Zone Focusing with the Leica M6

Given an ISO 400 film, if the light is good, I’d simply set the aperture to f/16 and shutter to between 1/60, 1/125, or 1/250 depending on whether I’m in the shade.

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The f/16 aperture would allow for a broad depth of field, which allows me to zone focus with a wide latitude.

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The whole procedure sounds complicated, but it’s for me the mid-point between going fully auto with a point and shoot camera, and going fully manual and getting all finicky and missing the moment.

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It allows me to work intuitively and be disciplined at the same time – that’s the flow state I look for, whether I’m teaching, writing or on the streets with my camera.

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I’m at Wu Kai Sha beach – yet again.

All images are from the same roll of film, all taken within an hour or so.

I like the word “take”. To take a photograph is to take something from the world you see.

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There’s a contemplative and leisurely mood here I’d like to immerse myself in.

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It’s nice to see people relax and do nothing in particular.

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Like a frame with nothing at the centre, because the image is the frame.

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My favourite street photography trick is to start whistling – people will look at me for a bit while my camera is pointing elsewhere and then ignore me after that.

They’ll think I’m a normal person… though the guy above wasn’t quite convinced…

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At other times, they’re too involved with their own thing to notice.

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I’d like to think that every photograph I take is an image of myself.

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Sometimes there’s no need for explanations – it just is.

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It’s a way of life – this awesome village house faces the beach.

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We all have our journeys to make.

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I wish I understand jogging.

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I’m learning to look for patterns.

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Looking for moments of insight.

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We wait.

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We’re on the lookout.

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We look at ourselves.

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We think some more.

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Our pigeon thoughts will lead the way.

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The pigeons are lining up in my mind.

Thanks for reading!

 

Camera: Leica M6

Lens: Summicron Type II 50mm

Film: Ilford XP2 400

 

 

 

 

 

 

 

 

near Ma On Shan Central Park

Adjacent to Ma On Shan Central Park, facing Tolo Harbour, is a homely stretch.

On a leisurely weekend, you’ll find joggers, sunrise/sunset photographers and people simply out for a walk.

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I’ve underexposed these shots, and realized one could transform the homely and familiar into something uncanny, slightly gothic and perhaps even frightening.

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I think it has to do with seeing and not being able to see. Simply by playing with light, one could change things.

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That is why I think street photography is about “capturing” as much as constructing and playing with reality.

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Boo!