smithf ie ld Square , Dubl in .

h t t p : / / 2 0 1 1 . p h o t o i r e l a n d . o r g /

program/take-anot her - l e f t/

FACT BOX:

Name: Shane ConnaughtonNationality : I r i shLocation: Dunlaoighre , Dubl inWebsite : f l i ckr .com/shaneconnaughtonFavourite Camera: I only have one so i t has to be my Pentax K1000 and temprementa l second hand Sol ignor 60-300m Macro lens I found somewhere .Favourite Film: Fuj i Superia 400 Colour .Favourite thing to Photograph: People I don ’ t know.Person you would most l ike

to Photograph: I thought I got a shot of Ju l ie t te Binoche in Mc-Donalds one la te night , on ‘ re f lec-t ion ’ the next day i t wasn ’ t sadly , so the rea l Ju l ie t te Binoche in McDonalds sometime! I ’ve never rea l ly thought about this to be honest .Inspiration: The two photog-raphers who ’s work i rea l ly l ike are Anders Petersen for the way he captures mood and Enrique Metinides for his t iming and drama.Interests outside photography: Music , the footbal l , b leak German f i lms, Scott i sh detect ive dramas , BBC Radio and music again .

Self-Portrait

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GALLERY

Picture : NYC Block DrugstorePhotographer: Rachel Carr ierCamera: Polaroid SX-70Film: Imposs ib le Project PX 680 Color Shade Beta Test Fi lmFlickr: rachelcarr ier

24

Picture : GeorgetownPhotographer: JEO

Camera: Holga 120NFilm: I l ford HP5 Plus 120mm ISO 400

Flickr: j eophotos

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Picture : Bus to NowherePhotographer: Victor BezrukovCamera: Pentax Spotmat ic FFlickr: s - t-r-a-n-g-e

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Picture : 1-0Photographer: Sam InglesCamera: Pentax ME Super

Film: Fuj i Sensia S l ide Fi lm 200Flickr: samingles

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Picture : E lv isPhotographer: Nick LeonardCamera: Kodak 35mm Super Saver Disposable Camera Flickr: n ick leonard

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Picture : Crazy Photographer: Tim Wil l iams

Camera: Canon AE-1Film: Ektar 100Flickr: bono66

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Picture : Abandoned BarnPhotographer: Johnny BrianCamera: Holga 120NFilm: Rol le i Retro 400SFlickr: l imnidyt is

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Picture : Unt i t ledPhotographer: Lasz lo Gerencser

Camera: Kodak EasyShare ZD710 ZoomFlickr: thewrongdevice

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Picture : C ’Mon Tiger!Photographer: Agnieszka BernackaCamera: Nikon D60Flickr: redkoala1

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Picture : Ref lect ions KyotoPhotographer: Marc Miesyerus

Camera: Nikon F65 Film: Fuj i 400

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‘ I fo l lowed a g ir l down to Cork, in 1979, and l ived there for about a year and a ha l f , and bought my f i rs t SLR, a Ricoh KR5’ that ’ s how Paul Freeney, a Dubl in nat ive , began his l i fe as a s treet photographer .

For over 30 years he has gone through di f ferent phas-es of technique, advancing his s ty le and abi l i t ies and host ing ta lks and photowalks on the photographic genre .

There were gaps in the pho-tography over the years part ic-ular ly with the unt imely death of h is Rocoh KR5, a t the hands of a f r iend, when he returned to Dubl in in the 1980s . An Olym-pus OM1 was i t s successor . However , a few years la ter , the costs of f i lm and process ing be-came too much but ‘d ig i ta l has made i t so access ib le for every-body now, so I got back into i t . ’

Not want ing to d isc lose what d ig i ta l gear he i s now us ing, Paul ins is ts that ‘ you wouldn ’ t go into the k i tchen of a res-taurant to ask the chef what oven he used. ’ A fa ir and s trong point that the photo i s a l l that matters .

When Paul s tarted shoot ing ‘Street Landscapes ’ , as he re-fers to them, as he admits that : ‘ I was shoot ing s treet photog-raphy before I even knew what i t was ’ . ‘ I shot on any f i lm, the cheaper the bet ter but most ly b lack and white . ’

His inspirat ion comes from

one of the photographers cred-i ted with the invent ion, or d is-covery , of s treet photography, Henri Cart ier-Bresson. ‘His book The Dec i -

s ive Moment i s a mi lestone in p h o t o g r a p h y apart f rom the fact that the three words ‘The Decis ive Moment ’ sum up Street Pho-tography for me. ’

‘ I a l so love the work of Mar-t in Parr , h is book The Las t Re-

sor t : Pho tographs o f New Brigh-

ton i s as good representat ion

of s treet as you wi l l f ind anywhere . ’

Paul , however , doesn ’ t t ry to think about his inf luences whi le

out shoot ing the s treets ‘ the adrena-l ine i s rushing and I am con-centrat ing on what I am try-ing to capture and create . ’

‘ I love the fact that when

you capture a moment on the s treet , i t wasn ’ t there a moment before and i t ’ s gone the mo-ment a f ter . I t ’ s there and cap-tured forever . I t i s complete ly

30 years on the streetViewfinder met street photogra-pher Paul Freeney to discuss why he loves capturing l ife on the streets. Words: Paul Murphy Pho-tos: Paul Freeney.

‘ ‘You wouldn’t go into a kitchen and ask a chef what oven he used’ ’

At the O’Connel l Monument

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unposed and s p o n t a n e o u s . I ca l l what I do pure s treet p h o t o g r a p h y because i t ’ s unposed, i t ’ s not s treet por-tra i ture . The people are never aware that the photo-graph has been taken. ’

‘You see on the Inter-net , v ideos of people going up into peo-ple ’ s faces and shoot ing them, that ’ s not s treet , that ’ s p ho to g r a p hin g people ’ s reac-t ions to the camera . ’

Almost a l l of Paul Free-ney ’ s s treet photography i s shot from the hip , (a technique discussed on page 42) , ‘ I never make eye con-tact ’ i s how Paul a t tr ibutes the anonym-ity of the cam-era in the scene and you can see from his images that the camera , and photographer , are complete ly separate from the photograph.

Paul doesn ’ t look for the in-stant grat i f icat ion found on the back of a d ig i ta l camera to see

i f he has captured the image or not . He sometimes waits a few hours before looking back at what he captured.

He a l so acknowledges that

s treet photo-graphs can be-come a his tor i-ca l document . A s treet pho-tograph that i s not necessar-i ly great im-mediate ly can become an im-portant his tor-ica l document , p a r t i c u l a r l y in a c i ty l ike Dubl in where the s treets have changed beyond rec-ognit ion over the past few decades .

Paul ’ s s ty le and technique has led to him being sought out by camera c lubs to g ive ta lks on the p h o t o g r a p h i c

genre . I ’ve done ten photowalks to

date , the las t one I d id , I rent-ed a room in a hote l , 17 people showed up and we did an hour and hal f workshop on s treet photography. I then spl i t them up into groups and sent them out on to the s treets .

For more info on Paul Freeney

pho towalks v i s i t facebook . com/

paul freeneyphoto and f ind h im on

f li ckr a t f li ckr . com/sebfo to

Grafton Strol l

‘ ‘I split them up and sent them into the streets’ ’

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The United Faces of Dubl in

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Head Shop

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Saint Patr ick ’ s Day 2011

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Saint Patr ick ’ s Day 2011

42

Opposi tes

43

Wearing the trousers . . .

To see more of Paul Freeney ’ s work vis i t f l i ckr .com/sebfotos

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recommended. You ’ l l l ike ly be moving towards your subject , and you subject might a l so be moving, so a fas t shutter speed (1/200th of a second of fas ter) wi l l prevent unwanted motion b lur . Focusing on the move, and without looking through the v iewfinder i s t r icky but us ing a narrow aperture wi l l g ive you a wider depth of f ie ld , which means that your focus ing doesn ’ t need to be accurate to get a sharp image. Unfortunate ly , a fas t shutter speed and a narrow aperture wi l l make your image darker , so a higher ISO might

Shoot ing from the hip a l lows a photographer to capture an im-age, of ten at c lose range, with-out a lert ing the subject that they ’ re being photographed.

The best s treet photography i s a l l about get t ing candid shots of everyday l i fe , so a technique that catches people unawares i s perfect . I t ’ s eas ier than i t sounds , i t ’ s fun, and the photos you ’ l l capture should be more honest representat ions of your subject than i f you a lerted them to the presence of a camera by ra is ing i t to your eye to com-pose your shot .

You ’re choice of camera i sn ’ t hugely important , but your choice of lens i s . A wide lens , somewhere between 24mm and 50mm, wi l l he lp to minimise motion b lur , widen your depth of f ie ld , and le t you get c lose enough to be able to proper ly v isua l i se what your camera i s see ing. While your choice of camera i sn ’ t hugely important , i f you l ike f i lm cameras , the o lder Twin Lens Ref lex camer-as such as a Rol le i f lex or Lomo Lubite l le ts you see what you ’re shoot ing through a v iewfinder on the top of the camera . To passers by , i t wi l l not be appar-ent that you ’re taking a photo.

DSLRs with f l ip out screens of-fer a s imi lar advantage . Some would say , however , i f you can see what you ’re shoot ing, you ’re not shoot ing from the hip .

Technique

The technique descr ibed here i s a personal favouri te of mine, and should work wel l for any-one, but experiment with your own techniques and f ind one that works for you, your cam-era , and your environment .

Set Exposure

Manual exposure i s

TECHNIQUE

Shooting from the Hip - Capture your subjects without them even knowing. Words and Photos: Andy Doyle.

Shooting from the Hip

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be needed to compensate . Of course , h igher ISO’s introduce noise/grain into your image, so you need to f ind a ba lance be-tween motion b lur , sof t focus , and noise/grain . With pract ice , making this trade-of f wi l l be-come second nature to you as you gain a bet ter understanding of your camera ’ s capabi l i t ies .

Set Focus/Autofocus

Autofocus can be a he lpful a id , but i t can take too long to focus when shoot ing from the hip . I f you are us ing i t , see i f your camera has an AF lock feature .

AF lock a l lows your camera to autofocus once , and then lock in the foca l d is tance . Even as your camera moves , the foca l d is tance won’ t change.

When approaching your subject , dec ide ear ly on how far away you want to be when you take your shot . Then, i f you ’re us ing manual focus , set your chosen dis tance on the focus r ing on your lens . I f you ’re us-ing autofocus , a im your camera at a spot on the ground that ’ s the r ight d is tance away, focus on i t , and lock in that foca l d is tance .

‘ ‘You’re choice of camera isn’t hugely important’ ’

Compose

Composing your shot i s the most d i f f icul t part of shoot ing from the hip . Without being able to look through the v iew-f inder , you ’re probably not go-ing to be able to get the exact composi t ion you want s tra ight of f the camera . Try to frame your shot s l ight ly wide , so that i t can be cropped to your de-s ired composi t ion la ter .

Shoot

You’re approaching your sub-ject with your camera set up for the correct exposure , and with a

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TECHNIQUE

certa in dis tance dia led in . Your camera should now be hang-ing over your shoulder , around your neck, or in your hand by your s ide . When you approach your chosen shoot ing dis tance , t ry your best to v isua l i se where the camera i s point ing. Aim i t a t your sub-ject , and take your shot .

S ince you c o m p o s e d your shot s l ight ly wider than needed, you ’ l l need to use pho-toshop, photo edi t ing sof tware of your choice , or an equiva lent

darkroom technique to crop your image. I f you ’re us ing a computer , keep in mind that when you crop, you reduce the resolut ion of your image, so try to use the composi t ion that wi l l require the least amount

of cropping. Using a modern dSLR, you should be able to crop considerably , and s t i l l end up with an image of usable

resolut ion.I t takes pract ice to be able to

v isua l i se what your camera i s see ing, so don ’ t g ive up i f your f i rs t few images turn out badly . Pract ice by taking photos of ob-jects on the s treet . Bins , lamp-

posts , and parked cars make good test subjects .

Being able to shoot with-out us ing a

v iewfinder i s a handy ski l l to have , and i s a lot of fun, so get shoot ing and submit your re-sul ts to the magazine .

Image before cropping Image after cropping

‘ ‘Try your best to visualise

where the camera is pointing’ ’

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Image before cropping

Image after cropping

REVIEW

Lomo Smena 8M

The Lomo Smena 8M is poss i-b ly the most iconic and famous camera in the Smena fami ly . While the f i rs t Smena rol led of f the product ion l ine in the Lomo factory in St . Petersburg, in 1952, the Smena 8M is a chi ld of the la te 1970s and ear ly 80s .

The Smena name trans lates roughly into Engl i sh as ‘young generat ion ’ and that ’ s exact ly what this camera was for . I t ’ s l ight p las t ic body with a coated g lass lens , provided a s imple , easy and af fordable way for young people , interested in

photography, to s tart out their l i fe in picture taking.

To ca l l this a toy camera , would be a b ig mistake , i t has so much more to of fer than the s impl ic i t ies found in toys . I t i s a fu l ly manual camera , with most of i t ’ s controls bui l t into the lens mechanism, that wi l l teach any aspir ing photographer about shutter speeds , aperture and even f lash photography.

The camera i s operated by a large r ing to control shutter speeds , bulb , 1/15, 1/30, 1/60, 1/125, & 1/250, the aperture

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control i s a t tached to the g lass of the lens and has the opt ions of f/4 , f/5 .6 , f/8 , f/11, & f/16.

To focus the Triplet 43 , 40 mm lens you turn i t in the de-s ired direct ion within the range of 1m to inf ini ty . Then the shutter i s cocked with a lever bes ide the shutter speed r ing and to re lease the 3 b lades d ia-phragm shutter you press the shutter re lease button on top of the camera .

For f lash the camera i s equipped with a PC socket a l-lowing for f lash synchronisa-t ion at every shutter speed.

The camera uses 35mm f i lm and has a f i lm wind and rewind knobs and a l so a f i lm counter wheel just above the door on the back of the camera .

The camera makes for very exci t ing picture taking, the lens g ives this lomo a unique con-trast and saturat ion that , par-t icular ly when shoot ing colour , makes a scene pop out of the negat ive .

I t ’ s l ight and compact s ize a l so makes i t a perfect cam-era to carry around on a l l oc-cas ions , as opposed to chunky SLRs and lenses , of medium format cameras .

Far from the unpredictabi l -i ty of toy cameras , th is entry leve l p las t ic bodied camera g ives photographers fu l l con-trol over capturing a scene.

A l i t t le known fact about this l i t t le Soviet beauty i s that i t be-came a controvers ia l and some-what contraband i tem in the United States a f ter a Smena 2 camera was found in the apart-ment of Lee Harvey Oswald fo l lowing the assass inat ion of pres ident John F Kennedy.

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Submit to the Magazine

1. By submitt ing an image to the magazine , you give us permis-s ion to use that image on our websi te and in our magazine .

2 . P ictures must be at least 300dpi and at least 2000 pixe ls on the shortest s ide .

3 . P ictures can be taken on any camera , analogue or d ig i ta l .

4 . I f submitt ing analogue work p lease have the camera and f i lm type inc luded in e i ther the metadata , tags , or capt ion.

Submission Guidelines

How to submit your work to Viewfinder Magazine :

Flickr: f l i ckr .com/groups/viewfindermag/

Tumblr: viewfindermag.tumblr .com

Email : submiss ions@viewfindermag.com

5. Your submiss ion may be re-fused without reason, as due to the nature of the publ icat ion we cannot contact everyone in-dividual ly to expla in why work was not accepted.

6 . We cannot pay photogra-phers for their work; any mon-ey earned from the Magazine i s immediate ly put back into im-proving the magazine and the accompanying podcast .

7 . You can only submit your own work. Work that i s found

to have been taken from some-one e l se wi l l not be accepted.

8 . By submitt ing a photo you are assur ing Viewfinder that you are the so le copyright owner of the photograph and as such should any quest ion about own-ership arr ive a f ter publ icat ion of the image you are accept ing fu l l l iabi l i ty and responsibi l -i ty i f i t turns out that you are not the copyright owner of the photograph.

Source : f l i ckr .com/nesster