Under the Influence

Under the Influence #5

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Luigi Ghirri

When I visit the coast, I like to look for these big sky compositions with the clouds on the horizon.

My settings on the Fuji Film X100F are inspired by the Italian photographer Luigi Ghirri and the book Kodachrome.

Film Simulation Classic Chrome Colour -4 Shadows + 2 Highlights – 1 Grain Effect - Weak

Kodachrome was Ghirri’s first book. The photographs present Italian landscapes in tightly cropped images through its adverts, postcards, walls, windows, and people. His work is abstracted compositions with highly textured frames within frames. Ghirri’s work reminds me of Willaim Eggleston as it takes time to understand the photograph's narrative fully. With each viewing of the book, his work starts to click into place, and that’s when you can really appreciate the photographer’s vision.

Keep the Faith

KV

Under the Influence #4

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Jane Bown - Exposures

I was introduced to Jane Bowen’s work when a good friend of mine gave me his spare copy of the book Exposures. Each portrait is different, but they give us this little glimpse into the subject's true persona looking out from the page.

Jane Bown worked for the Observer newspaper for over five decades, and in that time, she photographed the great, the good and the not so good of politics, music, art, and theatre.

Observer editor John Mulholland called her "part of the Observer's DNA".

What can we learn from Jane Bown and the book Exposures?

She was uninterested in the latest camera equipment and mainly used second-hand cameras, with the Olympus OM1 being the one she favoured the most. There were no gimmicks to her work, no props, no glamourous studios or locations. Everything was done with the available light. The camera was already set up, and she could be done and dusted within 15 minutes.

Jane Bowen was extremely reluctant to speak about her work, and the quote “photographers should neither be seen nor heard” is a testament to that approach.

Jane Bown, photographer, born 13 March 1925; died 21 December 2014.

https://www.theguardian.com/artanddesign/gallery/2009/oct/18/jane-bown-60-years-portraits

Keep the Faith

KV

Fujifilm Love Affair

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I purchased the Fujifilm X100T about 5 years ago, and it was a game-changer for me.

The film simulation Classic Chrome opened a whole new way of seeing, and it was then that I decided to work more in colour.

My street settings for CC are quite simple.

Highlights -1 Shadows + 2 Colour +2

White Balance, DR, ISO all on Auto as I want the camera to do the donkey work.

Why the T? This is such a versatile little camera, and I have taken it to the limits, and it has never let me down. Even in trying conditions, the T keeps going.

I have shot a full wedding with it; my bare fist boxing was all done in jpeg, and probably 90% of my street work has been done with this camera. I have hardly ever used RAW, and that is because the jpegs give me everything I need.

But my love affair with the T is nearly over as I recently acquired the X100F, and this is a thing of beauty. It has renewed my interest in Black and White with the beautiful Acros film simulations.

It is just like the T but with steroids. ISO is better, the focus is sharp and quick, and it looks and feels good.

I also own the Xpro1 with the 35mm 1.4, again a superb camera that can be temperamental at times, but this camera can produce some beautiful images when it is on it.

Everyone is different, but I like to keep my set up nice and simple I do not chase after the next big thing in the hope it will make me better photographer as its practise that makes you better.

When things are not going right, always remember it is not the camera's fault. It is the idiot holding the camera.

Keep the Faith

KV

X100T Classic Chrome

Under the Influence #1

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Harry Gruyaert.

The Belgium photographer is still a constant source of inspiration for me, and his self-titled book is the first one that I reach for when I need some direction.

In his early days, he was regarded as a maverick. A pioneer someone would not conform to the rule book. This photographer sees the world in rich colour, so he decided to photograph it that way. He found a style that suited him and then worked on it and made it his own.

By his own admission, there are no narratives to his work, only shapes and light.

His use of heavy colour mixed with punchy blacks draws the viewer into the frame, and there are no constraints to his style of work as he moves freely between street photographer and documentarian.

In the book Edges, he provides us with some beautiful seascapes that still have that “Gruyaert” look.

Harry Gruyaert is a great starting point for any photographer looking to experiment with colour.

Recommended Books – Edges & East /West

Keep the Faith

KV