Issue 4 - August 2011 by Viewfinder Magazine

Creative Photography August 2011 | Issue 04

S o u r ce : f l i ckr.com/nesster

the VF Team

Paul Murphy E ditor

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

Editorial

Oslo

Welcome to Issue 4 of Viewfinder Magazine. This month we speak with street photographers in Oslo following the tragic events of July 22. We also speak with the curator of the ‘I Refuse to be your Enemy’ exhibition taking place in Oslo at the moment. We travel to London to meet with Leica staff and Leica users to see why the camera manufactur er is so highly regarded. We also talk to the director of ‘Stand your Ground’, a re cent documentary made for the Creative Photography

August 2011 | Issue 04

S ean O’Flaherty C reative Editor

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+. flickr.com/seanof

paranoia debate at the r ecent London Street Photography festival. Our featured photographer this month creatively splits his frames. We have a spe cial scanning tech nique and we re view Lomography’s latest creation. We also have the regular gallery of the best submissions to us an d the latest news. This month’s podcast fea tured extended interviews from features in the magazine listen to it at www.vi ewfindermag.com

- the VF Team

A ndy Doyle D eputy Editor

Canon EOS 7D expert but from time to time he swaps his DSLR for his old Praktica and Lubitel cameras. flickr.com/andywithcamera

Contributors Olav Ljone Skogaas (flickr. com/olavls), Olav Njaastad (flickr.com/55565060@ N08), Christos Christou (flickr.com/25thc), Jay Panelomo (flickr.com/ jaypanelo), Simon Garnier (flickr.com/sjmgarnier), Daniel Polidori (flickr. com/56501339@N06), Tim Kirman (flickr.com/ guinavere), Tom Welland (flickr.com/64569522@N07), Eric Wilcox (letitunwind. tumblr.com), James Whineray, Rebecca Cox (flickr.com/rebeccacox), Urban Hafner (flickr. com/ujh), Glenn Eugen Ellingsen (flickr.com/ eugen89).

Competition Details on the back cover. (aprilleaphoto.carbonmade.

Inside this month’s issue Features

Lomography sprocket guide Lomography have launched a new website dedicated to sprocket hole photography. www.sprocket-hole-photography.com is a one stop shop guide for anyone thinking of exploring the relm beyond the standard frame of 35mm film. Sprocket holes are the little square holes which run along

actually gives you nearly 40% in your image and give photographs a very unique look and feel that can only ever be made using 35mm film. Most regular 35mm cameras do not all for exposing sprocket holes. Lomography have a range of cameras and backs available that will help release the full po-

the top and bottom of 35mm film. Their main function is to help wind on film and move your camera on to the next frame. They are unique to 35mm film but the special thing about them is that they are actually part of the film. The material between the sprocket holes reacts to light and can capture and image just like the rest of the film, however, they are usually not exposed. Exposing the sprocket holes

tential of 35mm film emulsion. The Lomography Sprocket Rocket, Spinner 360, Diana F+ 35mm back and the Lubitel 166+ have the ability to expose sprocket holes. Lomography also sell a DigitaLIZA, a special scanning mask to aid in scanning negatives with the sprocket holes exposed. Flick to our technique section for a detailed guide to scanning sprocket hole photography. Pages 44-47.

I Refuse to be Your Enemy

I refuse to Be Your enemy

A poignant audio and photo exhibition tearing down the wall that keeps us from peace.

Picture: Lomography.com

The streets of Oslo

The Streets of Oslo

Norwegian street photographers Olav Njaastad and Olav Ljone Skogaas tell us what it’s been like shooting street photography in Oslo since the tragedy of July 22

Norwegian street photographers tell us what it’s been like taking street photography in Oslo since the tragedy of July 22.

Olav Ljone Skogaas Flickr: olavls

The bomb went off at 3.26pm and that was two or three blocks away from my office so we heard the rumble and looked at each other. My instinct was to grab my camera and run to wards the smoke. It was like walking into a war zone. It was surreal. On the saturday after, we went down into the city centre and it was really strange because there weren’t a lot of people out and about where we lived but as we came closer to the city centre there were more people. It was eerily quiet. People walked around in shock I think. What really got to us was seeing military soldiers in full combat gear at cordons, and police with guns, because that does not happen in Nor way. For me it was important to document this. What was difficult was taking pictures with guns. I didn’t fear that these conscripts from the Royal Guard would start shooting at me, or anything like that, but still - soldiers in full combat gear with machine guns in my city - I mean, what’s going on? 10

The front of the Oslo Cathedral was the main outpour ing of public grief. I went down there looking for pictures of the flowers and candles that people had put up. I turned around and saw a woman walking towards me and prefocused. I shot this with a Leica M7. I waited for her to walk into the focus area and frame her. That took about a second. I didn’t realise the ex pression on her face until I saw the negative. That was one of the shots that I was really excited about seeing. Making the transition from a fully automatic dSLR to shoot ing Leicas for street with manual focus was hard. After a cou ple of years, it comes naturally. It’s a different approach and a different way of seeing and an ticipating. That’s something you have to do in street photog raphy. You have to anticipate the action, read what’s going on, and try to be there before the moment happens. That was the case with this shot. I don’t think she even noticed I was there. In Norway, as well as a

large part of Western Europe and America, there has been an increase hostile rhetoric, in particular against Muslims, but emigrants in general. For someone to stand up and say, “I will not be your enemy” - I like it. It says something about us all being people, even though there is an ‘us and them’ philosophy of thinking behind some of the rhetoric and how people to live. It’s a matter of realising that ‘them’ are similar to ‘us’. We’re all people. We all have our problems, and griefs, and worries. Be you Muslim, or Christian, or Hindu, Buddhist, socialist, liberal or conserva tive, we’re all people and we all have our worries. The fact that the perpetrator was a white Norwegian who called himself a Christian fundamentalist, and the fact that he was caught fairly quickly had helped a lot in the unity and outpouring of grief and the sense of commu nity that came after the bombing and the shootings. Had this been, for instance, and Al Qa eda, or Al Qeada inspired plot, the situation would have been 11

Stand Your Ground

Stand your ground O n 2 1 s t J u n e 201 1 s i x ph o to g ra ph e r s we re a s s i g n e d d i f fe re n t a re a s o f Lo n d o n to ph o to g ra ph . P r i va te s e c u r i ty f i r m s g o t s u s p i c i o u s .

The short film that showcases the struggle street photographers face with paranoia.

What started out as a video for use as an aid to the debate ‘Why d o e s s t r e e t p ho t o g r a p h y m a k e u s p a r a n o i d ? ’ , a t t h e r e ce n t London Street Photography F e s t i v a l , ‘ S t a n d Yo u r G r o u n d ’ h a s b e co m e m u ch m o r e t h a n a visual aid. The photographers David H o f f m a n , T o b y S m i t h , P hi l i p Wolmuth, Pennie Quinton, M i cha e l G r i e v e a n d f o u n d e r o f t h e ‘ I’ m a p h o t o g r a p h e r n o t a terrorist’ group Grant Smith w e r e a p p r o a ch e d t o d o t h i s f i l m w h e n d i r e ct o r H a n n a h W hi t e , who had met with Grant, deci d e d i t w o u l l d b e a g o o d i d e a t o ‘ p h o t o g r a p h s e n se t i v e a r e a s , that should not be sensetive,’ a r o u n d L o n d o n ci t y . T h e f i l m sh o w s t h e p ho t o gr a p h e r s b e i n g r e qu e s t e d t o s t o p p h o t o g r a p h i n g b y p r i v a t e s e cur i t y f i r m s w ho i n s i s t t h a t t h e y a r e n o t a l l o w e d t o t a k e p i ct u r e s. O n t h r e e o cca s si o n s t h e p o l i ce w e r e ca l l e d . T h e p o l i ce , h o w e v e r , a r e t h e p o l a r o p p o s i t e o f t he p a r a n o i a a n d o b s t r u ct i v e n e ss o f t h e p r i v a t e s e cu r i t y f i r m s. T h e y e x p l a i n t o t h e m t ha t t he p h otographers have every right to d o w h a t t h e y a r e d o i n g a n d t ha t there is no legel reason to insist t h a t t h e y ce a s e . H o w e v e r , i t i s n o t t he i n d iv i d u a l s e cu r i t y s t a f f ’ s f a u l t a s H a n n a h W h i t e e x p l a i n s : ‘ t he y ’ r e j u s t d o i n g t h e i r j o b s . T he y h a v e b e e n t o l d f r o m h i g he r u p w ha t t o d o , ’ ‘ p e r ha p s t h e y a r e n o t

18 Picture: David Hoffman

t o l d e n ough about why they s h o u l d s top people, who they s h o u l d stop. There just needs to b e a l i t t l e bit more education.’ W h e n the security workers a r e f a ce d with a photographer e x p l a i n i ng their rights it really s h o w s t he ‘lack of knowledge’ t h a t e x i s ts. T h e reason for these ar e a s b e i n g sensetive is due to a n i n cr ease in paranoia to w a r d s p eople with cameras. It s t a r t e d when police, the world o v e r , ‘ g ot suspicious of phot o g r a p h e rs after 9/11 and then 7 / 7 . ’ T h ere has been a ‘massive ch a n g e i n the attitude of the p o l i ce b ut this has not filtered d o w n t o the private security f i r m s , w hich is what the film i s t r y i n g to highlight.’ explains Hannah. T h e police used to quote S e ct i o n 44 of the Terrorism Act 2 0 0 0 w h ich did not require a p o l i ce o fficer to have ‘reasona b l e s u s picion’ that an offence h a d b e e n committed, to stop p h o t o g r a phers taking photos i n p u b l i c places, which became a w i d e l y suspicious act as paran o i a o f t error attacks grew. ‘ O n e of the photographers i n t h e g roup, Pennie Quinton, s u cce s s f ully took section 44 to t h e E u r opean Court and it is n o w n o l onger in use beacuse it w a s u n f a ir.’ ‘ I n t he debate we had a T e r r y H anley, from Knights b r i d g e G uarding, a big security

company, and Dermot Robin son, from the Metropoliton Police. We were trying to engage them and show them the film and make it clear to them that there is quite a long way to go in terms of the private security firms.’ In light of the recent riots in the UK and London, in partic ular, there is potential that the paranoia will continue to grow especially as the media help to build ‘mistrust and fear of each other, the riots could increse that [mistrust] unless they are dealt with in the proper way.’ The film highlights what poor communication and train ing of security staff can lead to and it is important for photographers to know their rights when it comes to photographing in public space. Hannah’s advice to photog rapher’s who may not be aware of their rights is to ‘be very aware that you are allowed to photograph anything or anyone as long as you are on pub lic property. Don’t feel like you can’t take a picture if your on public land.’ ‘Increasingly,’ she added ‘more and more public land is being privatised. Olympic park is going to be the first fully private park in the UK. Technical ly the people who will run that can stop people doing anything like taking a photograph or eat ing a sandwich.’

Listen to more from the interview with Hannah White in this month’s podcast www.vi ewfindermag.com

Leica, by Leica

Leica, by Leica and the people who use them

Leica, as told by the Leica staff and the people who use them.

W h i l e o n a v i sit to Leica, in Lon d o n , A n d y D oyle got talking to Le i c a s ta f f a n d some of the big g e s t n a m e s i n photography, using Le i c a c a m e ra s , to see why they are h e l d i n s u ch h igh regard.

D a v e P r i c e - M D , L eica UK L e i ca ’ s P h i l o s o p h y A s a co m p a n y w e are a rela t i v e l y sm a l l , i f y o u compare us t o t h e l i k e s o f N i k o n or Canon. O u r p h i l o so p h y i s to dare to p r o d u ce p r o d u ct s w hich are a l i t t l e b i t d i f f e r e n t , a little bit a d v e n t u r o u s . T h a t might be a l e n s f o r e x a m p l e t h at’s 21mm f / 1 .4 . I t m i g ht b e a camera that l o o k s r e t r o b u t h a s the latest t e ch n o l o g y . W h a t I l o v e a b o ut working f o r L e i ca i s t h a t n o t only are we a s m a l l n u m b e r o f people, we a l l ha v e a s p i r i t . T here’s well d o cu m e n t e d p e r i o d s in our hist o r y w h e r e w e w e r e struggling. I t h i n k m a n y r e a d e r s may know t h a t w e ca m e f r o m a very iconic a n d i l l u st r i o u s p a s t . I t hi n k t h e i s su e f or us at the m o m e n t i s t o b e co me relevant a g a i n a n d t o b e co m e more leadi n g e d g e . W h a t w e ’ ve tried to d o i n t h e p a st t w o years, part i cu l a r l y w i t h p r o ducts like

Picture: Joi

the S2 and the M9 is to relate to the pros, which in turn makes us more relevant to the enthusiasts. Leica Photographers If a photographer were to shoot, for example, Manchester United playing our M-Series would be completely wrong for that application. If that same

photographer had access to the changing rooms afterwards, the discrete M9 might be the perfect tool for that situation. We would suggest that most photographers would have in excess of 12-15 bodies. Photographers have a knack of collect ing cameras. I’m guilty of it my self. But it’s not just collecting. Cameras for a professional are

tools. You need different tools for different jobs. We have a photographer here who shadows David Cameron. The M9 is perfect for that. If you were a fashion photographer and you wanted to have dynamic pictures - if you wanted to have a large frame product in your hand, the S2 would be perfect. But, we would never suggest that Leica answers every appli cation. We still make film cam eras. We love film cameras. We have a philosophy, but we also have a style. It’s very important to us to have that style. Another photographer here today, Tom Stoddart, a war photographer, he’s been using the M series for over 30 years. He’s totally familiar with that equipment. He now uses an M9, but it’s still an extension of his hand. That takes years of use to get that intimate relationship

where you don’t have to think about the product or what you’re doing, you can do it naturally. The M9 The M9 is a progression from the M8. The M8 is still a very good black and white digi tal camera, but the M9 is full frame. One of the issues we had is that we didn’t want to change the dimensions of the camera to honor the past, and so that the existing lenses would fit. That gave us a very small constraints in which to get the image. As the rays of light pass through the Leica lens, they have to converge to a sensor. In a dSLR, you’ve got a big ger chamber to do that phys ics. It was the advent of a full size sensor with minute micro mirrors that could enable us to broaden the image onto a full frame, which we couldn’t do at the time of the M8.

April - lea Hutchinson h t t p : / / a p r i l l e a p h o t o .ca r b o n m a d e . co m /

Panasonic We have an association with Panasonic. They make their own range of cameras and we help them. We started working together about five years ago. Panason ic’s strength was in domestic goods and TVs. I think your readers will know that Panasonic won quite a few awards recently for their cameras. Those Panasonic cameras deploy Leica technology in the lens, and they’ve done some work for us so it’s a mutual situation.

20 20

Featured Photographer Thi s month’s most inspiring photographer is extremely creative with splitting the frame.

Christos Christou w w w .f l i ck r .co m / p h o t o s / 2 5 t h c

Gallery

Gallery An exhibition of the best photographs submitted to Viewfinder Magazine this month. Picture: NYC Photographer: Jay Panelomo Camera: LC-A+ F i l m : L o m o g r a p hy X p r o 2 0 0 Flickr: jaypanelo

P i c t u r e : T he T h i n k e r i n t h e C i t y Photographer: Simon Garnier Camera: Lumix GF1 Flickr: sjmgarnier

34 Technique

Technique: Sprockets

Scanning

Scanning your Sprockets

your

S procket hole photography is great but many str uggle with scanning it, we show you how. Words and Photos: Paul M ur phy. People have been able to shoot on the sprocket holes of their 35mm film, using other for mat cameras, for a long time but recently it’s seen a surge in popularity. The Lomographic society can be largely credited with this rise in popularity of perferation exposures due to the release of some of it’s recent cameras, namely the Spinner 360 and the Sprocket Rocket. The 35mm back that is avail able for the Diana F+ also allow for shooting all the way to the edge of standard 35mm film. Although they are not necessary as you can run 35mm film through any medium format camera with a slight modifica tion and practice, the Lomogra phy cameras, however, are very helpful in knowing how large each frame is so there isn’t unwanted overlapping and mul tiple exposures. However, many analogue and toy camera enthusiasts can be faced with a daunting task of figuring out how to scan their sprocket hole photography. Scanners, like cameras, come on all shapes and sizes and so it is important not to assume that your scanner will not scan

Paul Murphy guides you through scanning sprocket hole photography.

A regualar flatbed medium format holder

sprocket holes. Lomography sell a special 35mm mask for scanning sprockets, however, you may be able to scan them already with out realising it. While there is a wide variety of film scanners on the market this tutorial is for regular flatbed negative scanners but the technique can be adapted for many other types of negative scanners. If your scanner has a medium format holder then scanning all

the way to the edges of 35mm film is easy. Rather than using your standard 35mm mask you can put your negative strip in the me dium format mask. This will, however, limit you to scanning one or two frames at a time as opposed to the regular four or six or in some cases twelve. The problem, usually, isn’t with the scanner itself but with scanning software. If you use the software that came with

your scanner then you will need to work with it in it’s most ad vanced state, giving you the widest range of options for scanning, to get the best results. The things to look out for are ‘continous auto exposing’ and ‘thumbnail creation’ you need to stop your scanner from trying to find standard size images to scan. These settings will need to be turned off so that your scan ner gives you a preview of the full strip of film and not single frames. From here, you will be able

inser t your 35mm film

to ma r k w h a t se c t i o n s , o f t he strip, y o u w a n t s ca n n e d . Un l e s s y o u r st r i p o f 3 5 m m i s firml y g r a sp e d b y t h e m e d i u m forma t m a s k t h e n t h e r e ca n b e a slight r a i s e o r b e n d i n t h e f i l m as is b e i n g s ca n n e d . Th i s ca n r e s u l t i n a s t r a n g e shape i n y o u r f i n a l s ca n . I f t h i s occur s t he r e i s a s i m p l e P ho t oshop f i x . Op e n y o u r s p r o ck e t h o l e pictu r e a n d s e l e ct ‘ w a r p ’ w i t h i n the ‘T r a n s f o r m ’ m e n u . T hi s w i l l help y o u s t r a i g ht e n o u t y o u r f inal ph o t o g r a p h . In o r d e r t o p r e v e n t t h i s

h a p p e n i n g e n su r e t h a t y o u r 35mm film is firmly held by the s ca n n i n g m a s k . If you have been toying with the idea of going down the road o f s p r o ck e t h o l e p h o t o g r a p h y y o u c a n k n o w b e co m f o r t a b l e knowing whether or not your s ca n n e r h a s t h e a b i l i t y t o s ca n a l l t he w a y t o t h e e d g e s o f y o u r film. Re m e m b e r y o u m i g h t n o t n e e d a n e w ca m e r a . A s i m p l e m o d i f i ca t i o n t o a m e d i u m f o rm a t ca m e r a w i l l s u f f i ce i n co v e r i n g t h e e n t i r e s u r f a ce o f y o u r 3 5 m m e m u l si o n . 41

44 Review

La Sardina

Lomography’s latest invention is a sardine can inspired wide angled oceon of fun. Released reletavily soon af ter the Lomo LC-W, an up market 17mm lens camera, the La Sardina range of cameras gave Lomography fans another 22mm lens camera at a very af fordable price. Although basically a point and shoot camera. This wide an gle fixed shutter speed (1/100) and aperture (f/8) camera is a dream of a toy camera for those who love to shoot from the hip. 44

The camera’s wide angle and two simple focus options 0.61m and 1m-infinity make this the essential toy camera for street photographers. Its cute, innofensive and light weight design can be held with great ease by your side with the shutter button under your thumb ready to shoot at any second. The compact design is slightly larger than your average sardine can, as it needs to house 35mm film, but it is the perfect size to feel confortable

Review: La Sardina

in your hand. The 22mm lens means you have to get close to your subject which ads a greater intimacy between photographer, camera abd subject. The La Sardina also makes very little noise when the shut ter is released so the alarm is never raised that a candid pho to has been taken. The wind on is quick and easy so you’re vir tually always ready to shoot. The camera has a bulb, nor mal and multiple exposure set ting which allows for a large amount of creativity. It also has a tripod mount and can take a standard ca ble release. It’s film rewind is smooth and there is a shutter lock feature. The La Sardina cameras comes in four different vari eties the Sea Pride, (pictured), El Capitán, Fischers Fritze and Marathon, each uniquely de signed and inspired by sardine cans. The La Sardina range also sees the introduction of Lomog raphy’s first flash with multiple distance settings. The Fritz the Blitz flash has a unique flash connection to fit the La Sardina cameras. Although, it does come with a hot shoe adapter. The flash gives greater control over flash photography that hasn’t previosly been available with Lomog raphy cameras because of it’s three distance settings.

We turn our attentions to Lomography’s latest creation this month.

News

Florida ship wreck exhibition A ustrian art photographer A ndreas Franke has taken his work under water for a very unusual exhibition. Vandenberg: Life Below the Surface brings Franke’s pho tography to new depths on board the Gen. Hoyt S. Van denberg, a former Air Force missile tracking ship that lies 93 feet below the ocean’s surface off Key West, Florida. A diver him self Franke took photos of the ship wreck last year and then combined these images with others to give a very surreal exhibition. The 12 large prints are mounted, on the weather deck of ship, with very powerful magnets so as not to harm the wreck. They are encased in plexiglass and mounted on steel frames sealed with silicone to keep the water out. The images are like ghosts on the ship and as Franke puts

Picture: ‘Maniac’ by Andreas Franke

it ‘The shipwreck itself, to me, is a de ad thing but I thought that if I put people on it, then there would again be life on that ship.’

There has been no time limit put on the exhibition, with some hoping that it will remain mounted on the purposely sunk vessel for the rest of the year.

Leica team up with designer Paul Smith

Leica Camera Ltd and interna tional fashion designer, Paul Smith, have joined forces for the first time to offer two exclusive, limited edition leather hion: Leicacases announces collaboration for the high-performance Paul Smithcompact digital camera, Leica D- Lux 5. Available from October Smith for Leica’ cases 2011,leather just 300 of for the premi era to be available for Christmas um quality cas es will 2011 be available – 150 in a smooth choco late brown calf leather with embossed leather with a luxurithe famous Paul Smith vintage ous purple lining. The cases are d and international fashion designer, Paul Smith, have joined forces for the multi stripe on the sides, and hand-crafted in England and with Paul Smith for 150leather in a cases light for grey, e, limited edition the croc-style Leica D-Lux 5embossed digital camera.

ust 300 of the premium quality cases will be available – 150 in a smooth

ith the famous Paul Smith vintage multi-stripe on the sides, and 150 in a

Leica on the back. Both designs also feature an elegant matching shoulder strap. The Paul Smith for Leica cases will be sold at Leica’s London-based store, the Leica Store Mayfair at 34 Bruton Place, W1 and at Paul Smith stores throughout the UK. The cases will retail at £200. In business for more than 40 years, Paul Smith has estab lished himself as the preeminent British designer with showrooms and shops all around the world. 5

Lomography sprocket guide Lomography have launched a new website dedicated to sprocket hole photography. www.sprocket-hole-photography.com is a one stop shop guide for anyone thinking of exploring the realm beyond the standard frame of 35mm film. Sprocket holes are the little square holes which run along

holes actually gives you nearly 40% more in your image and gives photographs a very unique look and feel that can only ever be made using 35mm film. Most regular 35mm cameras do not always expose for sprocket holes. Lomography have a range of cameras and backs available that will help re-

Picture: Lomography.com

the top and bottom of 35mm film and their main function is to help wind on film and move your camera on to the next frame. They are unique to 35mm film but the special thing about them is that they are actually part of the film. The material between the sprocket holes reacts to light and can capture and image just like the rest of the film, however, they are usually not exposed. Exposing the sprocket

lease the full potential of 35mm film emulsion. The Lomography Sprocket Rocket, Spinner 360, Diana F+ 35mm back and the Lubitel 166+ have the ability to expose sprocket holes. Lomography also sell a DigitaLIZA, a special scanning mask to aid in scanning negatives with the sprocket holes exposed. Flick to our technique section for a detailed guide to scanning sprockets (Pages 44-47).

Features

I Refuse To Be Your Enemy

‘‘ If one man can show so much hatred, imagine

‘Dear Oslo, did you hear the voice of the young survivor saying ‘if one man can show so much hatred, imagine how much love we can show together.’’ I Refuse to be Your Enemy is an outdoor audio and photo exhibition at City Hall Square, Oslo, presented by the Norwe gian Peace Association (NPA). The exhibition is based on NPA’s study tours to the West bank, visiting Palestinian and Israeli people and organiza tions that work for peace and reconciliation with non-violent means. Using ‘audio showers’, the exhibition opens a dialogue between people regardless of nationality, religion and political

affiliation. Its use of innovative technology, in the public sphere, enables the inclusion of voices that are otherwise not heard. This art installation is intended to break down barriers and obliterate geographical distances. Curator Dhita Siauw explains to us how the exhibition for peace came about. ‘When we were in Palestine and Israel, we met real people who were fighting for peace. Most people focus on conflict in these places but when we asked what we could do to help, they told us to tell their story.’ On one occasion while leav ing Palestine, a guard at the

border asked to see the photos on one of the photographers cameras. When he saw them, he cried. The exhibition t akes its name from ‘a massive stone that acts as a roadblock for the Israeli army armored trucks on the way to the Nassar family farm on the outskirts of Bethle ham, Palestine. On the stone it is written; I Refuse to be Your Enemy.’ The exhibition’s aim is to take people beyond the politics and the media’s attention. ‘See them dance, and serve their ‘upside down’, share their fears, their hopes and their dreams. Hear the sounds from their streets and hear their voices in

how much love we can show together ’’

the sound showers.’ ‘We wanted to bring the exhibition to the people.’ Thousands of people pass through that City Hall Square, every month, and ‘we wanted to share it with them rather than just those who attended a conven tional exhibition.’ The exhibition tries to let people know there is another side of the conflict than the violence and the hopelessness projected in the mass media. Dhita told us how these sound-showers ‘offer a direct audio link between Oslo, Israel and Palestine.’ The sounds add to the eerie truth that the tragic events that struck Norway last month, would turn a one

way exhibition of images of the West Bank conflict into a two way dialogue between people who want peace. There are people on both sides, fighting for peace and fighting to end the occupation, not with guns, rockets and bombs, but with intellect, cre ativity and their own humanity as their weapons. There is hope, and that hope is found in the people who re fuse to become each other’s enemies. The exhibition opened the same week as the bombing in Oslo and the massacre at Utøya. ‘On the day of the bomb ing I was in Palestine. I brief ly thought; ‘what’s the point

in fighting for peace?’. At the time I thought it was a foreign attack, maybe Al Qaida. Lat er, I realised that it was more important than ever to finish this project. It’s more important than ever now to fight for peace’. ‘Dear Oslo...As the rose petals are swept away, and we set off in a quest of normality. We hope this exhibition can remind you of the strength of the choices you have made in the last few days - to not let hatred overpower love, and to meet the insanity of terror with humanity and dignity.’ The exhibition runs at City Hall Square, Oslo, until Sep tember 5th.

The streets of Oslo Norwegian street photographers Olav Njaastad and Olav Ljone Skogaas tell us what it’s been like taking street photography in Oslo since the tragedy of July 22.

Olav Ljone Skogaas Flickr: olavls

The bomb went off at 3.26pm and that was two or three blocks away from my office so we heard the rumble and looked at each other. My instinct was to grab my camera and run to wards the smoke. It was like walking into a war zone. It was surreal. On the Saturday after, we went down into the city centre and it was really strange because there weren’t a lot of people out and about where we lived. But as we came closer to the city centre there were more people. It was eerily quiet. Peo ple walked around in shock I think. What really got to us was seeing military soldiers in full combat gear at cordons, and police with guns, because that does not happen in Norway. For me it was important to document this. What was difficult was taking pictures with

guns. I didn’t fear that these conscripts from the Royal Guard would start shooting at me or anything like that, but still, soldiers in full combat gear with machine guns in my city , I mean, what’s going on? The front of the Oslo Cathedral was where the main outpouring of public grief was. I went down there looking for pictures of the flowers and can dles that people had put up. I turned around and saw a wom an walking towards me and prefocused. I shot this with a Leica M7. I waited for her to walk into the focus area and frame her. That took about a second. I didn’t realise the expression on her face until I saw the negative. That was one of the shots that I was really excited about seeing. Regarding the ‘I refuse be your enemy’ exhibition - I like it. It says something about us

all being people, even though there is an ‘us and them’ philosophy of thinking behind some of the rhetoric and how people live. It’s a matter of realising that ‘they’ are similar to ‘us’. We’re all people. We all have our problems, and griefs, and worries. Be you Muslim, Christian, Hindu, Buddhist, socialist, liberal or conservative, we’re all people and we all have our worries. The fact that the perpetrator was a white Norwegian who called himself a Christian fundamentalist, and the fact that he was caught fairly quickly helped a lot in the uni ty and outpouring of grief and the sense of community that came after the bombing and the shootings. Had this been, for instance, and Al Qaeda, or Al Qeada inspired plot, t he situation would have been quite different, unfortunately.

Listen to more from the interview with Olav Ljone Skogaas in this month’s podcast www.vi ewfindermag.com 10

Olav Njaastad Flickr: olavn

The days and weeks after the tragedy on July 22 have been filled with emotions. Still people are bringing flowers to the city centre, and placing them on top of the other flowers on the scene. Having a street photographer’s soul you can not avoid documenting this. At the same time, you want to show re spect for the people in sorrow and not violate their right to show their emotions, in public, or intrude on them. I think the people coming now, three weeks after the attack, are the people returning from their vacat ion. They also have a need to ‘take back’ the streets of Oslo. One day in the heavy rain, a child at the main town square stretched her arms out and said ‘Mommy, look at all those flow ers’, and her mother tried to make her understand what it all was about. 14

I felt that my camera should be directed towards the solidarity and the dignity of the Oslo pop ulation. Not towards the destructions and the results of the terror attacks. The first day after the blast I went with my mother, 85, and my family out into the forest. Pre-planned, and good for this day, we had to stay close, to talk and to let the day pass. On the second day, I went down to the city several times. I felt too limited, too much a part of the situation to really take photos. On the Monday after the attack I was called to work to document, on video, what was going on. What struck me when shooting and filming was that everybody else at the scene also was doing the same. They were shooting with their mobile devices, their compacts, film cameras and DSLRs. They were not

acting as spectators, or tourists, but they shot to document their own act of solidarity. They documented being at the place, putting down flowers and the social action they were in. The other thing that was striking to me was that there truly was a mixture of people of different origins. Oslo is a small city, tiny one might say, with only 500.000 inhabitants, but it is also an international city with more than 20 percent of the population being nonwestern immigrants. I think a photo can be a ve hicle for change if it touches people emotionally. Photos or video portraying other people in a way that makes you identify with them, is a profound way of building a social wall against terror and political evil. I think the people behind the ‘I refuse to be your enemy’ are on this path to peace.

Picture: David Hoffman

Stand your ground O n 2 1 J u ne 2011 six photograph e r s we re assigned different are a s o f Lo ndon to photograph. Pri va te s e c u r ity fir ms got suspicious. What started out as a video for use as an aid to the debate ‘Why does street photography make us paranoid?’ at the recent Lon don Street Photography Fes tival, ‘Stand Your Ground’ has become much more than a vi sual aid. The photographers David H offman, Tob y Smith, Philip Wolmuth, Pennie Quinton, Michael Grieve and founder of the ‘I’m a photographer not a ter rorist’ group Grant Smith were approached to do this film by director Hannah White. Han nah, who had met with Grant, decided it would be a good idea to ‘photograph sensitive areas, that should not be sensitive’ around London city. The film shows the photographers being requested to stop photographing by private secu rity firms who insist that they are not allowed to take pictures, and on three occasions the po lice were called. The police, however, are the polar opposite of the paranoia and obstructiveness of the private security firms, and they explain to them that the photographers have every right to do what they are doing and that there is no legel reason to insist that they cease. However, it is not the individual security staff’s fault as Hannah White explains: ‘..they’re just doing their jobs. They have been told from high er up what to do. Perhaps they

are not told enough about why they should stop people, who they should stop. There just needs to be a little bit more education.’ When the security workers are faced with a photographer explaining their rights it really shows the ‘lack of knowledge’ that exists. The reason for these areas being sensitive is due to an increase in paranoia to wards people with cameras. It started when police, the world over, ‘got suspicious of photographers after 9/11 and then 7/7.’ There has been a ‘massive change in the attitude of the police but this has not filtered down to the private security firms, which is what the film is trying to highlight.’ explains Hannah. The police used to quote Section 44 of the Terrorism Act 2000 which did not require a police officer to have ‘reasonable suspicion’ that an offence had been committed, to stop photographers taking photos in public places, which became a widely suspicious act as paranoia of terror attacks grew. ‘One of the photographers in the group, Pennie Quinton, successfully took section 44 to the European Court and it is now no longer in use because it was unfair.’ ‘In the debate we had a Ter ry Hanley, from Knightsbridge

Guarding, a big security compa ny, and Dermot Robinson, from the Metropolitan Police. We were trying to engage them and show them the film and make it clear to each that there is quite a long way to go in terms of the private security firms.’ In light of the recent riots in the UK, and London in particu lar, there is potential that the paranoia will continue to grow especially as the media help to build ‘mistrust and fear of each other, the riots could increase that [mistrust] unless they are dealt with in the proper way.’ The film highlights what poor communication and train ing of security staff can lead to, and it is important for photographers to know their rights when it comes to photographing in public space. Hannah’s advice to photographer’s who may not be aware of their rights is to ‘be very aware that you are allowed to photograph anything or any one as long as you are on pub lic property. Don’t feel like you can’t take a picture if your on public land.’ ‘Increasingly,’ she added ‘more and more public land is being privatised. Olympic park is going to be the first fully private park in the UK. Technically the people who will run that can stop people doing anything like taking a photograph o r eat ing a sandwich.’

Listen to more from the interview with Hannah White in this month’s podcast www.vi ewfindermag.com 19

Leica, by Leica and the people who use them W h i l e on a visit to Leica, in Lon d o n , A ndy D oyle got tal king to Le i c a s taff and some of the big g e s t n a mes in photography, using Le i c a c ameras, to see why they are h e l d i n such high regard.

David Bell - MD, Leica UK Leica’s Philosophy As a company we are a relatively small, if you compare us to the likes of Nikon or Canon. Our philosophy is to dare to produce products which are a little bit different, a little bit adventurous. That might be a lens for example that’s 21mm f/1.4. It might be a camera that looks retro but has the latest technology. What I love about working for Leica is that not only are we a small number of people, we all have a spirit. There’s well documented periods in our history where we were struggling. I think many readers may know that we came from a very iconic and illustrious past. I think the issue for us at the moment is to become relevant again and to become more lead ing edge. What we’ve tried to do in the past two years, par ticularly with products like

Picture: Joi

the S2 and the M9 is to relate to the pros, which in turn makes us more relevant to the enthusiasts. Leica Photographers If a photographer were to shoot, for example, Manchester Uni ted playing our M-Series would be completely wrong for that application. If that same

tools. You nee d different tools for different jobs. We have a photographer here who shadows David Cameron. The M9 is perfect for that. If you were a fashion photographer and you wanted to have dynamic pictures - if you wanted to have a large frame product in your hand, the S2 would be perfect. But, we would never suggest that Leica answers every appli cation. We still make film cam eras. We love film cameras. We have a philosophy, but we also have a style. It’s very important to us to have that style. Another photographer here today, Tom Stoddart, a war photographer, he’s been using the M series for over 30 years. H e’s totally fa miliar with that equipment. He now uses an M9, but it’s still an extension of his hand. That takes years of use to get that intimate relationship

where you don’t have to think about the product or what you’re doing, you can do it naturally. The M9 The M9 is a progression from the M8 . The M8 is still a very good black and white digital camera, but the M9 is full frame. One of the issues we had is that we didn’t want to change the dimensions of the camera to honor the past, and so that the existing lenses would fit. That gave us a very small constraints in which to get the image. As the rays of light pass through the Leica lens, they have to converge to a sensor. In a dSLR, you’ve got a bigger chamber to do that phys ics. It was the advent of a full size sensor with minute micro mirrors that could enable us to broaden the image onto a full frame, which we couldn’t do at the time of the M8.

Production We’re very sorry that we can’t keep up with demand. Particularly on M lenses. We actually are making far more lenses than we were a few years ago. It takes, for example, five years to train a lens maker. You can’t suddenly switch these things on. Panasonic We have an association with Panasonic. They make their own range of cameras and we help them. We started working tog ether about five years ago. Panasonic’s strength was in domestic goods and TVs. I think your readers will know that Panasonic won quite a few awards recently for their cameras. Those Panasonic cameras deploy Leica technology i n the lens, and they’ve done some work for us so it’s a mutual situation.

Tom Stoddart Tom Stoddart has covered many varied international events such as the war in Lebanan, the fall of the Berlin Wall, the election of President Nelson Mandela, Labour’s victory at the polls in 1997, the siege of Sarajevo, and the wars against Saddam Hussein. His most recent work covers the AIDS pandemic in Africa. In his career, Tom has won too many awards to mention. Today he LEICA shoots M on- SYSTEM a Leica M9. Everything at a glance.

The M9 Digital Rangefinder Until recently I didn’t use digi THE LEICA M-CAMERAS tal at all. This is the first time I’ve changed to digital. Mainly because of the camera itself. I’m the least technical person in the world. I love film, and dark rooms, and all of that stuff. The Camera itself gives me the same feel as the M6 that I’ve used for a long time. I decided to try it and I like the feel of the camera. LEICA M9-P Available in silver chrome and black paint finish.

WIDE-ANGLE LENSES

Martin Hartley It’s great quality. What’s important to me is that I get as close to shooting film as possible. I tend to work very close to people - to hunt moments. I don’t use telepho tos. I don’t ‘steal’ pictures, as it were. I’m a very traditional documentary photographer. This camera does everything that the M6 did or the MP. It allows me to get close and capture those moments, and when I get it on the computer, it’s great quality. That’s what its about. www.tomstoddart.com

LEICA M9 Available in steel-gray paint and black paint finish.

Martin is one of the world’s leading expedition and adven ture travel photographers. Leica Film Cameras In the past, I’ve been to places where the temperatures get to minus forty frequently . Autofocus lenses get too tight, because everything shrinks inside the camera. It’s quite a lot of trouble to keep the batteries and the camera working. I’ve got a Lei ca MP, which even when it had been at minus forty for a week, worked exactly as it did at room temperature. The shutter fired every single time I hit the button. That never happens with digital. There’s always a bit of nursing to do, and you have to keep it out of the elements. I had the MP over my shoulder the whole time, with just a bag to stop my breath from freezing onto the lens and viewfinder. www.martinhartley.com LEICA MP Available in silver chrome and black paint finish.

LEIC Avail

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Ian Farrell Ian is the editor of Professional Photographer magazine, and portrait photographer who ad vised Leica on their S2, Medium format, Digital camera. The S2 Medium Format Camera It ’s a medium format system with a 37 ½ megapixel sensor that’s roughly half again as big as 35mm. It comes in a body that’s really quite compact, and more like a traditional DSLR. In fact, it’s smaller tha n a Nikon D3. It can be u sed on location. You can shoot medium format where you couldn’t shoot me dium format before. The design is a really nice hybrid of old and new. I’m a really big fan of the traditional shutter speed dial. There’s also a nice bright coloured LED next to it that shows aperture, shutter speed, and ISO. The back of the camera

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Lara is a fellow of the Royal So ciety of Arts, and Brother of the Art Workers Guild. She shoots on Leica M9 and covers a mix of portraiture, performance, and petrol heads.

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Lecia Rangefinders As a theatre photographer, I love the fact that I can see what’s coming into the shot. you can see the rhythm of what’s going to happen and find the actual shot that you want rather than being surprised. I used to have a Nikon, which is a great camera, but you get surprised by what’s coming in. With the Leica, you’ve still got to be there at the right time. You’ve got to sit there and wait, but you can see the energy coming in and you can judge where you want to take that photograph. Your eye is more in control of the photograph than the camera. http://www.photofeature.co.uk/ 27.08.2009 10:26:51 Uhr

Christos Christou w w w .flickr.com/photos/25thcâ&#x20AC;¨

Self-Por trait

f act box : N a m e : C h r i s t o s C h r i s t o u  N a t i o n a l i t y : Br i t i sh  L o c a t i o n : S u n sh i n e C o a s t , U K  Website: w w w .f l i ck r .co m / p h o t o s / 2 5 t h c  Favourite Cameras: Lomo LCA+, Canon EOS 1000n, Olympus X A 2  F a v o u r i t e F i l m : K o d a k E l i t ech r o m e E x t r a C o l o u r 1 0 0  Favourite thing to photograph: In t e r e s t i n g b u i l d i n g s  Person you would most like to p h o t o g r a p h : T h e B e a s t i e B o y s  Inspiration: All the amazing p e o p l e o n F l i ck r w ho c o n s t a n t l y i n s p i r e m e t o t r y n e w t e ch n i qu e s , f i l m s a n d ca m e r a s .  Interests outside of photography: I am also a DJ and run my o w n n i g h t s a n d e v e n t s, a n d I m a k e e l e ct r o n i c m u s i c w h e n I h a v e t he time.

Two years ago I considered buying a DSLR, so I asked a photographer friend for some advice. He told me that he was now using film and when I looked at his photos I immediately fell in love with the crossprocessed colours and analogue feel. It was then that my addic tion to film began. I now own 30-40 analogue cameras. I started with an Olympus XA2 and some Agfa Precisa CT100. I went out shooting and then had to wait anxiously while my film was cross-processed

before I could see the results of my first roll. I was blown away by the colours and level of detail I had captured and they looked totally different to my digital shots. I am still enormously excited every time I go to the lab to pick up my film as I never know quite what I’m go ing to get. I love that it is not an instant medium. We live in a society where we expect things to be done immediately and if a digi tal shot is not perfect first time, we just take more until we are

happy. You can’t do that with film. This makes me a more selective about my shots and the way in which I take them. Multiple exposures are what really excite me about film and in particular using the splitzer accessory on my Lomo LC-A+. It’s great that I can take a shot of anything, flip the camera 180 degrees to take another shot and create something totally unique and otherworldly. The fact that the resulting images are unpredictable and may not be perfect excites me even more. 33

Gallery

Picture: NYC Photographer: Jay Panelomo Camera: LC-A+ F i l m : L o m o g r a p hy X p r o 2 0 0 F l i c k r : j a y pa n e l o 34

Picture: The Thinker in the City Photographer: Simon Garnier Camera: Lumix GF1 Flickr: sjmgarnier

P i c t u r e : U nd e r w a t e r , u n d e r s k y Photographer: Daniel Polidori C a m e r a : A g f a C l a ck F i l m : F u j i f i l m Re a l a S u p e r i a 1 0 0 Flickr: Daniel Polidori 36

Picture: Captive Cranes Power 4 Photographer: Tim Kirman Camera: Holga 135 Film: Neopan 100 Acros Flickr: guinavere 37

P i c t u r e : B r i g h t o n S u n se t P h o t o g r a p h e r : T o m We l l a n d Camera: LC-A+ Film: Fuji Superior 200 F l i c k r : We l l a n d 38

Picture : Boat Photographer: Eric Wilcox Camera: Diana F+ Film: Kodak Portra 400UC Tumblr: letitunwind 39

Picture: Mimaâ&#x20AC;&#x2122;s Den, 2011 Photographer: James Whineray Camera: Mamiya 7 Fim: Fuji Pro 400H

Picture: Livi Photographer: Rebecca Cox Camera: Canon EOS 450D Lomography: rebeccacox

P i c t u r e : T he p i g e o n s I I Photographer: Urban Hafner Camera: LC-A F i l m : A g f a P r e ci s a C T 1 0 0 Flickr: ujh 42

Picture: Lennon Photographer: Glenn Eugen Ellingsen Camera: Hasselblad 500cm Flickr: eugen89

Technique

Scanning your Sprockets S p ro cket hole photography is great b u t m a ny str uggle with scanning i t , we show you how. Wo rds and ph o to s : Paul M ur phy. People have been able to shoot on the sprocket holes of their 35mm film, using other format cameras, for a long time but recently it’s seen a surge in popularity. The Lomographic society can be largely credited with this rise in popularity of perfo ration exposures due to the re lease of some of it’s recent cameras, namely the Spinner 360 and the Sprocket Rocket. The 35mm back that is available for the Diana F+ also allow for shooting all the way to the edge of standard 35mm film. Although they are not necessary as you can run 35mm film through any medium format camera with a slight modifica tion and practice. The Lomog raphy cameras, however, are very helpful in knowing how large each frame is so there isn’t unwanted over lapping and multiple exposures. However, many analogue and toy camera enthusiasts can be faced wi th a daunting task of figuring out how to scan their sprocket hole photography. Scanners, like cameras, come in all shapes and sizes and so it is important not to assume that your scanner will not scan 44

sprocket holes. Lomography sell a special 35mm mask for scanning sprockets, however you may be able to scan them already without realising it. While there is a wide variety of film scanners on the mar ket, this tutorial is for regular flatbed negative scanners. This technique can also be adapted for many other types of nega tive scanners. I f your scanner has a medium format holder then scanning all

the way to the edges of 35mm film is easy. Rather than using your standard 35mm mask, you can put your negative strip in the medium format mask. This will, however, limit you to scanning one or two frames at a time as opposed to the regular four or six, or in some cases twelve. The problem, usually, isn’t with the scanner itself but with scanning software. If you use the software that came with

A regualar flatbed medium format holder

your scanner then you will need to work with it in it’s most ad vanced state, giving you the widest range of options for scanning, to ge t the best results. The things to look out for are ‘continuous auto exposing’ and ‘thumbnail creation’ you need to stop your scanner from trying to find standard size images to scan. These settings will need to be turned off so that your scan ner gives you a preview of the full strip of film, and not single frames. From here, you will be able

Inser t your 35mm film

to mark what sections of the strip you want scanned.Unless your strip of 35mm is firmly grasped by the medium format mask then there can be a slight raise or bend in the film as it is being scanned. This can result in a strange shape in your final scan. If this occurs there is a simple Photoshop fix. Open your sprocket hole picture and select ‘warp’ within the ‘Transform’ menu. This will help yo u straighten out your final photograph. In order to prevent this

happening ensure that your 35mm film is firmly held by the scanning mask. If you have been toying with the idea of going down the road of sprocket hole photography you can now be comfortable knowing whether or not your scanner has the ability to scan all the way to the edges of your film. Remember you might not need a new camera. A simple modification to a medium format camera will suffice in cov ering the entire surface of your 35mm emulsion. 45

Review

La Sardina

Lomographyâ&#x20AC;&#x2122;s latest invention is a sardine can inspired wide angled ocean of fun. Released relatively soon af ter the Lomo LC-W, an up mar ket 17mm lens camera, the La Sardina range of cameras gave Lomography fans a 22mm lens camera at a very affordable price. Although basically a point and shoot camera. This wide an gle fixed shutter speed (1/100) and aperture (f/8) camera is a dream of a toy camera for those who love to shoot from the hip. 48

The cameraâ&#x20AC;&#x2122;s wide angle and two simple focus options 0.61m and 1m-infinity make this the essential toy camera for street photographers. Its cute, inoffensive and light weight design can be held with great ease by your side with the shutter button under your thumb ready to shoot at any second. The compact design is slightly larger than your average sardine can, as it needs to house 35mm film, but it is the perfect size to feel comfortable

in your hand. The 22mm lens means you have to get close to your subject which ads a greater intimacy between photographer, camera abd subject. The La Sardina also makes very little noise when the shut ter is released so the alarm is never raised that a candid photo has been taken. The wind on is quick and easy so you’re vir tually always ready to shoot. The camera has a bulb, nor mal and multiple exposure set ting which allows for a large amount of creativity. It also has a tripod mount and can take a standard ca ble release. It’s film rewind is smooth and there is a shutter lock feature. The La Sardina cameras comes in four different vari eties the Sea Pride, (pictured), El Capitán, Fischers Fritze and Marathon, each uniquely de signed and inspired by sardine cans. The La Sardina range also sees the introduction of Lomography’s first flash with multiple distance settings. The Fritz the Blitz flash has a unique flash connection to fi t the La Sardina cameras. Although, it does come with a hot shoe adapter. The flash gives greater control over flash photography that hasn’t previously been available with Lomog raphy cameras because of it’s three distance settings. 49

Submit to the Magazine How to submit your work to Viewfinder Magazine: Website: www.viewfindermag.com/submit Flickr: flickr.com/groups/viewfindermag/ Tumblr: viewfindermag.tumblr.com Email: submissions@viewfindermag.com

Submission Guidelines 1. By submitting an image to the magazine, you give us permis sion to use that image on our website and in our magazine. 2. Pictures must be at least 300dpi and at least 2000 pixels on the shortest side. 3. Pictures can be taken on any camera, analogue or digital. 4. If submi tting analogue work please have the camera and film type included in either the metadata, tags, or caption.

5. Your submission may be refused without reason, as due to the nature of the publication we cannot contact everyone in dividually to explain why work was not accepted. 6. We cannot pay photogra phers for their work; any mon ey earned from the Magazine is immediately put back into im proving the magazine and the accompanying podcast. 7. You can only submit your own work. Work that is found

to have been taken from some one else will not be accepted. 8. By submitting a photo you are assuring Viewfinder that you are the sole copyright owner of the photograph and as such should any question about ownership arrive after publication of the image you are accepting full liability and res ponsibil ity if it turns out that you are not the copyright owner of the photograph.

Source: flickr.com/nesster