Leica Q3-43 A Crazy Decision

I bought a Leica Q3-43. Really?? Really.

It was not a well considered decision. I did not even know about the camera and that Leica was about to develop a Q with a “normal” 43 mm lens. I did not search for information about it. It just happened.

YouTube’s algorithm in its wisdom sent me a link to Hugh Brownstone’s “3 Blind Men and an Elephant” review of a new Leica Q camera with a lens that realizes exactly the angle of view of the human eye. So what?

Hugh praised the camera. He applauded Leica. He ordered the camera. He triggered his audience. And he triggered me. I took a look at the first few online reviews of the camera (it turned out it had been delivered to retailers just 3 days before I read for the first time about it). They were stellar. The only downside was the usual one that the price is….. astronomical.

I own a Leica Q2 that I bought during Covid 4 years ago. And I love it. And I wrote about it. And I used it a lot. And I also don’t like 50mm lenses. Somehow they don’t seem to fulfill my eyes’ and brains need for a “normal lens”. I cannot even exactly say why, but I never felt entirely comfortable using a 50mm lens. For portraits until now I clearly preferred my Nikon 85mm f/1.8 lens.

And now a camera with a 43 mm lens, a compact size and a moderate weight. Improved autofocus. And a f/2 lens who’s pictures look more like a f/1.4 lens. Said the reports.

24 hours later I had ordered one from the Leica Store in Sydney. 2 days later it arrived at the post office around the corner. I will not describe in any detail how Australian Mail’s parcel Service “Starship” fucked up the one workday delivery of this camera. They have 99% bad reviews for their service. I completely understand why. But that only as a side line.

Now, 2 weeks and 1000 pictures later, I am a fan of the Leica Q3. It is amazing. The pictures are stunning. They have a sharpness not for shapness’s sake but to deliver a nearly 3 D like picture that is just amazing. The pictures have a microcontrast that is absolutely fabulous. I am using this term “microcontrast” because I have no better way of describing it. The pictures pop, they look gorgeous, have a beautiful colour rendering and are just fantastic. And 43mm seem to be for me a more acceptable lens width that I feel more comfortable with.

I am not a Leica fanboy. I use cameras in order to achieve a good result. I want files that I can edit without fearing that they fall digitally apart. I want a camera that I can use everyday and that enables me to shoot portraits, street work, landscapes, sunset, sunrises, macros and motion blur pictures alike. This is a camera that provides all that in one piece.

And I know that a good camera does not turn me into a better photographer. But it gives me the freedom of having a device that is not in my way when it comes to shooting and editing pictures. A device that does what I want it to do. And where technical limitations are not the reason for pictures that don’t look good (it is my own photographic ability that is the limiting factor; that is a good reason to try to grow).

Do we “need” a Leica Q3 camera for an exorbitant retail price? Definitely not! Do we have alternative cameras for a much more moderate price? Absolutely yes. Nikon’s Z8 is a great example. Is it a joy to use the Leica Q3-43 and to regard the results of those attempts? Yes and yes again.

I bought it. I use it. I love it.

I will write again about it after some more months.

Piraeus Night Ride - a shooting and editing experience with the Leica Q2 and Nik Color Efex

It took me 8 months to edit the pictures.

In May 2020 I took a night ride through Piraeus, Athen’s harbor city with my Greek friend Alex. On our way back from a trip on the island of Salamina he suggested us to drive through the dark city of Piraeus. He wanted to show me the city and I took out my Leica Q2 camera and started shooting from the passenger seat.

I set the camera to auto ISO, the aperture to f1.7 and the exposure time to 1/50 seconds. And I started shooting into the night lit streets and the traffic that we encountered.

It became a fascinating experience. We were driving through dark suburban streets where we found islands of light that appeared in front of us and disappeared again within one or two seconds. I shot picture after picture, aware that with the relative slow exposure time of 1/50 seconds I would have some blur effect (in order to “freeze” a scene that you shoot from a driving car you need to use at least 1/250 second, better 1/500 or even shorter).

I uploaded the RAW pictures in the following week to my external hard drive, created the usual backup files on a second external hard drive and then I didn’t touch them for a few weeks.

When revisiting the pictures for the first time I found them a little boring and did not know what exactly to do with them. The motion blur was kind of interesting but it did not give the pictures shape and and any fascinating feeling. I processed some of the pictures, posted some on Flickr but neither me nor my followers were particularly interested in the results.

Not bad - but not really interesting either……

Kind of moody - but something is missing…..

And then I forgot about them. I had many other interesting subjects to shoot and I did my editing of these pictures. The Piraeus ones were on the hard drive and I did not touch them.

8 months later I accidentally came across he pictures again. And immediately I knew what to do. I had just worked with the Nik editing apps recently. So I took the RAW pictures, transferred them to Nik Color Efex where I applied some presets that suited the dark, moody atmosphere of the night and the environment.

Thew same picture with a new edit

In a second step I exported the pictures to Photoshop where I used the blur tools to enhance the motion blur effect that the pictures already had.

Color cast and blur effect

And in a last step I added some texture and clarity in lightroom and did some local enhancements of light and colors. The editing of each single picture took me between 15 and 30 minutes. That includes the time I sometimes took between step 2 and 3 in order to re-evaluate my results and to start doing my local adjustments in Lightroom.

And all of a sudden the pictures had a feel that reflected the mysterious atmosphere that we had experienced during the ride through the city of Piraeus.

We often read the recommendation to let the pictures “mature” after the shooting and to let them “rest” for a while. I often don’t follow that recommendation. But in this case leaving the pictures alone and coming back with fresh and unbiased eyes gave me the opportunity to create a completely new and different approach. Revisiting the older ones can make a lot of sense. I love the results……

About Visual Satisfaction

There are sometimes pictures where you feel that, although they are technically not bad, they are not completely satisfying your visual needs. I am writing about an image where exactly that happened to me.

I had taken this pictures at Oreti Beach in Invercargill New Zealand. It was a picture in a series of ICM (intentional camera movement) pictures of a sunset at the sea. When using ICM in sunsets you can create pictures with quite sharp and prominent lines in the sky that blend with the light and colour of the sunset which gives overall a nice visual effect.

In this picture I happened to feel during the editing process that something was “wrong”. Although colours and light were nice and although the contrasts were good too, I had the feeling that something is missing or, as I sad before, “wrong”.

If we take a closer look we see that the upper line of light does not converge in a visually satisfying way. I tried to help that by cropping the picture in many different ways. Eventually I settled with a crop that cuts off the very abrupt end of this line in the dark sky. However I still have the feeling that my eye does not find the satisfaction of a completely pleasing composition. There is some tension left at the end of that line. You don’t lean back in your chair with this sigh of aesthetical satisfaction that you have in an overall pleasing composition.

I have posted this picture to my Flickr gallery because on the one hand I like the colours and tones and on the other hand because I find it a good example of a “not satisfying” nature shot. Particularly shooting the sky means that we need to handle what we got. When curating our pictures we should just be aware of the limitations of our work that sometimes don’t have to do anything with our photographic abilities. Nature just throws them at us. :-)

Photographer and "Model" Interaction - some insights from the Inner Core Project

Inner Core Project

The “Inner Core Project” is the attempt of showing the deeper inner layer of a person’s personality in photographs. I think this is a very ambitious idea and I am still not really certain if this is possible at all.

During the photoshoots of the past four weeks with five different collaborators I have made some discoveries that I would like to share with you. And maybe some of these discoveries can be transferred to “normal” portrait photography.

Connecting to the “Inner Core”

The starting point of every photo shoot is that I ask my “model”/collaborator how they think they are able to connect the best way to their inner core, to themselves, to the deepest part of their personality. And depending on their character, the professional work that they do and their temperament they have chosen different ways of of approaching their inner core.

I worked with two dancers. Marine wanted to find herself by moving her body in a spontaneous way on the ground and by dancing. Neven chose a natural environment outside where he just rested and let himself fall into the feeling of connecting to nature. Surya, who is a Yoga teacher did not (as expected by me) want to meditate to focus on her inner being but decided to dance wildly and use her body intensely to get the connection to herself. Bettina decided to use a pose where she laid down on the floor in a comfortable position on her side. She rested and tried to feel herself. And Tania just sat down on the ground and tried to look inside without doing anything specific. So everyone had a different way of connecting to their “inner core”, to themselves.

I also asked my collaborators to choose the place where they wanted to have the photo shoot. The assumption is that the more comfortable a person is with her or his environment the easier it is to connect to themselves.

Asking my “models” not to wear cloths during the photo shooting was another aspect of the project. My assumption is that cloths are another outside layer that prevent seeing deeper into a person’s inner core. So I asked if they could not wear any cloths apart from a slip. The purpose of the slip is to avoid any sexualization of the photo shoot or even more importantly not to distract viewers from the statement of the pictures by drawing their glances to the genitalia of my “models”. Three participants could agree to this request, two chose to wear underwear or a T-shirt on the upper body.

Technical Aspects

From a technical perspective I use a small and light camera, mainly my RICOH GR III that I can easily hold in one hand. I also tried using my Leica M Monochrom and a Leica Q2 which is a new camera for me. I will write a separate article about my experience with the Q2 in the near future. The two Leicas are much heavier than the GR III (approx. 800g vs. 260g for the GR III) which clearly limits their usability for this specific purpose.

Choosing long exposure times of approximately 1/6 of a second, sometimes much longer up to 5 or even 10 seconds is another part of the project. With the Leica MM and Q2 I have used 6 stop ND filters to make shooting with long exposure in daylight possible. The GR III can’t attach a ND filter which limits its use in very bright environments. As I have already mentioned in previous articles I am assuming that with longer exposure times it is easier to get a glance into the Inner Core of a person.

I had also decided that I would process the pictures in b&w under the assumption that colour would most likely distract from the purpose of this project.

The idea of the shooting process is that the photographer does nothing but follow his collaborators with his camera. I don’t speak, I am not asking them to pose or to make certain movements. I try to adapt entirely to the wishes and needs of my “models”. Of course this makes taking photos much more difficult from a technical perspective. I cannot influence the angle of light, the way they move, the background that I catch together with the person that I am shooting.

One shooting happened in the evening so that I had to use a handheld LED light. Holding the camera with one hand and taking pictures, holding the light in the other hand and following my “model” and her movements and coordinating all this to get reasonable photos was a very challenging task.

And now I would like to come to the most interesting aspect of this whole project. There are actually two aspects. One is the question if I can really show and document the Inner Core, the inner being of a person in a photograph. And the other aspect is that of the interaction between “model” and photographer.

Showing the “Inner Core”?

Is it possible to show the “inner Core” in a photograph? Photography deals with two-dimensional recordings of shape, light, texture and colour if it is a colour picture. They “see” a person from outside. So a photograph completely depends on what a person shows in their facial expression and body posture. The camera can’t “look inside”. So the question is if my “models” show something outside that could be perceived as the Inner Core.

I can certainly confirm that during these sessions my collaborators were in a state of more or less deep self-immersion which was clearly visible on their faces and also in their postures. Interestingly I found out that later when processing the pictures I could find features in their faces and their postures that I had not seen or discovered during the shooting process. But is that a representation of the “Inner Core”? I really don’t know. I don’t have an answer to the question.

Do we see the Inner Core?

The Interaction

The interaction between photographer and “model” is a crucial aspect in this project and of course in portrait photography in general. An important question is if the presence of the photographer changes the ability of a “model” to connect to herself or himself. My answers are mixed. My feeling during the sessions of my two dancing models was that they were so focussed on their own movements that the presence of the photographer did not faze them. The ones who wehere resting tended more towards getting in contact with me by looking into the camera or even talking to me. If that distracted them is difficult to tell, my feeling was that this was the case.

All five “models” told me that they were able to connect to their deeper inner self and that the presence of a photographer did not really affect this connection very much.

I can clearly say that the nudity of my “models” did not distract me nor did it have an impact on the atmosphere of the shootings.

Another aspect of interaction is my way of shooting my participants. Depending on how much they move I need to follow my “models” with my camera and try to improvise with every picture I take. That leads to a lot of intuitive shooting where I don’t have the time or opportunity to plan or compose a picture purposefully. But even though this aspect is limited I do have an influence on how the pictures eventually look by choosing the frame and roughly composing the picture which leads to the question if my personal approach has an influence on how the Inner Core becomes visible or not. So the outcome does not only depend on what the participant is able or willing to reveal but also on how the photographer chooses to shoot the frame.

Particularly this aspect of “model” and photographer behaviour and interaction has a big impact on the outcome not only in my little project but also on outcomes of portrait photography in general. I believe that both “behaviours” decide as to how the eventual outcome of a picture is like. I have to admit that I loathe pictures where it is obvious that the photographer has urged his model into a pose without realising the comfort zone nor the personality of his model. My project goes into the other extreme by trying to minimise the influence of the photographer on the outcome and to let the person shine from inside. But I would assume that working with what a model brings to the shooting is always an essential part the looks and the success of portrait photographs. (Maybe one day I should write an article about the difference of portrait pictures with and without “posing”).

No posing….

Post-Processing

As we all know a picture is not done by the end of the photo shoot. Post-processing is an essential part of the process of picture creation. And of cause this is the case in my little project.

I have discovered that every photoshoot requires a different workflow because of the different set-ups and characters of the person I shoot. I convert the pictures to black and white, change the lighting, add grain and if necessary crop the pictures. Every picture goes through a workflow in Lightroom, Photoshop and Nik Silver Efex.

Of cause my perception of the picture, my memories of the shooting and my decision as to how to develop the picture has an impact on the final outcome of the picture. Considering the goal of wanting to show the Inner Core of a person you may ask how much this developing process alters or even “falsifies” the picture. At least does my perception of the picture, does my aesthetical decision making have an influence on the final outcome. I take the liberty to enhance the picture according to what I think is visible and needs to be emphasised.

Post-processing as the final step of a photographic workflow has been discussed a million times. And the question if we have “the right” to alter a picture once it has been taken has still not been answered. And I don’t want to go into the depth of this discussion. But what I want to say is that I am aware that my decision making during the development of the pictures on the computer has an impact on how the project is shaped. It is my subjective perception and my awareness that decide how a picture shows the Inner Core of a person in my photographs.

The Journey

I find the it fascinating to deal with something so intimate as the inner being of a person and that I get permission to try to reveal it in photographs. I find it fascinating that the interaction of photographer and “model” influence the process. And I am aware of the limitations of my own judgement with regard to my decision making during the development process of these pictures.

Not only do I get the opportunity of working with human beings so closely, its also gives me the opportunity of thinking about the creation process of photographs and the interaction between the photographer and his models. All this is much more than I had ever expected before I started the first photo shoot. It is a fascinating journey into the discovery of human beings, their behaviour and myself as a photographer.

Will I ever find an answer? Is it possible to show the “Inner Core” in a photograph? Maybe this is completely unimportant. Maybe it is the journey that counts, the journey and the human interaction.

Confessions of a dilettante poet

I am a dilettant. I am not thorough. I don’t haver a plan. I lack depth. I just stumble on.

Some days ago I was reading some Haiku poems. They caught me in a moment of sadness and defeat. And they touched my soul.

Haiku is a Japanese poem tradition that has a very clear structure and form. Original Haiku poems consist of three phrases in three lines with a number of 5 syllables in the first line, 7 in the second and 5 in the third. The message of a Haiku poem is concise and to the point.

My mind is sometimes a weird guy. And it collects influences from outside in a very unique way and then decides how to process them and how to spit them out in the form of poems. Exactly that happened with the Haiku inspired poems. My mind read them, processed them and all of a sudden I found 4 poems on my iPad that looked slightly like Haiku poems. But they aren’t. Because that guy didn’t even know about the requirements of structure and form. And the mind just did its own thing. Three of them ended up in the “New Poems” section of the website. “Poems of a venomous man.”

So I warn you. I am a dilettante. And my mind is weird…..

Thank you very much Herr Schlattner (or - the planning of a photo shoot)

When you want to do a photo shoot with a person, a “model” as we say and as I really don’t like saying, things are slightly different from going out on the street or into nature. As you have a certain goal you also need to plan the shooting. And that means you need to find a “model”, the right time and of course a suitable place.

I don’t own or rent a studio. (It would be completely useless in my case as I am traveling from Greece to New Zealand to Australia and back. Where would I have my studio then?) So I need to find a place where I can shoot. It turned out that I was very lucky in Osnabrück. Marine, my first “model” knew the owner of a Yoga place in town who was willing to let us shoot at his premises.

But I wanted a second session at a different place. And on my mind I had an industrial place, possible abandoned and in it’s original state. Such a place is really hard to find, particularly if you don’t know the city, it’s environment and the options it gives you.

So I started driving around and I came to an old harbour area where they had started refurbishing storage buildings and halls. Regrettably none of those buildings was in the original state anymore and the ones that I found were already refurbished and turned into relatively small office spaces which where not suitable for a photo shoot.

But then I discovered a large storage hall where the refurbishment works were just on their way. With a little bit of chuzpe I drove into the building site and right in front of me a grey haired chap was walking on the street blocking me from continuing. He actually looked like the foreman of this building site.

So I started talking to him asking him if he knew if the place could be used for a photo shoot. And immediately he said that yes, this would be possible and I could take a look at the hall and decide if it was suitable for my purposes. He came across as a very assertive and cooperative foreman indeed.

We walked around on the site where builders were working and creating a lot of dust. The hall was gorgeous. Approximately 60 meters long, 30 meters wide and at least 10 meters high with large windows all around the top of the walls. A huge photo studio!

Our “Photo Studio”

I said “yes!”, that place I would love to use. And he told me that I could use it over the weekend when works were interrupted, he just needed to know when exactly because he would need to open the building site for us. He gave me his cell phone number and told me his name. “Schlattner” he grumbled with a typical Austrian accent.

So I contacted Marine, my dancer and we arranged for our shooting for the following Saturday. And Herr Schlattner told me that he would be in his office on the building site the whole day anyway. “Hm”, I was thinking by myself, “a foreman who works at his office the whole weekend?”

So I googled him as soon as I returned back home. And of course I discovered that my assertive foreman was the owner of the building company that was doing the work at that storage hall. And for whatever reason he had a heart for the arts and for a poor photographer. I was really incredibly lucky.

Herr Schlattner, you were very generous and I thank you very much for the wonderful opportunity that you gave us for our photo shoot!

The Inner Core Project

What if we tried to show the inner core of a person in a photograph? That was the question I was wondering about some time ago. You can read my first thoughts about this here in the article “Destiny (is a very big word)”. http://www.chris-r-photography.net/2019/11/29/s0tfzb1zssh7b7coavrfxtgdrmvv46

The starting point of my considerations was the assumption that we all have a deeper inner core of our person, of our personality. On top of that we develop over the years layers of behaviour that are determined by education, interaction with people, experience, traumata, neuroses and other influences. Our every day behaviour is a mixture of these layers interacting with the core personality deep within.

From there I was wondering if it might be possible to show the “inner core” of a person in a photograph. During my photographic development over the past few years I used long exposure photography, motion blur, intentional camera movements a lot. When watching these blurred pictures I noticed that it felt as if I could see deeper into a person’s characteristics in pictures that I had taken with this long exposure technique. The question is of course if a long exposure picture really represents a person’s characteristics on a deeper level or if a blurred picture gives the viewer more space to imagine certain characteristics because imagination can fill the gaps that the picture leaves. This question I have not answered to myself entirely, you might have your own very personal answer to it too.

In order to find out if my hypothesis works, I decided to start a photographic project around the core idea. The plan is, to shoot people with long exposure and ask them to do things where they feel that they are within themselves to the most. I would assume that every person has a different way of “feeling herself/himself”. So I am asking my “models” to do exactly what brings them “to themselves” in the most intense way.

I was lucky to meet Marine in Osnabrück during my current trip to Europe. Marine is a dancer with the Osnabrück Theater Dance Company. She agreed to participate in this project and we met for a shooting. The owner of YogaOmline in Osnabrück was so kind to allow us shooting in his rooms.

I asked Marine, not to “perform” for me but to find a way of getting deep into herself in her own personal way. She used moving her body for this. During the shooting we both remained completely silent. I did not ask her to strike any poses but only followed her movements with my camera.

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Marine, Inner Core Project

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Marine, Inner Core Project

I found this collaboration amazing. I was allowed to look into the personality of my “model” and to take pictures of what was a very intimate personal experience. Marine has allowed me to share the pictures. I am very grateful and thank her very very much.

What is your way of expressing the core of your personality? How can you reach deep within yourself? Is there a way of showing this outside? If any of you is interested in this project and wants to participate I would ask you to get in touch with me. Leave me a message on this website or write me a Flickr mail (https://www.flickr.com/photos/chrisrsouthland). I will continue this project over the coming months. Currently (September 2020) I am still in Osnabrück, Germany.