Behold the Fuji X70

Yes, I usually succeed in not buying another camera. But this time it’s different. Of course.

It was either the Fuji X70 or Ricoh GR II.

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It was Eric Kim’s review that made me go for the Fuji X70. It’s “a Ricoh GR with Fujifilm colors”. Fantastic!

This time I have my wife’s blessing, as I’ve convinced her that I need a digital camera for street photography at night, as I have 3-4 hours to kill while waiting for my son (as his designated chauffeur) on various evenings.

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Here’s the obligatory “me and my shadow” shot.

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There’s a whole genre of cat photography to be found on the web.

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I’m trying my best to resist taking another shot.

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I’m still not instinctively comfortable with the 28mm focal length – I’m too close this time.

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Here, I’m slightly further away than I realized – the 2 men should have filled out the whole image. I’m still thinking in terms of 35mm.

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The articulated screen allows me to be more stealthy – I can’t imagine doing this even with my Leica M6. Raising it to the eye would make me feel too conspicuous. Not to mention that fact that my usual ISO 400 film would not be fast enough given the lighting conditions.

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The Daido-inspired (poetic?) blurry shot. I think I can get away with it because of the wonderful film simulation colours from Fuji.

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The touchscreen framing via LCD approach does allow for various angles.

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I could do the “spray and pray approach” as well…

I sense a new book project in the horizon … maybe I can convince my wife … one book project, one camera …

Buy my book!

 

 

 

 

 

 

2 Idiot-Proof Approaches to Street Photography with a Leica M6

So basically, I have 2 idiot-proof approaches.

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Approach 1, step 1: Set the camera to f/16 and 1/125s on a bright (or even slightly overcast) day, depending on your film ISO.

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Approach 1, step 2: adjust my 35mm lens such that the DOF scale allows for a distance of between 1.2m to infinity to be in focus.

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Approach 1, step 3: walk around and allow serendipity to do its work.

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Approach 2, step 1: focus on a brick wall.

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Approach 2, step 2: fumble with camera.

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Approach 2, step 3: allow serendipity to do its work.

Camera: Leica M6

Lens: Voigtlander Nokton Classic 35mm f/1.4 SC

Film: Ilford XP2 400

All that Labour

All that labour.

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Those goods on display.

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Yummy stuff.

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Sometimes we don’t see all the work that goes into work.

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We negotiate a life.

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And a city emerges.

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It’s bigger than us.

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The labour of thinking.

Camera: Leica M6

Lens: Voigtlander Nokton Classic 35mm f/1.4 SC

Film: Ilford XP2 400

From Place to Place It Must Mean Something

Today, we look at the act of pushing.

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All that work, all day, must mean something.

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This is us.

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We sort things out.

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We go from place to place.

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From place to place it must mean something.

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The pull of desire.

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All that pushing…

Camera: Leica M6

Lens: Voigtlander Nokton Classic 35mm f/1.4 SC

Film: Ilford XP2 400

What We’re Looking For

We’re all looking for something.

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There’s a gap in our lives.

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If only that gap could be filled, we’ll be happy.

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We all want something.

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Anything.

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A friend.

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A thing.

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To whet an appetite.

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After that, the world would make more sense.

Camera: Leica M6

Lens: Voigtlander Nokton Classic 35mm f/1.4 SC

Film: Kodak BW400CN

Let the People Walk

Stand at a corner and look confused.

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Fumble with my camera long enough and someone will walk past.

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I’ll look a bit lost and confused and frown at my camera.

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I wasn’t holding the camera to my eye.

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Another favourite activity: aim at the window.

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And let people get in my way.

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I’ve come to appreciate photographs that look like they were taken accidentally.

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Street photography is an art that requires artlessness.

Camera: Leica M6

Lens: Voigtlander Nokton Classic 35mm f/1.4 SC

Film: Kodak BW400CN

Street Photography and Human Presence

Must we have people in street photography?

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Or is the mere suggestion of human presence enough?

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I’ve grown to appreciate the poetry of things.

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So as to be on the lookout for stories to tell.

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There’s a poetics of space here.

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There’s a story of workmanship here waiting to be told.

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What sort of obstruction is being prohibited? Are the owners of those chairs obstructing access to the door prohibiting obstructions to the chairs? Isn’t the sign itself obstructing access to those chairs?

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Work, work, work.

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The labour of mobility.

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So that we know the weight of things.

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The signpost of a neighbourhood.

Camera: Leica M6

Lens: Voigtlander Nokton Classic 35mm f/1.4 SC

Film: Kodak BW400CN