What do we photograph on the streets?

[rhl-ferndale]

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Paint scraping @90+ Fahrenheit 

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The Leica Q3 is available for pre-order at B&H Photo Video and Adorama

[Ernest]

Side Show 21
M246 Summilux-M 50 BC

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[Ernest]

On ‎8‎/‎16‎/‎2019 at 1:35 AM, lambda said:

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(mono1+nokton50/1.5)

What I admire here is how you challenge the tyranny of the rectangle with the diagonals and triangles, translating to, dare I say it?, "Freedom." Excuse me, while I belly up to the obvious. Just a remarkable capture.

Cheers,
Rog

[colint544]

Glasgow - Leica M2, 35mm Summilux ASPH FLE, Ilfor Delta 400

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[Guest]

vor 22 Stunden schrieb Ernest:

What I admire here is how you challenge the tyranny of the rectangle with the diagonals and triangles, translating to, dare I say it?, "Freedom." Excuse me, while I belly up to the obvious. Just a remarkable capture.

Cheers,
Rog

Rog , love  your comments , thx a lot 

[eawriter]

Earlier this week, there were two temporary street soccer turf fields set up in front of City Hall in San Francisco. This was 4:30 in the afternoon. Leica Q.

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[RayD28]

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16 hours ago, colint544 said:

Glasgow - Leica M2, 35mm Summilux ASPH FLE, Ilfor Delta 400

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Great night-time photo.  A reminder for me to keep a camera handy after sunset.  

[Likaleica]

On 9/13/2019 at 1:33 PM, Ernest said:

Side Show 21
M246 Summilux-M 50 BC

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Rog, is that the annual dog fair in West Hollywood?

[mikozia]

Man at work

T w/Summicron-T 23 ASPH.

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[Ernest]

On ‎9‎/‎15‎/‎2019 at 1:09 PM, Likaleica said:

Rog, is that the annual dog fair in West Hollywood?

Good guess, Tim, but it's actually in Long Beach, two blocks from my house near the park where it's held every year.

Here's a shout out for your book,  Aid and Comfort to the Enemy, which is an immensely accomplished work! To wear three hats--photographer, writer, and surgeon--in such a theatre! Applause, applause. The Italians have a wonderful word for it: sprezzatura. To execute the difficult with studied nonchalance.

Aid and Comfort to the Enemy: A Surgeons View of the War in Iraq

This is a remarkable, unvarnished account that cuts to the bone truth and generally sidesteps metaphor with a straightforward voice. You allow one telling metaphor in your Prologue, though: “We saw the unspeakable evil that lurks just beneath the surface in all of us, ready to erupt given extreme circumstances.” Although your remarkable photographs focus on what appears to be a tangible reality, the evidence of time and place, they testify to the predicament of the instability of Iraq, characterized by the paradoxical blur that frustrates well-defined objectives. A meandering war of shifting coordinates against a chorus of suffering. Even so, your photographs document what we knee jerk call the human condition, or should we call it the human predicament? Very frustrating! And when this frustration cannot be resolved, the manifestation is war. A call to arms that you answered enlisting in the 934th Forward Surgical Team as an assault surgeon, or so the sign above the tent entrance identifies you with your fellow doctors.

Your cover shot of Captain Brian Moore attending to an Iraqi woman captures the compassion and the irony of your mission in treating “all in priority of severity of their wounds, regardless of their nationality or political ideology.“ The shot that opens the chapter “Weapons of Mass Destruction“ is quietly forceful as you note that “like the Shroud of Turin, this blood-soaked stretcher betrays the fate of the last person laid upon it.  This is such a strong image because it teases the forensic sense to construct the narrative of the stretcher that is punctuated with smears of blood, repeatedly washed, a small scrap of paper, what appears to be a boot print, and the chiaroscuro imprint of an upper torso. Yes, very much a shroud-like image that intimates death or salvation. The significance of this image lies not in the photograph’s “present tense” but in the allusion to what we don’t see, reading its past and speculating its future. What is beyond the borders of the frame. For this reason, this is a particularly indelible image.

You purposely omit the sense of a photographer’s log, confessing that the photographs are to open the narrative. And, that is what Aid and Comfort does, exactly. Admirable precision. Still, there are photographs we are left to construct imaginatively from your telling details: “Heat descends early, like lead. So bright and colors so monochromatic it is painful to the eye to look outside without sunglasses. So monochromatic with sand and gravel and buildings and structures fading into indistinct hazy sky of the horizon, until the eye finds a washed-out blue sky and occasional clouds. Any colors are pastel, their original brightness bleached by the sun. Night: sudden darkness, minimal dusk or dawn (98).” Such poetic refraction with a photographer’s spirit!

The “War Photography“ chapter is particularly informative, brief as it is, not simply as an account of war photography, per se, but your experience and realization that photojournalism during war can bear the weight of political context that may deviate from the photographer’s vision of the truth.

Indeed, there is much in your book that invites new reading. I am fortunate to have a signed copy.

Your Horsescapes is another thing, altogether. Sheer visual meditation. These abstracts are inspired.

Cheers,
Rog

[Likaleica]

On 9/16/2019 at 9:44 PM, Ernest said:

Good guess, Tim, but it's actually in Long Beach, two blocks from my house near the park where it's held every year.

Here's a shout out for your book,  Aid and Comfort to the Enemy, which is an immensely accomplished work! To wear three hats--photographer, writer, and surgeon--in such a theatre! Applause, applause. The Italians have a wonderful word for it: sprezzatura. To execute the difficult with studied nonchalance.

Aid and Comfort to the Enemy: A Surgeons View of the War in Iraq

This is a remarkable, unvarnished account that cuts to the bone truth and generally sidesteps metaphor with a straightforward voice. You allow one telling metaphor in your Prologue, though: “We saw the unspeakable evil that lurks just beneath the surface in all of us, ready to erupt given extreme circumstances.” Although your remarkable photographs focus on what appears to be a tangible reality, the evidence of time and place, they testify to the predicament of the instability of Iraq, characterized by the paradoxical blur that frustrates well-defined objectives. A meandering war of shifting coordinates against a chorus of suffering. Even so, your photographs document what we knee jerk call the human condition, or should we call it the human predicament? Very frustrating! And when this frustration cannot be resolved, the manifestation is war. A call to arms that you answered enlisting in the 934th Forward Surgical Team as an assault surgeon, or so the sign above the tent entrance identifies you with your fellow doctors.

Your cover shot of Captain Brian Moore attending to an Iraqi woman captures the compassion and the irony of your mission in treating “all in priority of severity of their wounds, regardless of their nationality or political ideology.“ The shot that opens the chapter “Weapons of Mass Destruction“ is quietly forceful as you note that “like the Shroud of Turin, this blood-soaked stretcher betrays the fate of the last person laid upon it.  This is such a strong image because it teases the forensic sense to construct the narrative of the stretcher that is punctuated with smears of blood, repeatedly washed, a small scrap of paper, what appears to be a boot print, and the chiaroscuro imprint of an upper torso. Yes, very much a shroud-like image that intimates death or salvation. The significance of this image lies not in the photograph’s “present tense” but in the allusion to what we don’t see, reading its past and speculating its future. What is beyond the borders of the frame. For this reason, this is a particularly indelible image.

You purposely omit the sense of a photographer’s log, confessing that the photographs are to open the narrative. And, that is what Aid and Comfort does, exactly. Admirable precision. Still, there are photographs we are left to construct imaginatively from your telling details: “Heat descends early, like lead. So bright and colors so monochromatic it is painful to the eye to look outside without sunglasses. So monochromatic with sand and gravel and buildings and structures fading into indistinct hazy sky of the horizon, until the eye finds a washed-out blue sky and occasional clouds. Any colors are pastel, their original brightness bleached by the sun. Night: sudden darkness, minimal dusk or dawn (98).” Such poetic refraction with a photographer’s spirit!

The “War Photography“ chapter is particularly informative, brief as it is, not simply as an account of war photography, per se, but your experience and realization that photojournalism during war can bear the weight of political context that may deviate from the photographer’s vision of the truth.

Indeed, there is much in your book that invites new reading. I am fortunate to have a signed copy.

Your Horsescapes is another thing, altogether. Sheer visual meditation. These abstracts are inspired.

Cheers,
Rog

Rog, I am moved beyond words.  Not even my wife, much less my editor, took the time and effort to dive so deeply into my book as you have done.  Maybe even more so than me!  I can't tell you how much I appreciate the care you took to understand what I was saying.  You insight is astounding, but I keep coming back to the time invested to read and interpret and finally to write.  I am humbled.

And I'm curious as to where you found Horsescapes.  Was it Lenswork 114 or did you find my Blurb rendition?

Edited September 18, 2019 by Likaleica

[Ernest]

On 9/18/2019 at 1:27 PM, Likaleica said:

Rog, I am moved beyond words.  Not even my wife, much less my editor, took the time and effort to dive so deeply into my book as you have done.  Maybe even more so than me!  I can't tell you how much I appreciate the care you took to understand what I was saying.  You insight is astounding, but I keep coming back to the time invested to read and interpret and finally to write.  I am humbled.

And I'm curious as to where you found Horsescapes.  Was it Lenswork 114 or did you find my Blurb rendition?

I unearthed Horsescapes prospecting your Website—what a treasure of links, quotations, and a catalog of your outstanding work.  I could not imagine the serendipity of finding the extensive photo file for Aid and Comfort not included in the published hardcover. Astounding, creative work that merits a second edition monograph focused exclusively on the photographs with perhaps a two-page introduction!  There is also the whole matter of the last two segments, MEK and Aftermath, not available in the print edition, which provides a substantially new reading of the monograph, an entirely uplifting frame of reference. 

I went through my copy of Aid and Comfort six times, editing the photographs  repeatedly to finally arrive at a favorite nine images: pages 38, 71, 55, 42, 52, 89, 83 (lower right), 27, and 94. Little did I realize that this would, for the most part, all go out the window as soon as I saw the full catalog of your photographs online. 

You have posted some of these photographs on the forum, but please consider posting many more of them. 

You have organized your photographs  chronologically—beginning, middle, and end—very cinematic.  If you were to launch a YouTube production, as you may have already entertained, you would have much more freedom in creative editing using a BAB structure. Start with the ending, cut to the beginning, then pick up the conclusion. If you have not already seen Chris Marker’s film, look at La Jetee to see what can be done with only still images.

Cheers, Rog 🎬

[TM1ka]

Udine, CL ZM35

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[colint544]

Leica M5, 50mm Summilux ASPH, Ilford Delta 100. The joys of film photography - developed this film, along with four others of the same type, just last week. Realised that I shot this picture more than a year ago, had almost forgotten about it!

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[AndreasG]

Cafe & Bar, Tokyo Akihabara

M10-D, Elmarit 2.8/28 ASPH

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[colint544]

Kelvingrove skateboard park - wee James tackling one of the bowls. Glasgow, Scotland 

M Monochrom mk1, 50mm Summicron V5

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[cirke]

M 240 - 90 Summicron

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[horosu]

Leica M-D, Summilux 35 pre-asph, Silverefex Pro

 

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Hallo,

Look here: Interesting Leica gear

[AndreasG]

Aka Tama Port Wine - Tokyo, Suidobashi

M10-D, Elmarit 2.8/28 ASPH

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[Norwood]

I shoot around Toronto. Lately, I've found it very uninspiring. Can't quite put my finger on why. Maybe I'm getting tired of shooting on the street and need a proper project to work on. I shoot with an M6, 50mm Summicron DR, and Tri-X.

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Edited October 3, 2019 by Norwood