World photogr a phers community M a g a z i n e
i s s u e
# 2
Date: 21 / 0 4 / 13
C o n te n ts
Welcome
Editor’s choice
Images of the week
Moroccan adventure
Member profiles
- Christopher Gent - Brandon Dewey
Travelogue with Mike Reichardt
The Invisible Ones by Gerry Suchy
Street life
Community discussion
Image processing challenge
Closing comments
welcome
Thank you to all those who took the time to read and enjoy our first ever issue. It was certainly a blast making, as it gave me the opportunity to go over all the great images that have been posted in our community. It gives me great pleasure to introduce the newest member of our moderating team, Gerry Suchy who most of you will have enjoyed not only his excellent images but also his knowledgeable critiques. If you would like to be featured in our forthcoming sections, please feel free to contact any of the moderators and we will explain what is needed.
M o d e r ato r s M i k e Re i c h ar d t
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r o b he ro n
p au l su b ac i u s
tu a n n gu y en
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
G e r ry S u c hy
Editor’s choice
Courtesy of Lawrence Perkins
Courtesy of Michael Lucas Courtesy of Xalima Valverdi
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Courtesy of Michael Berghaus
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Editor’s choice
Courtesy of Ty Tang
Courtesy of Sven Herget Courtesy of Luis Perdigao
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Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Courtesy of Karine Decourtie
Editor’s choice Courtesy of Nanno Kroen
Courtesy of Elspeth Barlow
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Courtesy of Ferdinand von Bozen
Courtesy of Mihai F
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Image of the week W e e k
e n d i n g
3 1 / 3 / 2 0 1 3
Courtesy of Sunia Ibanez
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Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Image of the week W e e k
e n d i n g
7 / 4 / 2 0 1 3
Courtesy of Lee Moon
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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Image of the week W e e k
e n d i n g
1 4 / 4 / 2 0 1 3
Courtesy of Rob Heron
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Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Image of the week W e e k
e n d i n g
2 1 / 4 / 2 0 1 3
Courtesy of Sunia Ibanez
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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Moroccan adventure
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Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Moroccan adventure
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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Member profile
Christopher gent
I am an avid photographer; it’s in my blood. Some of my earliest memories are following my dad, uncle and older brother everywhere as they took photographs of the rural American Midwest. My first camera was a Canon 35mm, then later the original Olympus OM. I used to develop my own negatives and prints in my bathroom in complete darkness, inhaling the harsh chemicals that made the black and white prints come to life. But as I grew up I drifted away from photography. When my wife and I started a family I wanted to preserve the precious moments, but the photos I took were unremarkable. I started to research how to take better snap shots of kids, which led me to the works of great photographers, and that re-ignited my passion for photography. Today, I would say I have a developing style. I love street photography and portraits; but I find myself photographing mostly landscapes and architecture. This style lends itself to my other passion of travelling. My background is in computer science, I have developed websites for some time. My photography allows me to create websites to display my photos while diving into social media. Along with my photography, I maintain my website, (www.Christophergent.com) which has information about my photos, where they are taken, and travel tips.
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Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Images by Christopher gent
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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Member profile
Brandon dewey I grew up in a very active family, and no matter where we went, my parents took their old Nikon 35mm camera. When I was old enough, my parents trusted me to use their camera. I took every advantage I could to get my hands on their camera. I loved capturing God’s beautiful world. I joined the U.S. Navy in 2006 and bought my first DSLR a Nikon D50. I was in the U.S. Navy for six years as a MH-60S Helicopter Crew Chief/ Rescue Swimmer; this means I was in charge of everything behind the cockpit. I have flown all over the States and the world in every situation imaginable. Whenever I was in the air, I always had my camera with me. I didn’t want to shoot in auto mode, so I went to some basic camera classes offered at a local camera shop. I also read a lot of books. “Understanding Exposure” by Bryan Peterson and “The Digital Photography Book” by Scott Kelby really help lay the groundwork and took my photography to the next level. When I was in the Navy, I would fly on average about 30 hours a month. This gave me a lot of practice time to improve my photography. Norfolk, Virginia, is not known for its landscapes, but I still brought my camera with me so that I could practice, and though the pictures I took while flying around Norfolk, VA would not win any awards, they did get me the skills and techniques I used to take award winning photos. For those of you not in the military or a pilot but want to get into Aerial Photography, my biggest advice is to practice your camera skills beforehand, so once you are able to get flight time, you are able to make the most of it and get the shots you set out to get. The coolest place I was able to fly was in Italy. Unlike Norfolk, Virginia, Italy does have those amazing landscapes. I was stationed in Naples for three months in 2008 and then again for 8 months in 2011-2012. Naples is located just on the north side of both Mt. Vesuvius and the Amalfi Coast. Both are awesome to fly around, and you can get some amazing photographs. Castles are all over Europe, including Italy. I love flying around different castles to get some great points of view. When you are taking pictures of castles or any buildings from the air, try to be on the same level. Don’t shoot directly down on the castle. There are some flight restrictions on how low pilots are allowed to fly, so a way around this is to use a telephoto lens and shoot from distance. This will compress the background and will make it appear as if you’re on the same level. I have flown in about 30 different countries, but my favorite place to fly was in the Italian Alps. If you love mountains, then the Alps are the place to go. I got to fly threw them twice and both times was breathtaking. If you ever get a chance to fly through them, I highly recommend it. If you want to photograph other aircraft from the air, try to shoot them at the same level or slightly above them. Try different angles, but I personally like when the other aircraft was at a 45 degrees angle behind my aircraft. I liked that view the best, but I would still shoot a lot of different angles. Like most photography, the golden hours make the subject look that much better. Also, be aware of your back ground and horizon line. Flying is a lot of fun, and the main thing is to enjoy yourself. If you would like to read some aerial photography tips I have learned through trial and error over the years, check out http://bdeweyphoto.com/blog/aerial-photography-tips. My biggest photography influences have been Moose Peterson, Scott Kelby, and of course, the great Ansel Adams. Moose Peterson has my dream job; he is a Landscape, Wildlife and Aerial Photographer and one of the best out there. He has some great tip on his website and some amazing pictures to look at. A big thing I learned from Moose was if the aircraft has blades, then they need to be blurred. The only time blades are still is when the aircraft is crashing, so don’t have frozen blades in your pictures. Scott Kelby is a great all-around photographer, no matter what genre of photography he shoots, he makes it look easy and has amazing pictures. He is a great teacher and is willing to pass his knowledge on. I grew up in Northern California and have visited Yosemite countless times. None of my pictures ever seem to show the speechless feeling I get when I turn the corner on HWY 120 and the valley opens up. Ansel Adams, being the master he was, was able to capture that feeling. I love looking at his artwork, and I hope someday, my photography will be half of what his is.
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Images by Brandon dewey
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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M i k e ’ s T r av e l o g u e
Today with the streetcar/tramway into Cologne, weather was warmer and decent to permit some nice photography. Here’s a view of Cologne Central Station.
Waiting .... Cologne Heumarkt Metro Station
Living on the street and begging at the entrance of Cologne Cathedral
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Cologne Cathedral
M i k e ’ s T r av e l o g u e
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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The Invisible ones By Gerry Suchy This is Pam Pam is a homeless mentally ill woman living on the streets of Washington, DC. She was sitting on the curb waiting for her case worker to pick her up and take her to get her medication refilled. She showed me her almost empty pill vial of Seroquel, a common medication in the treatment of Bipolar Disorder. It’s always interesting to me that the homeless mentally ill that are stable on medications are quick to share that information, it is a source of pride and accomplishment. Pam was recently released from prison having done three years for beating another homeless person who she says was trying to rob an elderly woman. It was during her time in prison that she was diagnosed with a Bipolar Disorder and started on medication. Who knows if that’s true but it is Pam’s story and she’s sticking to it. Pam spends her days panhandling and stays at a women’s shelter at night. Her prospects for doing much else are slim given her history. I asked her if I could take her photograph in exchange for a food voucher from Subway and a bottle of water. She readily agreed but wanted to know if I wanted to see her “street face” or her “friendly face.” I said that I’d like to see both and that’s what you see here. She apologizes for the strange shirt she’s wearing saying that she got it from a clothing bin at the shelter because it was a large size. Life clearly is not great for Pam but she gets by as best she can and is more connected to the social service system than most. She however remains among the ranks of "The Invisible Ones."
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The invisible ones
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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Street life
Courtesy of Tuan Nguyen
Courtesy of Ty Tang
Courtesy of Jens Kaiser
Courtesy of Gerry Suchy
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Courtesy of Holger Reichardt
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Courtesy of Hiroyuki Enomoto
Street life Courtesy of Rob Heron
Courtesy of Lee Moon
Courtesy of Thijs Gerhardus
Courtesy of Oktay Kaya
Courtesy of Tony Currenti Courtesy of Tuan Nguyen
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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Street life
Courtesy of Martin Rieder Courtesy of Jens Kaiser
Courtesy of Paul Subacius
Courtesy of Nancy Josland Dalsin
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Courtesy of Alan Kellie
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Courtesy of John R Wilson
Street life Courtesy of John Adams
Courtesy of Sue Morse Courtesy of nas Nasnas
Courtesy of Jacky Cheung
Courtesy of Tony Currenti Courtesy of Alexey Pitshaugin
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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Community Discussion
The ethics of photographing the homeless Tuan Nguyen I have seen many homeless people on the streets when I am out and about with my camera. In my early days I used to take images of them, as they made quite a strong visual statement. I have now stopped doing this as I find that according to my own private code of ethics, it just doesn't sit well with me. They are too easy a target, and I am exploiting their unfortunate situation. There are many wonderful photographs of these people which forms part of a photographer's personal documentary of their lives, and I can see the empathy shown to the subjects by the photographer. Just as there are such images, there are those which appear to poke fun also. I have seen some of Gerry Suchy’s work, and you probably saw some of his images in the magazine, it is easy to identify his empathy as he worked with these people for many years. For the casual street photographer, looking to capture an emotive image, should you upon rounding a corner and spotting an opportunity take that shot? Rob Heron I agree. Yesterday when I was out I could have spent the whole day taking images of people sleeping in doorways, on park benches etc but, while these images are powerful, it isn't right and I don't feel comfortable with it. Thijs Gerhardus So after shooting landscapes for 2 months, I start doing different things and tried to take a picture of a homeless guy at the supermarket, he got really upset. So I spend half an hour talking with Thomas, it turns out he might be ok if it was a video. So maybe I am going do that, but sure talk to him first and ask for permission. Gerry Suchy For me and other photographers that I know who regularly shoot photos of the homeless it is all about engagement and story telling. Permission to take the photo is essential. Spending some time talking to them always precedes the photo and if they say no, you must respect that. Based upon my almost 20 years of working with these people I can tell you that being invisible is a way of life fro them. Conversation from a passerby is a gift. If you care to check out #anotherdayanother600seconds it is the larger group that I'm affiliated with and is an ongoing project run by +Mike Shaw and +Alan Shapiro There is another issue here of course and that is including such a person in a larger street photo that tells a story. Is it exploitation to document photos of skid row in Los Angeles or the slums of Brazil, I think not. Is using your skill as a photographer to raise awareness about the plight of the less fortunate exploitation? I don't think so. In my opinion it's all about intent and intent is conveyed through our images. I firmly believe there is no such thing as an objective photograph. All photography is subjective and designed to say something about us. Making fun of the homeless or mentally ill through an image is simply bad taste and the mark of a real amateur. This is certainly an issue worth discussing and I thank +Tuan Nguyen for raising it here. There is certainly more to think about here in terms of candid photography in general but let's save that for another time.
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Community Discussion
The ethics of photographing the homeless Tuan Nguyen The difference as you have stated is Intent & Engagement. What you and others are doing to raise awareness as part of an ongoing subject is noteworthy, as you have engaged with the person, and gotten to know a little about them. As a casual street photographer who just spotted an opportunity for an emotional image, like I used to do is quite different. I feel this is exploitation of someone else's plight, this is where I would draw the line. As my photography skills improved, I started to question my own motives for taking such images, and consciously decided to refrain from doing it. The only occasion that I have taken a portrait was when I engaged in conversation with the person, and he asked me to take a picture of him. I made a print of t he image later and managed to find him and gave it to him, which he was very pleased with. My ethos when taking street shots is to document people going about their ordinary lives and capturing a particular moment in time which has a certain visual appeal. Alan Shapiro Just saw this (applaud +gerry suchy's perfect reply (and also your experiences +Tuan Nguyen) Living and working in New York and travelling for work around the world as I do has provided lots of varied moments for me now that I have a camera as my constant companion. The fact that I love to talk to people and am fearless led me to spend time meeting folks that I have come to call the "overlooked". The simple act of speaking with them, listening to them and as appropriate, helping them is one of the things I hold most dear. Early on, I would ask the homeless people i met if they would mind if I took a picture to share. Often they would ask why. And my reply was so we could let as many people as possible see how much still needs to be done in our home country to help those in need. For me, it is not exploitation when there is consent and a need to raise awareness. As a adverting chief creative officer, I know the power of a strong image and story in helping persuade people to action. The folks I meet become my willing models and the fact that I can and do raise money for them as a result makes them want to help . It is important to note that if someone is off their meds or sleeping, I do not ever take a picture unless I know them and have gotten their permission during a previous conversation. If not, I walk away (and check on them when I see them next) ...it's what I do. it's what I believe in and want eliminated as a concern. It's what makes me crazy. Tuan Nguyen +Alan Shapiro Thank you for taking the time to write about your own extensive experience. As both you & +gerry suchy have stated, it is down to engagement & intent.
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
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Image processing challenge
Jens Kaiser Cody Gette Original by Tuan Nguyen
Jens Kaiser
Megan Moreadith
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Nas Nasnas
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Image processing challenge
Paul Subacius Oktay Kaya
Raul DC
Rob Heron Thijs Gerhardus
Wo r l d P h o t o g r a p h e r s C o m m u n i t y
Tuan Nguyen
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Closing comments I have enjoyed greatly viewing all the varied images posted in our community and I make no excuses for highlighting some of the superb street images featured this month, as I have a soft spot for street photography in general. I feel that street photography gets a bad rap because most photographers do not realise how hard it is to obtain a good story telling image, and feel that all you have to do is walk about and take snapshots. The excitement for me personally is seeing a situation develop before my eyes and within less than a few seconds I have to consider how to frame it for best effect, the correct artistic aperture and finally when to press the shutter button. All of this is done normally in an environment where I have absolutely no control over, unlike a studio environment where every aspect of an image is carefully constructed from make up, background and lighting, which can take hours to achieve. Most of my street images comprises mainly of candid portraits, as I find how people express themselves when they feel no one is noticing or when they are amongst friends fascinating. Others like Rob Heron will walk the streets of his town until he sees good light and shadows and will wait for someone to walk through the scene, the wait can be minutes or hours, and has yielded extremely strong images. On a personal level, street photography is a way for me to see and appreciate the people around me and not just pass through it, in my own personal world.
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