HDR technique
MAY 2 0 1 7
Po r t ra i t a n d St re e t p h o to g ra p hy i nte r v i ew w i t h o n e o f b e s t s t re e t p h o to g ra p h e r s i n t h e wo rl d
Tutrial for HDR technique in photoshop from A to Z
comparaison the two fuji lenss , The XF 35mm f1.4 vs XF 35 mm f 2.0
street photography in morocco and interview with a local street photographer abderahman amazzal
As we have promised you in the ďŹ rst paragraph of each issue of our magazine, the hotest photographs of this month. And since the theme of the issue is portraiture and street photography, the best pictures of this month will be limited to these two types of photography.
Colorful World by Woosra Kim Lathmaar Holi in Nandgaon, Uttar Pradesh, India E-M10 OLYMPUS M.25mm F1.8 25mm / f1.8 / 320/1 s / ISO 200
when it rains by Romney Wordsworth New york , USA ILCE-7 FE 55mm F1.8 ZA 55mm / f2 / 400/1 s / ISO 2500
Daisies by Maja Topčagić Bihac , Sarajevo Canon EOS 5D Mark II 50mm / f4 / 100/1 s / ISO 125
silence by lee jeffries Los Angelos , USA Canon EOS 5D Mark I 24mm / f1.4 / 100/1 s / ISO 400
Alone in the Dark by Jack Nelson London , UK DSC-RX1RM2 35mm F2.0 35mm / f2 / 125/1 s / ISO 6400
Daisies by Maja Topčagić Bihac , Sarajevo Canon EOS 5D Mark II 50mm / f4 / 100/1 s / ISO 125
Orange by Andrea luccani Milano , Italy Canon EOS 5D Mark II 35mm / f5.6 / 100/1 s / ISO 200
uknown by Eric kim Tokyo , Japan Ricoh GR II 18mm / f4 / 400/1 s / ISO 100
THE INTERVIEW lee JEFFRIES G u e s t
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t h i s
m o n t h
Lee Jeffries lives in Manchester in the United Kingdom. Close to the professional football circle, this artist starts to photograph sporting events. A chance meeting with a young homeless girl in the streets of London changes his artistic approach forever. Lee Jeffries recalls that, initially, he had stolen a photo from this young homeless girl huddled in a sleeping bag. The photographer knew that the young girl had noticed him but his first reaction was to leave. He says that something made him stay and go and discuss with the homeless girl. His perception about the homeless completely changes. They become the subject of his art. The models in his photographs are homeless people that he has met in Europe and in the United States: «Situations arose, and I made an effort to learn to get to know each of the subjects before asking their permission to do their portrait.» From then onwards, his photographs portray his convictions and his compassion to the world.
When and how did you fall in love with photography? LEE JEFFRIES : My first encounter with photography was in history class at school. Haunting black and white images of World War One soldiers resonated but it wasn’t until fairly recently, perhaps two or three years ago after stumbling across James Nachtwey’s “Inferno” that these and those earlier images led to a deep and emotional interpretation of how photography can powerfully document humanity.
Have you had any formal training?
Could you please tell us the story of the homeless girl that changed the direction of your work?
LEE: I was in London to photograph the Marathon. On the day before the race I decided to try my hand at street photography. Naïvely I trained my long lens on a young homeless girl huddled in a sleeping bag across the street. She spotted me of course and started to shout grabbing the attention of passersby. Immediately embarrassed, every fiber was telling me to turn around and walk away. I didn’t. Instead choosing to walk over, apologize and strike up a conversation. She inadvertently redefined my approach and sharpened my focus to something much more intimate. How would you describe the style of your work?
LEE: The most eloquent description has been given by somebody else actually…
What advice would you give to amateur photographers?
LEE: Walk and then walk some more. The money shot is always just around the corner. Most important is be insanely motivated by your subject. If you aren’t then it will show in your images. Finally, be innovative. Imitation breeds mediocrity. Just so we can find out a bit more about the person behind the lens, could you tell us 5 things about you that are completely unrelated to photography?
LEE: I exercise daily. Running, cycling you name it. I probably do it for vanity but I’ve raised a few quid (pounds for the non-British) for charity along the way.
What’s next for you in the world of photography?
LEE: Ask any street photographer…and they will tell you they are at their happiest out on the street. The smells… the people… the stories. We always want to tell one more.
My favourite place in the world is Lake Como. I have a curiosity with faith. I’ve been with people at the very bottom, outcasts of society, yet, still, they believe God will save them. Perplexing yet inspiring at the same time. I am an identical twin. That said it’s universally accepted that I’m much more handsome than my brother. I work as an accountant. Nuff said. Lake como , Italy
One of the most famous picture of lee jeffries
“If you will forgive my indulgence, This work is most definitely NOT photojournalism. Nor is it intended as portraiture. It’s religious or spiritual iconography. It’s powerful stuff. Jeffries gave these people something more than personal dignity. He gave them a light in their eyes that depicts transcendence, a glimmer of light at the gates of Eden, so to speak. The clarity in their eyes is awesome to behold, as if God is somewhere in there. He has made these people into more than poor old broken homeless people lazily waiting for a handout from some urbane and thoughtful corporate agent. He infused them with light, not darkness. Even the blind guy has light pouring from his sightless eyes. I think Jeffries intended his art to honor these people, not pity them. He honors those people by giving their likenesses a greater meaning. He gives them a religious spiritual significance. He imbues them with the iconic soul of humanity. I think that’s what he was trying to do, at least to some degree thereof.”
How do you determine who will make a good subject to photograph? LEE: Hard to explain. Impossible perhaps. It’s all about feeling. Call it a photographic eye… an immediate recognition of a situation or emotion. As soon as I feel it I just “know”.
How do you capture such strong emotion in your subjects? And how does photographing such emotion affect you personally?
Who or what inspires your work? LEE: The usual suspects of course: Nachtwey, McCullin, Koudelka. The work of other great photographers always provide a powerful impetus. I look at the message rather than technique. That’s the spark! Terrence Malick’s “The Thin Red Line” has probably shaped the metaphysical (look for that in my images… it’s almost always intentionally there) and beyond that, travel… and perhaps the biggest inspiration for any photographer… the people we meet.
LEE: My technique is as simple as being respectful and courteous. I have to gain the trust of the people I photograph long before any thought of photographing them. Only once this relationship has been established can I work in a spontaneous way. The resulting emotion is a document derived from the acceptance of my presence. Of course, when I’m done and back in the darkroom the sadness I endure is suffocating. I do try to channel that into the final image.
What camera/s do you shoot with? LEE: Canon 5D. And your favourite lenses? LEE: 24mm f/1.4L How about other equipment: lighting, tripod, filters etc.? LEE: Small hand held reflector. No time for anything else on the street. Canon 24mm f/1.4L EF USM
How important is post-processing to the final piece? LEE: Post processing. Yes. It absolutely facilitates my vision. Dodge and burn plays a huge part in developing the mood just as it’s always done in the darkroom days. Most of your portraits are closely cropped to reveal just the subject’s face. Can you explain your decision behind that? LEE: It’s true… my images can be biased to front on views that closely frame the face. Processing in black and white reinforces the contrasts and shapes in the portrait. Infused with light and shadow, I make a conscious effort to place the emphasis on the relief of the face and the strength of the photograph lays in the emotional connection to the subject. I try to magnify the character… tell their story so that it is no longer possible for the viewer to remain indifferent. My photographs become an intimate and personal document which narrates a myriad of emotion. Out of all the photographs you have ever taken, which is your favourite and why? LEE: If I had to choose one for pure document it would be this one… It speaks for itself. Your passion for photography has evolved into a mission to draw attention to, and raise funds for, homeless people. What made you decide to take this path and can you tell us more about how people can help? LEE: If only you could meet the people I have. See the things I have witnessed. I’ve walked some of the toughest
streets around the world and have left screaming at the injustice. It motivates me to do more. My simple hope is that every time I take out my camera I am lucky enough to shoot a frame that ultimately has the power to influence. To change perceptions. To make the viewer care enough to want to know and do more. People “just” help when I achieve this and I have countless emails from them that tell me so. What has been your proudest moment as a photographer? LEE: When I turned towards the young homeless girl in London instead of walking away.
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Why choose Black and White in Street Photography? Why do photographers sometimes shoot in black and white? Why choose black and white over colour? What is it about black and white that is so special? Is black and white street photography better than colour? Is black and white easier? Many questions but hardly possible to formulate a correct answer for the simple fact that tastes
and opinions vary from one individual to another. So instead of force feeding you one opinion, we thought of asking no less than six international street photographers for their views on the subject.
Life isn’t black and white, what do you think makes black and white so special? Marius Vieth: First of all, black and white is special, because it offers a fundamentally different visual perception of life. In case your photoreceptor cells aren’t completely dysfunctional, it’s exciting! If that wasn’t enough, you are simply holding a different pen when you are writing your photographic stories. The lack of colors and reduction to shades of black and white instantly underlines the depths of a photo - as long as it has depth. Third, black and white helps to highlight certain elements of your visual language such as textures, structures, shadows and light. Besides that, it shifts the focus to natural contrasts, which is one of the most important aspects of any great photo or painting. One more reason to to love black and white is that it helps to understand the incredible power of reduction in photography. Valerie Jardin: My work is not entirely in black-and-white. Although I tend to 'see' that way, there are subjects that are all about color. I love the timeless quality of black-and-white, the high contrast, the mystery. B&W works particularly well in night time street photography. Sometimes the choice of black-and-white is purely strategic.
As street photographers our job is to move quickly and remove distracting elements from the frame by positioning ourselves accordingly. There are times when a colorful elements cannot be removed from your background by framing differently. The use of black-and-white will remove that color distraction and bring your eyes back to the main subject. The choice of black-and-white often makes stronger images when your subject is a silhouette or a strong shadow. Facial expressions, in a crowd for example, also stand out more in B&W.
Thomas Leuthard: 1.Because life is not black & white, therefore it's something special 2.Because a black & white photograph is being reduced to content, structure and emotions 3.Because there are too many distracting colours in the world today 4.I don't like most of the coloured photographs, although I sometimes see matching colours on the street 5.For me it's easier to shoot black and white on the street
A
simple google image search for street photography, you get mostly black and white images. Furthermore, when people think about street photography, they always think about classic black and white images taken by the likes of Henri Cartier-Bresson, Robert Doisneau, and Robert Frank. Color street photography is not nearly as popular, or noted as black and white street photography as a whole. I don’t believe that street photography is meant to be taken in either black and white or color. There are cases in which black and white are more appropriate, and times in which color is more
appropriate. In this article, I will outline the differences between both mediums, while describing when it is appropriate to use either. There is nothing more classic and nostalgic than black and white street photography. Black and white reminds us of our past, which we often romanticize and idealize. Not only that, but we don’t see the world in black and white, which makes these images more interesting to look at. However, I highly encourage everyone against converting all of their images in black and white simply for the sake of it. Rather, think about the purpose why you are trying to convert the image into black and white. What type of message or feeling are you trying to convey? I will briefly outline some points in which I think it is better to shoot black and white for street photography.
“When you photograph people in color, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!”
Ted Grant
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the Fuji XF 35mm f/1.4 prime lens This is an in-depth review of the Fuji XF 35mm f/1.4 prime lens, also known as “Fujinon XF 35mm f/1.4 R” that was released initially together with the Fuji X-Pro1 on September 2011 ,21. Fuji specifically wanted to target professionals and enthusiasts with its X line, so it first introduced a professional-level mirrorless camera, the X-Pro1, along with three prime lenses: Fuji XF 18mm f/2, Fuji XF 35mm f/1.4 and Fuji XF 60mm f/2.4 Macro. And hence, being part of the Fuji X mirrorless interchangeable lens system launch, the Fuji 35mm f/1.4 played a big role in the success of the product line. Thanks to its compact size, a fast aperture of f/1.4 and a versatile focal length, the Fuji
35mm f/1.4 undoubtedly became the most popular of the three lenses. I have had the pleasure of shooting with this lens a number of times by now. First, I used it for a few months at launch, then when I re-evaluated the Fuji X Pro1 after about a year and lastly, after I made the decision to make Fuji X my mirrorless system of choice. Today, I am a proud owner of this lens – it pretty much stays glued to my Fuji X-E1, making it a very powerful combo for my everyday photography needs. In this review, I will provide a thorough analysis of the Fuji XF 35mm f/1.4 lens, along with image samples and comparisons to the Zeiss Touit 32mm f/1.8 lens.
Main Features: Using a glass-molded aspheric lens at the 5th element minimizes spherical aberration. Achieving beautiful bokeh in out-of-focus areas as well as excellent in-focus reproduction to create a natural sense of depth according to the aperture setting and the subject. The 35mm (135 equivalent: 53mm) lens has a standard focal length with the angle of view similar to that of the human eye. With the bright maximum aperture, the lens is ideal for snapshots.
ELB 400 The flash system portable the most complete
the battery life does indeed appear to be improved over the Ranger and it delivered very close to the 350 full-power flashes quoted in their specifications. The faster recycle time of 1.6 seconds to full power is also a welcome change, particularly as there appear to be no negative effects on color consistency. Having performed a number of grey card tests across hundreds of frames, the color varied by no more than 50 kelvin at both fast and normal recycle modes. Each full battery also delivers close to five hours of use on the LED modeling light, which while generous, could stand to be a touch brighter for my taste. The new OLED display is a very welcome change as it makes adjustments much quicker and more intuitive. Although flash duration isn’t of critical concern to my type of work, the ELB offers good albeit not class-leading figures of 1200/1 at full power to a max of 5700/1 towards the lower power end. Splash photography is hardly an interest of mine but I can tell you that at these numbers you’ll come close to freezing liquid but not entirely. One interesting change in the ELB is that it will discharge before fully recycling, which can be helpful if you need power in a pinch and can’t miss the moment.
Unboxing Well, I think it’s now safe to say that the days of elegant magnetically clasped, dark foam padded boxes from the original three FujiďŹ lm lenses are over. The usual array of hood and oversized pouch is still included, however the hood quality seems to be slipping. More on that later.
Fuji have maintained, if not exceeded that new standard with the XF 35mm F/2 WR. The aperture ring is great, and a pretty big step up from the XF 35mm F/1.4. The same goes for the focus ring. While the focus ring on my XF 35mm F/1.4 can feel loose and inconsistent in how it turns, the XF 35mm F/2 WR is consistent and damped extremely well. It’s slightly audible if you spin it quickly, but you’d never actually use it like that.
Handling
Size & Weight
The new XF 35mm F/2 WR is a little bit lighter, and a little bit smaller, but neither specification is reason to choose one lens over the other. I will say the new 35mm seems tailor-made for X-E cameras. I love the way this lens looks on my X-E2. I have a feeling the silver version on a silver X-E camera would look even better.
The variances in handling whilst actually shooting between these two lenses are almost not even worth mentioning. The two lenses share identical operational feature-sets. The one possible exception may be the width of the focus ring. The XF 35mm F/1.4’s is a little wider, and so, a little easier to grab onto.
It should be noted that the silver XF 35mm F/2 WR is not the same colour or finish as the graphite silver X-T1. I’ve seen people suggest the difference isn’t noticeable, but I can easily tell the difference from pictures. If I were a graphite silver owner, I’d buy a black lens.
Caps and Hood This section is a bit of mixed bag. The new XF 35mm f/2 WR has an adorably tiny version of the same cap that first shipped with the Red Badge zooms. These caps are so much better than the domed caps like the one that comes with the XF 35mm F/1.4. The new 35 wins the cap battle, but gets pummelled in the hood department out of the box. The tiny plastic hood that ships with the XF 35mm f/2 WR is pretty terrible. An optional metal hood, dubbed the LH-XF2-35→ is also available for purchase. I purchased one of these hoods and while it is pricey, I really like it. I’m not keen on using the hood that ships with XF 35mm F/2 WR. It seems this has become a bit of a trend. It feels a bit like a cash grab, especially on 1,000$ lenses like the XF 16mm F/1.4 WR, but it’s a little more tolerable on a lens the cost of the XF 35mm F2 WR. I love the hood for the XF 35mm f/1.4, but I don’t really like how much the lens and its cap seem to hate each other.
Tutrial paragraph
HDR in Photoshop tutorial
Tips for photographing HDR
F
irst we need to capture our source images with our camera. Technically you will need to shoot a minimum of 2 photos with different exposure settings to create a HDR. I personally get good results from 3 shots. I like to over expose and under expose by 2 stops each. I know this is a bigger bracket than some people are comfortable with, but for the type of HDR images I like to create (cityscapes), this works great. If you’re shooting people, you may want to reduce this to single stops. Sometimes you need to capture more than 3 exposures. It really depends on how much contrast is in your scene. For the example
of the Bradburry building, I captured a series of Photographs inside a dark building in Los Angeles with a sunny day outside a glass window. I needed 7 photots with 2 stops apart in order to capture the entire dynamic range of that scene. You might be able to capture a lower contrast enviroment such as a foggy day in a single frame. But once again, for the majority of
phy 3 shots are usually perfect. I set the camera for Auto Exposure Bracket and 2 stops + and -. Make sure that you only change the shutter speed. If you change the aperture, the depth of field will also change, producing unwanted blurring in your final composite. Use a tripod if you can, otherwise support yourself on a wall or solid object to reduce movement between frames. Note: For real HDR, you shouldn’t use a single raw image and exposure it several times as some people suggest. This is unnecessary, as you can use the Shadow and Highlight recovery and adjustment brush in Camera Raw or Lightroom to bring out the same amount of detail in the photo. Also there has been misinformation circulating, using the term “Single Image HDR”. This is known as pseudo-HDR. You can’t get HDR (HIGH Dynamic Range) from a single SDR (STANDARD dynamic Range) photo. It’s like “single speaker stereo”, the digital informaition just isn’t there. You can apply a tone-mapped effect to a single image for a grungy feel. It’s psudo HDR, but not to be confused with true HDR.
Step 1 Start with 3 images. One normal exposure, the second underexposed and the third overexposed. In this case I used 2 stop bracketing. As I shoot a lot of city scapes I can get away with 2 stops, because I’m mainly shooting flat surfaces and banding and posterization isn’t such a problem. If your shooting rounded and curved surfaces you will want to lower your bracketing to get smoother gradients, although there is a lot of overlap already in the tones as a decent DSLR camera can capture around 11 Stops of exposure. I set the bracketing on my camera to 2 stops. Then I set the shooting mode to burst. When I hold the shutter down, 3 photos will be captured. I shoot in the RAW format for the widest possible dynamic range. You can still create HDR if your camera doesn’t support RAW, but bear in mind a jpg is only an -8bit file. Make sure you shoot in Aperture Priority or in Manual. You want to bracket the exposure time, not the Aperture. If you change the aperture, the depth of field won’t be consistent and you’ll get blurring. Also avoid any moving subjects in the photo or you’ll get “ghosting” where something is only in one frame and will appear very strange in the final. If you look at the three image that I used here, the middle image has a lot of detail. However, the details in the shadows are lost in the boats and the city lights are too bright and lose detail information. The left image is under exposed to pick up the details in the highlights such as the buildings in the background. The right hand photo is over exposed by 2 stops to pick up the detail in the shadows, such as the hulls of the boats and water reflections.
Step 2 Time to merge the photos together into a single 32 bit image. (Note: You can now do HDR in Lightroom 6/CC, tutorial here) Choose File>Automate >Merge to HDR Pro. This works on Photoshop CS2 – CS6 (CS2 Doesn’t have auto align and it’s called “Merge to HDR on versions older than CS5). Choose either images or folder. I organize each set of photos in its own folder so I used the folder option. Select your photos to merge. Turn on Auto Align in Photoshop CS+3. Click OK. (Photoshop uses Auto-align technology that even allows you to create HDR without the use of a tripod!)
Step 3 Your images will now be merged into a single photo. You can turn off individual photos by un checking their boxes on the left filmstrip. If you get some blurring caused by camera shake in the longest exposure, you may want to turn off that photo. If there is ghosting because of movement, click the box: Remove Ghosts.
Step 4 The merged result is a floating-point 32 bit image. Change the mode to 32 bit. You can view the available tones by sliding the White Point slider. Note, this slider doesn’t change the image, it is there for you to examine the range of tones, because a monitor is incapable of displaying all the tonal detail in a -32bit file all at once.
(When the mode is at 16 or 8 bit you will see settings like this, if 32 bit is selected, it will look like step 4)
Note: In Photoshop CC there is a new option. “Complete Toning in Adobe Camera Raw” This option isn’t in CS6. If you are on Photoshop CS6 and lower, jump to step 5 right now. If you are on CC and the “Complete Toning..” button is turned on, you won’t be able to move the slider. Click the option off and you will be able to move the slider and continue with the rest of the tutorial just like in CS6. However, when the option is turned on, you will be able to use Camera Raw for the Tone Mapping instead of the HDR Pro settings. In this case, skip to step 8b. However, I recommend learning both methods as they each have merit. The HDR Pro tone mapping (step +5) will give you more control and enable you to create a surreal effect as well as powerful HDR controls. ACR (Camera Raw) has the advantage of being able to do very realistic HDR tonemapping without too much effort.
Step 5 You could do your tonemapping right now if you like, but I like to save a 32bit negative. Click OK to merge the photos into a 32 bit image. Now is a good time to save your file. Save as a psd, tif or open EXR. If you are working with 3D and are wanting HDRI for IBL lighting, enviroments etc, save as open EXR as Maya and other 3D packages recognize this format. (you are finished here, photographers read on). Get in-the-know! Join our list to receive more tutorials and tips on Photoshop. Get exclusive tutorials, discounts and the free super guides. No spam, all content, no more
Step 6 In order to use the photos, you’ll need to convert them to 16 or 8 bit images. When we convert them we will create what I call interpretations of the photo. The reason I say this is because we have unlimited ways we can make
the photo look. While we have this huge dynamic range available in 32 bit, we will no longer have those options after conversion. Always work from the saved 32 bit version, and then convert and save versions (personal interpretations). Avoid overwriting the 32 bit image, it’s our master and we may want to go back to it many times. Choose Image>Mode>16 bit (or 8 bit). Now we get to play with some fun options. You’re now at the tone mapping part of the process. This is were all the creativity can ooze. (If you want to make the adjustments without converting, choose view>32 Bit Preview Options. You can use several of Photoshop’s tools in the Image>Adjustments menu. The most important of these is the Exposure control) You’ll see an HDR Toning Dialog box (HDR Conversion for versions before CS5). Exposure and Gamma is the default option. Best way to approach this? Set the gamma first, then adjust the exposure to suit. If you want an image with lots of contrast, lower the gamma. For less contrast raise the gamma. Finally, adjust the exposure to get the desired brightness. If you want more control, read on… otherwise press OK to convert.
Step 7 Change the Method to Local Adaption. (There are 4 available methods, but these are the only 2 with user input). With local Adaption, you get some advanced Tone Mapping sliders and you can adjust the curves. The use of curves is optional as they allow you to fine tune the other settings. Set these like you would normally work in curves, but don’t be afraid to clip the histogram a little. You can clip because you’re working with a larger dynamic range than you’re used to. Bring out the detail in the image, but don’t forget to put some shadow in there or it will look washed out and fake. Edge Glow Once your happy with the curve, adjust the radius and strength sliders to make sure there are no halos in the photo. (Badly converted HDR images have a glow around the areas of contrast.) The radius controls the mask blur while the strength decides how strong to apply the effect. Tone and Detail Gamma: This is where you control the contrast. Extremes are washed out or super punchy. Exposure: Controls the overall brightness. Detail:This sharpens or softens the appearance. Advanced Shadow: Opens up details in darkest parts of the photograph. Highlight: Recovers detail in the brightest areas of the photograph. Vibrance: This makes the photo more colorful without over saturating areas that are already colorful. (It’s smart). Saturation: Increases or decreases the overall amount of color. Be careful not to over saturate the colors as a rule. (Of course all rules can be broken on occasion). Click ok to convert.
Here we have a merged image from HDR. Photoshop is great for producing very realistic HDR images.
MOROCCO THE PHOTOGRAPHIC TREASURE
DEEP IN THE SEA RAGING Morocco is one of the most visited African countries, and this is because it is a mixture of Arab and Islamic culture. Today, we will talk about Morocco as a subject for street photographers.
Pictur by Zakaria wakrim
As a photographer of a local street, I see Morocco as a paradise as a subject, full of sensations and colors, but this paradise can not be easily accessed, as is known to the street photographers. The problems are the ally of these people. This is the friction with the people in the street. Their reactions are violent sometimes, but in Morocco it is a multiplier. People here are sensitive to cameras, cameras and people like fuel and fire. Today, we meet Mr. Abderrahman Amazzal , one of the most famous Moroccan street photographers in social media , And ask him some of the questions on this subject .
Abderrahman Amazzal Abderrahman Amazzal Is a Moroccan photographer who is distinguished in street photography. He lives in the capital of Rabat. Popular among his fellow street photographers in social sites, his personality is attractive because he has a lot of initiative and participation, has a technical look and this is what makes him unique in the street.
When and how did you have the first connection with photography?
Abderrahman Amazzal : After watching the American towers fall in 2001 on television I thought to start documenting the life around me and the things I live in, because the moment of attack and explosion It was a very strong photographic aspect. When you started your career as a photographer ?
Abderrahman Amazzal :As a technical practice was in 2003 With a digital camera, the first I had a Polaridad, I took pictures of people and gave them their pictures.
Why Street Photography specifically?
Abderrahman Amazzal : I began filming the street and people in February 2011 In conjunction with the events of the 20th of February and also because I do not tend to other types of photography and because I care about the social and human center, I like the street colors and lines on the old side of the city specifically. In addition to this, when I saw the work of Cartier Bresson, I was motivated to shot more on the street.
Taking pictures in the Moroccan street came this idea after I saw all the pictures of the street and Morocco and the Moroccans their owners are foreign politicians I saw in their pictures places that are familiar to me I see these places normal but in the picture I saw it is different differently I said to myself: Why do not I try to take pictures of the street in my saturated view and try to give some art? What is your comment about street photos in black and white What is your position?
Abderrahman Amazzal : I dont have a position. Colors are good when there is a contrast between I and II. Shame to miss the few colors in Morocco. I am with the freedom of choice where the most important thing to choose is the opinion of the photographer, the photographs are the only choices that he has the right to judge is the photographer himself, colors beautiful and even a monochrome beautiful .
How do you see people looking to the street photographer?
Abderrahman Amazzal : The attitude of people is violent and savage where there are several reasons that make every camera holder a journalist trying to defame people and their actions in the street The Big camera makes people so wary and violent that they threaten to break the camera and physically abuse the photographer. What is the solution to change the opinion of people in the street photographer?
Abderrahman Amazzal : The solution is to educate the emerging generation on the image and to synthesize it to be a good idea of this art in the future.
This method will take a long time and will not solve the problem of street photographers currently, what is the solution?
Abderrahman Amazzal :
Dealing with the field and adrenaline
My name is Nader Boulaich , a street
photographer and I study design for the second year. I was born in Tetouan and resident in Fnideq. I love art, especially photography and music. Photography is the main reason why I want to learn design in order to dig deeper into visual arts. It adds some experience to my photography career. This magazine is a study site for the design work of the magazine. It is not an official magazine or a tradition for any official magazine. I was proud in this experience to take advantage of some people who have experience in street photography.
My first photography experience was in 2011, the first was a random experiment, later as the years went on I learned to control the camera well and learned basic things that the photographer needed to learn. In some cases I would learn about their own styles and types of pictures, The photography attracted me two and they are the street and the portraits and today I found myself putting these two categories as the subject of the magazine in this issue
Morocco is a photographic treasure but access to this treasure price, when I go out to the street I know people from the expressions of their face if they accept my request to take pictures and this intuition acquired over time
I try to combine the two photographic categories sometimes, I find them express the human side a lot, its actions, feelings and features
Dans la dernière, je trouve que tous les Msourstreet pour essayer de changer cette perception négative, qui a été formé quand les gens avec des causes différentes et non rue directement, nous devons changer ce point de vue afin d'ouvrir la voie pour les photographes les plus jeunes générations et de développer cet art sans désavantage social
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