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Posts tagged ‘Vivian Maier’

#20 NABEELA AKHTAR & OMAIR BARKATULLA Cairo (Egypt) Photographers


Leica Liker is honored to have NABEELA AKHTAR & OMAIR BARKATULLA, Cairo (Egypt) Photographers as our #20 guests.

It’s hard to believe that you can achieve something when you’re expected to  shoot the ‘picture perfect’ and capture the ‘decisive moment’ that’s illusive 99.9% of the time. So I decided to start this year’s first post by exploring raw experimentation. The idea of picking up the camera and playing with it. Letting the desire to learn and be a part of something, lead you to where ever it may. Trying out ideas in your head and seeing how it plays out in reality. 

I came across Nabeela Akhtar’s and Omair Barkatulla’s photo collages, and saw that even in the center of the Egyptian revolution, learning and experimentation is alive and well. Media has dominated so much of our world opinion on life in the Middle East that it has distorted reality. So much so, that we forget that people still have to deal with the business of everyday living.

What drew me to Nabeela and Omair’s images are their playful experimentation with time, collage, humor or just movement . The same person or animal can be seen ‘walking or running’ through the frame. Or the hands can be in two different places at once.  Like a mini documentary film captured within a single frame.  They want us to see the magic of the entire experience and not just that fickle fraction of a ‘decisive moment’. They appropriately call their blog, A Cairo Minute. Implying that time is extrapolated. It’s different. Everything is seen filtered from their peculiar point of view. It’s clear they do not take everything so seriously and they have fun with photography and photoshop. 


Their unabashed and sometimes wild photo collages recall a mixture of Eadweard Muybridge’s seminal stop-motion work on Animal and Human Locomotion  and David Hockney’s amazing photo collages of places and people. Omair pointed out that Hockney’s images are portraits and not photos.  They actually liken their work more to Martin Handford’s children’s classic, Where’s Waldo? (Where’s Wally? outside of USA and Canada)   Leica Liker readers will also remember Jan Meissner’s  beautiful fine art collages. 

What I also love about Nabeela and Omair’s experiments is that they broaden our photographic horizon. Particularly in the world of documentary photography. We should try different techniques and different processes. These collages are meant to be seen up close and larger than life-size. I see it analogous to the human desire to look outside of our galaxy for new worlds when all we have to do is look within our single frame called Earth. Our oceans and the human body are a universe in themselves. And within the single frame of a photo, we can experience with all our faculties of what it’s like to ‘live’ in Cairo.


Here is my interview with NABEELA AKHTAR & OMAIR BARKATULLA:


What is your relationship with each other?
O: Nabeela is my dear wife and gets me out on the streets to work when I’m feeling lazy.
N: Omair is my husband.

Nick Names:  None
Currently living in:  O: Maadi, a suburb in Cairo.  We both come from England. Stopped in Egypt for a holiday and decided to stay for a while.

Motto: O: A photographer should be charming.

Street Photographer since:
O: School days.
N: Ever since moving to Cairo in 2010

How did you get started in photography?
O: I was studying graphic design. I took a photography course and was challenged to use it in creative ways. We shot with negative film and printed ourselves. We often used the images in our designs. Photography to me, is graphic design. You are essentially selecting and choosing and putting together elements. That ‘s how I got into it seriously. When Nabeela and I got married we both shared a passion for it.  We found we could collaborate together.  Sometimes we do one or the other project together. We like to bounce ideas off each other.


N: I guess it all started because my Dad was into photography. I could remember when I was 5, he would be filming video at every occasion. For him, it was a huge thing. He always had a Polaroid with him too. When I got older he let me be the one to use the video and Polaroid at all family events. From there, it was natural that I was drawn to street photography. When we moved to Cairo my interest in photography blossomed from interest in the amazing architecture. I moved to street photography because every where you go, life is happening. You can’t avoid it.

My interest in panoramic collages came after the Egyptian revolution, went to a part of Cairo to take pictures of graffiti. It was this really long wall. I slowly photographed along the wall. It wasn’t until I got back home and loaded the images into Photoshop, I realized the people and traffic were more interesting. So I went back to take the panorama. The second picture I took was of a mosque and 3 people on motorbike. It was quite fun. I realized it told a story of who was visiting the mosque and it captured a whole street life. It was from there the panorama developed by accident.

O: Graphic designer, lecturer of design at university
N: Personal Trainer

O & N:

Organizations  or  Group:  None

Omair-Jamia mosque Delhi

What was the first camera both of you started with?
O: Point and shoot Fujifilm when digital cameras were the new thing. Then I was very interested in medium format so I bought a seagull, a twin lens reflex. It ended up being very expensive with the film. Then we bought a Nikon 3100d. It is inexpensive, not bulky and not intrusive. We are not the most lavish spenders of equipment and kit. We spent more on decent lenses. You shouldn’t put off that project because of not having the killer camera because it might not happen.
N: My Dad’s Polaroid.

Favorite Street Camera & Lens:
O: Nikon 3100d, 24mm (not pro, but light enough)
N: Nikon D3100d with 18-55mm kit lens. It’s basic but we’ve had some good times with it.

Back-up Street Camera & Lens:
O: None
N: 50mm lens is perfect for those close ups. A small but versatile digital Canon SD1100 is perfect for taking discreet pictures without attracting too much attention. I also use my Samsung Note 1 GT N7000 phone. With the increase in better camera quality on your phone, its now possible to take high quality pictures.


Favorite photography gadget: O & N: None
Favorite street food:
O: Pop corn
N: When I’m taking pictures I like to eat light and quick. In Cairo there’s plenty of street stalls selling small sandwiches consisting of fool beans and falafel stuffed in warm pita bread with fresh salad. I also drink plenty of water to stop myself from dehydrating, especially in the summer when temperatures reach as high as 39˚C.

Do you listen to music while shooting?
O: I listen to the sounds of the city.
N: No as I find it distracting. I love to hear the sound of the streets and use that to guide me towards my next picture

Favorite music when shooting and/or editing Photos: 
O: Anything mellow: Donovan, Paul Simon.
N: I’m not fixed on one genre. I like to listen to a wide variety from 50’s rock and roll to classical music

Favorite photo software:
O: Photoshop and Lightroom
N: Adobe Photoshop CS5.1

What software do you use to stitch the multiple shots into a panoramic collage?
O & N: Adobe Photoshop CS5.1


Is there a lot of post processing done to the stitched images?
O: Yes, cutting out people, colour correction, sharpening, burning.
N: On my street photography no, but with the new collage project, A Cairo Minute, it takes more work. It’s like creating a whole new picture starting with a blank canvas. We need to spend longer time selecting the right pictures and then stitching the multiple shots together to create the unpredictable results you see.

3 Favorite Master Photographers:
O: Steve McCurry, Sebastiao Salgado, James Natchwey
N: Steve McCurry, James Natchwey, my husband

3 Favorite Contemporary Photographers:
O: Andreas Gursky, Martin Schoeller, Joel Sternfeld
N: Andreas Gursky, Vivian Maier, Flickr groups

Which 3 photographers’ prints do you own?
O & N: None at the moment.

Color or Black and White?
N: Mainly colour, but black and white does have a classic feel to it that makes certain pictures stand out.

Shoot Film or Digital ?
O: Digital because we need quantity. The display screen has changed everything.
N: I was given a Zorki-4k film camera that I’ve not had the chance to use yet. I’ve experimented before with Omair’s Seagull film camera and love the detailing of the pictures. But right now I would always go for digital as we live in a time of constant movement and haste and the need to take pictures and develop them quickly is greater.

If Film, what type of negative? Kodak

Omair-Calligrapher in India

Is there a special time of the day you like to shoot or is any time good?
O: Late afternoon when Cairo starts to get social. The light is a rich golden colour.

N: In Egypt the sun is too strong during the day so I tend to shoot early morning or mid afternoon. I love the lighting produced by the morning rays and by the late afternoon sun.

How do you define photographing the streets?
O: I’d say the photo should capture something of the reality of where you are. I don’t mean you shouldn’t construct the photo somehow.  I feel if the place that you choose does not translate the mood then it’s because they’re just pictures. You have to wait for the event that happens that exemplifies the nature or mood of the place. Or like we do, we unashamedly construct a whole picture from pictures in our collages. It’s not pointing and clicking and being honest. But honesty is relative and debatable.

We might stay somewhere for 15 minutes. A mother pushes a stroller and a child follows and drops something and picks it up. Or a car accident happens. On any given day things could be interesting or dull. It’s all about waiting for the thing to happen.

I studied anthropology and talked about how to represent a culture to other people through photos and film. You are already making editorial decision of where to point. Like film you might add music to enhance or bring out the mood. It’s the same when we wait to capture something. Sometimes I include myself in the shots on our collages for character. And of course where we choose to set up photos is already the first editorial decision.


N: It’s observation of the subject first- that’s the main thing – and getting into position. For our panoramic collages, I often find the position and wait for 20 minutes. I don’t believe in shooting a bunch of pictures and hope that one turns out. Of course I do rely on a little luck.

Why did you choose shooting the streets and not another form of photography or stamp collecting?
O: Collecting people, places and environments is something you can’t really buy. We own the experience, and the fact that we came and saw and captured it. You can’t really sell that on, or collect that from others.

N: Actually when I was a teenager I was an avid stamp collector, with my favourite collection hailing from Russia. I appreciated the design, typography and texture of the stamps.

I did my degree in Psychology and so have always been interested in human emotions and the way our environment affects us. Since moving to Cairo I became interested in Street photography. It was a real challenge trying to take pictures, as people here tend to be more suspicious of anyone with a SLR. But I found that with street photography it’s about getting out there, assimilating yourself and overcoming your fears. You’re not going to get it right every time but it’s the excitement that keeps you going.


What motivates you to photograph the streets?
O: The knowledge that they won’t always be the way they are. It’s the notion of real life and being a window for others into real life (even if we are warping it).

N: The moment when you capture a shot that makes the whole day worthwhile.

Is shooting the streets an obsession?
O: I wish I did more.
N: To me it’s an addiction. I can’t walk the streets now without scanning the scene for potential picture opportunities. Here in Cairo every moment is worth capturing.

You call your images collages. What do you mean by collage?
O: Sometimes we call it photo stitches of pictures arranged together. Like a spread in a magazine, the editor and designer organizes the pictures together. It is also a collage. They are meant to be seen together. Like ours is one of a series of shots made in a short period of time.

N: A collage is a collection of different stories to reveal the bigger picture of what was happening. Often we take pictures of a street scene over 20 minutes. But when we put it together, it appears to have occurred in a few seconds.

polling line men smaller

Are these stitched images ‘unposed’ ? Are the shots superimposed on top of each other? What made you decide to use the panoramic format?
O: If you look at David Hockney’s photographs, they are seen as portraits rather than photographs.  A professor once told us: Stitched images are more filmic. No one experiences a person in a flash- we see frowns smiles, etc. You could look at it from any point in time or place. Film allows us to rewind and go back. And like a comic strip, you can always go back and that is what we are trying to achieve. Some collages of ours don’t show time from beginning to end. Instead, we let the viewer step into it and be part of it. We let them figure out the timeline based on their own experiences.

N: I enjoy filming and so it might be why I like the format of the panorama to capture a few minutes into a second of a frame.  I don’t know if you have this in America- It’s like Where’s Wally? Find the person within a busy picture. You can’t just glimpse you have to look at it in detail.

For instance, take our photo of Alexandria, by the sea. If you look carefully you can see the same people repeated several times. Some panoramas you have to see large. We only do small prints for ourselves. If we could blow them up 10 meters and with high resolution, it would be really cool.


Are you a lone shooter or do you like shooting with friends or a group?
O: I prefer to be alone to concentrate, but sometimes a partner helps you be more confident and less of a threat to people.
N:  I like the freedom that shooting alone gives you, so I mainly go out by myself. But I love the moments when Omair and I get to shoot together.

Favorite street photography city:
O: Sarajevo
N: India, but my current favourite has to be Cairo. Every road, every corner, every place is a photo opportunity waiting to be captured.

What inspires your photography?
O: Artists like David Hockney, ‘Where’s Wally’ (in the US you have ‘Where’s Waldo’)
Films by Wes Anderson, Stanley Kubrick. Literature about urban spaces, and anthropology. Noticing things about different cultures.

N: Many, many things- Other street photographers, books on design, architecture, psychology, creative documentaries on Vimeo, poetry, graffiti, art galleries, the countryside and cities, the environment around me and peoples’ stories.

alexandria library

What do you look for in a good photograph by others?
O: What are they trying to show me, and does it give me a shiver down my spine? Great composition and exposure.
N: Detail, humour and something that makes you think about the picture.

How do you go about shooting a street photograph? 
O: Be a person who notices things, this can’t really be learnt from a book. In Cairo, it’s  too easy or a cop-out when you choose what is old, dirty, poverty-stricken to shoot. Try to be subtle I think. Get in with people.

N: Decide what I want to shoot and then go out and find it. Most times though I shoot anything that catches my eye.

muiz street

How do you compose a typical stitched shot?
O: Stand in one place, and start shooting about 45 degrees of peripheral vision, getting high, low. Wait for interesting people to come by, close to you and far away. You need the closer people to make the images interesting.

N: Stay in one place and begin shooting when something interesting comes in my view. I shoot people from far and close moving from right to left and I only leave when I am happy with the shots.

O: I was exploring the neighboring area next to mine. I saw it and came back the next day with our camera. I don’t think the people realized how interesting they were. The owner of the pool table was providing a service to the kids of the neighbourhood . We spent about 10 minutes from one angle and 10 minutes from another angle. That could have been a single shot in itself. Sometimes a scene is so wide we have to cover 180 degrees.


We got close and snapped away about 100 shots. It’s a good exercise. If you like wide- angle photography, maybe you should snap away and make a collage.

People regurgitate photographs they’ve seen before. It appears to be true when you see lots of photos taken in poorer countries. There is a repeated image of a smiling poor kid. We as observers seem to like specific narratives of people: poor yet so happy.

Maybe a way I avoid this is to take lots of photos and not just one. That’s what we try to avoid. Like World Press photos: they are powerful. But it is unclear what people should think it means: the African woman with child touching her mouth, for instance. People travel to any country and they take images that they think they are supposed to take.

On shooting pictures of the poor: I don’t know what I believe about it. One of my students says he wants to do a project on poor people. I asked him what he meant. I asked him to ask a deeper question. The problem is the made up feelings that privileged people make up about the rest of the world. Be careful what you are trying to say. Try to show what it was like in that place.


N: We were just walking along the promenade and at the top of the steps. I was admiring the castle in the background. A father was helping his little girl fly the kite. I liked the kite flying in different directions. The main subject is the child and father. They were living a carefree life for the day. It was fun to watch that and have the memory in the panaorma.


N: Eid celebration is the equivalent of Christmas in Egypt. The teenagers were out at the local mall. The dogs seemed like a social status. I wanted to capture a different part of Egyptian life. There were a lot of kids with their cars. Some were dancing. A lot of people went up to them petting the dogs. I’ve never seen anything like that before. It was something we came across just walking.

Best 3 tips for shooting the streets: 
O: Be polite, don’t intrude. Learn the language a bit.
N:1)Take plenty of water if shooting in hot weather and travel lightly
2) Be patient and alert and wait for the right moment before you shoot
3) Try to blend in so you can capture people in their element

Best single advice on how to improve your work:
O: Don’t just make photography that speaks to you, others have to dig it. Share the photos.
N: Practice, practice, practice. Get out on the streets for hands on experience. Also look at other photographers work to get inspiration.


Best single advice on how to edit your work.
O: Don’t over do it. But realize that you are not cheating, because the whole idea of photography is construct. Images are pretending to be a window to a real place. Make the colour and the feeling like it was, or how you remember it was.

N: Learn how to use the software first before attempting to edit your work. Follow free tutorials online and keep practicing. Don’t overdo on the editing, let your pictures have a raw quality to them. I love the burn and dodge tool, which allows you to bring out the detail in the image. You also have greater flexibility with using this tool by editing part of the picture rather than the whole image.

Best single advice for someone who wants to get into street photography:
O: Read about cities and city culture. How do they come about; how is life affected by the design of the city and the people that are in the mix.

N: Look at other photographers for inspiration and advice. Take a workshop on photography. Go on a trip to somewhere new and exciting and capture it.


What’s the best moment in your photography career?
O: Capturing a kids’ football match near a mosque in Cairo.
N: Composing the collages in A Cairo Minute

What’s the worst moment in your  photography career?
O: The Police in Cairo, grabbing my camera and deleting a load of images during a protest.
N: Being approached by plain clothed officers in Tahrir Square, Cairo, on the start of the Egyptian revolution, and made to erase all of my pictures.

Tell us about the political unrest you are experiencing now. Does it affect you now directly or not?
O: I had a point and shoot. The police was preoccupied with the protest. Before the revolution in Tarir Square (in Cairo) in 2011, protests were not common events. Nabeela and I were naïve at what we were doing. We went to see what was happening. As soon as I photographed a policeman holding a shotgun, they came over and asked why I was photographing. He took my camera and started deleting pictures. He could have easily smashed camera and no one would have known or cared. I had photographed the police not for police but to have a record of the memory for ourselves. The police looked nervous. They were bewilderd that they were standing over the protestors. I was lucky, by mistake he didn’t delete all of the photos.


N: We were at Tarir Square a day before the revolution. We noticed the police taking out riot equipment. The police told us to delete the photographs. I got quite angry. But looing back, we realized you can’t go around just taking photographs as if nothing is happening. Probably a better response would be to shoot from the hip or simply be clever about how we shoot.

After the protest, as life got back to normal, most of the places we took pictures of already had a lot of people who were also taking pictures. So I don’t think the unrest has affected dramatically the way I shoot. Perhaps disguising the way we shoot is the change.

I would say, because of the culture, I don’t feel comfortable shooting specific scenes. For instance, the boys at the mosque playing football: I felt more comfortable with Omair taking photographs. I do find if you ask people before hand, then they have no problem. But if they say no, then I walk away. But that’s street portraiture. If I feel the person knows then I will ask. But most of the time we look away. Most people don’t realize what I’m doing. Sometimes, I would shoot with the camera on my knee.

Is there a difference between the time you took pictures before unrest and after?
O: It’s always been suspicious but its easier now to take pictures. 10 years ago only professionals had cameras. After the revolution, people became less afraid of the police. It’s easier because there are more opportunities. The police are not as well respected so people stand up to them more. Mobile phones are completely accepted. More young people are taking pictures and sharing pictures. More people can afford cameras. It’s become more common.

N: It is not as open to take pictures anymore in areas of protest. The people are more on edge. But other areas I would have no problem.


Are you more  motivated to shoot the protests now that the police did take your camera? What advice would you give to photographers in an unrest situation?
O: We were quite naïve to take pictures of the police. Police don’t appreciate being photographed in countries where they are brutal. Keep your distance.

Make sure you have a way to back-up the images. For instance, wirelessly.  If they delete your images you’ve still got it. If you are a journalist you are more informed about this. Don’t go for the big camera. Master the technique of looking in one direction and taking a picture in another direction.

What we face here is probably more rioting. Not really civil war. The army is very well armed. The protesters not.  Syria and Lybia are different cases. I asked my neighbors here if they noticed anything different since the protests. And they noticed nothing. Violence always makes the news. But it’s in one part of town. People naturally think the whole country is that way. I remember the armed police went to Disneyland. It was heavy handed. You can spin it anyway. Here it’s bad, they killed a lot of people. The country is in a depressed state. Their own army is killing their citizens. The value of human life in the Middle East is running quite low these days. People are killing and being killed. Brutality does not register as much as it should. In the UK and America, we are quite distant. It’s reported but in Middle East, the people are stoic. They accept it and move on.  You talk to most people- they don’t have a spring in their step. They ignore it. They switch it off. In general, they don’t get involved in politics. It doesn’t affect us physically but the mentally is there. They do get on with daily life.  Fine art and contemporary art is different here. Harder for creativity. Graphic design is more commercial like publishing, typography, branding, things that people will always need. Here, fine artists do get into politics. And we in graphics do get them to think about.

You can’t always be revolutionary or experimental. There’s a job to be done.

N: I would say freedom is not really there to take just any picture. Although In some ways I feel more free in Cairo than in the UK. Because they are more laid back here in Cairo. People are more free to experiment than it was a few years ago. Before the revolution there was no graffiti- now there are more people expressing themselves – more graffitti. There is a big art scene that’s coming. People are more open to expressing themselves. Before you would be locked up. Now I think it has gone back to before the revolution. Now people talk more about politics than before.  Although, many friends left Egypt after the revolution.

The political climate keeps changing in Egypt, and now some say it has gone back to the brutal regime of Mubarak (possibly worse) and freedom of expression, press and choice is being oppressed.

street clashes in Cairo

Do you feel you need to document the unrest? Or is it better left to professionals?
O: The police now are quite suspicious if you carry a big camera. Documentary news should be left to those who are who are good at it. We are not putting our lives on the line. People here don’t like journalists in general. They have a fear that you will make them look bad. They think maybe this is government propaganda. That journalist exposes the bad in our society.

If you have a camera pointed to a family it is God-given right not to be photographed. People shout at you. You have to be street wise to navigate that and not get into trouble. Forget buildings like banks, airports and government buildings. They are sensitive to that.  It’s not dangerous but it’s not easy. Security guards are told not to let people take photos. I once photo of a building near a market place, Nabeela was looking for hair accessories. She didn’t buy anything and walked away. The vendor then accused us of photographing her without her permission. She called other people around and we had to diffuse the situation. She wanted to pick a fight. It’s an art to photograph people without them knowing. It’s your right as long as you don’t make them look undeservedly bad. This is important and specific to Cairo.

N: I don’t need shoot unrest because the professionals are doing that. I want to focus on the different side. I don’t want to focus on the negative. I want to show the carefree life. We didn’t see that until we stumbled on it while walking the streets. In the city of the dead, people live amongst graves. It reminds me of my childhood – carefree but they play amongst rubble – carefree regardless of your situation and environment .

barber shop smaller

What projects are you working on?
O: I am documenting good shop sign typography and hand lettering in Cairo before they disappear to computer-designed cheapness.

N: A Cairo Minute which consists of a series of pictures, stitched together to create unpredictable and often humorous results. Also working on capturing the vintage VW Beetle car that is aplenty in Cairo. Capturing them in their environment, in their well cared for or battered state.

Where do you want to be in 5 years with regard to  photography?
O: We want to have made more collages and be able to exhibit them really big, in high detail.
N: Hold an exhibition with our work. Working on other new and experimental projects

Are there exhibitions planned in the future?
O: Soon at the American University in Cairo, and maybe elsewhere.
N: Hopefully in Cairo and London.


Leica Liker thanks Nabeela and Omair for sharing their experience and inspirational advice with us. We look forward to checking in with them in the future.

You can check out Nabeela and Omair’s gear in “Liker Bags’n Gear” here.

Their self portraits are here.


selfy omairOmair

#4 CRAIG SEMETKO, Los Angeles Street Photographer

Leica Liker is honored to have Craig Semetko, a published (LL’s first) Los Angeles Street Photographer, as our #4 guest.

Craig is a super busy man these days. It was hard to pin him down because he is in the middle of his new project, ‘E PLURIBUS UNUM’, which entails driving all around the United States compulsively looking for the ‘decisive moment’. But when he had to come back to Los Angeles to do a comedy gig, I was able to squeeze out a few hours with him at Mel’s Diner on Sunset Boulevard. Craig is a real trooper. He was a little under the weather but didn’t cancel me. “The show must go on!”

After a few gulps from his cup of hot tea and honey, he was raring to go. All our talk about photography, people, life, cameras, and politics made him quite animated. I was thrilled because you couldn’t stop him. ☺

When I first embarked into street photography, I scoured the internet and bookstores for information and images. I came across the stable of master street photographers  you’ve all heard of, as well as Craig’s work. I also had the good luck to see his images printed and meet him at a solo exhibition at the Phil Stern Gallery here in Los Angeles.

What caught my eye in Craig’s work was his sense of humor in so many of his street photos. They were classically composed, each with a story to tell and harked back to the photos of Elliott Erwitt and Henri Cartier-Bresson. Then I learned that they are his heroes. Funny how that is.

Craig talks about depth in his photos: Depth coming from composition, content and emotion. With today’s digital photography and social networking, countless photos are taken and shown without consideration of these elements. But this self taught photographer strives very hard to achieve all three points. Together, these points always lure me in: like fish to bait. I want to know more. I always laugh or cry with the subjects in his images. They have sentiment but aren’t sentimental for sentimentality’s sake. And they often leave an indelible impression. That’s why I can remember so many of his photos, while others I forget immediately after I look at them. In my eyes, that’s a sign of a master in the making.

You can see many of Craig’s classic images in his first book “UNPOSED,” published by teNeues with a foreword by legendary photographer Elliott Erwitt. It was released worldwide in late 2010.

Here’s my interview with CRAIG SEMETKO:

Nick Name: None that I’m aware of. Maybe people call me things behind my back.
Currently living in: Los Angeles. But I have been traveling throughout the United States for the past year and will continue through the end of this year.
Motto: To quote Hunter S. Thompson: “ When the going gets weird, the weird turn pro.”
Profession/Job: Professional photographer and comedian.

Street Photographer since: Since 2000, when I went to China on a business trip and thought I should bring a camera. Prior to that I didn’t own a camera.
Websites: and
Organizations or Group: I don’t belong to any group that would have me as a member.

Favorite Street Camera & Lens: Leica M9 and Summilux 35mm f/1.4 (used most often) and Summilux 50mm f/1.4 lenses
Back-up Street Camera & Lens:
Leica MP. Same Summilux lenses: 35mm f/1.4 and 50mm f/1.4
Favorite photography gadget:
I love the “Thumbs up”. It kind of replaces the shutter cock on a film camera.
Favorite street food:
Any Thai street food.

Do you listen to music while shooting? Only in my head – if I wore earphones I’d get run over. Actually, I did get run over once (I’ll tell you about that later.) The music I listen to is in my head and frequently applicable to where I’m shooting. It’s usually some corny song. For instance, when I was shooting in Savannah, Georgia, I was whistling Dixie in my head.
Favorite music when shooting and/or editing Photos: When I edit I listen to all kinds of stuff-Oscar Peterson, James Brown, Rolling Stones, Ramsey Lewis…lots of jazz, funk and rock and roll.
Favorite photo software: I don’t like a lot of tech because it drives me crazy. But I do like Nik Software’s Silver Efex Pro 2 for black and white photos. As for color, you don’t have to do much to the image when using the Leica. Its sensor has vivid colors and high contrast. So I don’t need to futz too much. I just play with the curves a little in Aperture and Lightroom.

3 Favorite Master Photographers: Henri Cartier-Bresson, Elliott Erwitt and Robert Frank
3 Favorite Contemporary Photographers: Steve McCurry, Peter Turnley and Aaron Huey
Which 3 photographers’ prints do you own?
1) Herman Leonard’s photo of Dexter Gordon
2) John Dominis’ (Life photographer) photo of actor Jackie Gleason and singer Frank Sinatra at dinner.
3) Vivian Maier’s overhead shot of a soldier and girlfriend holding hands.

Color or Black and White? Both.
For the first 10 years I shot primarily black and white because my favorite photographers shot in black and white. Now I shoot mostly color. And I’m getting good feedback on it. I’m evolving.
Black and white is generally more abstract because we see in color. So it’s a challenge when working with color because it adds so many elements to the picture. If it doesn’t jive then it can look pretty bad.
Black and white is a great way to learn photography. It makes you concentrate on the essentials: form, light, story, information and emotion. Adding color can be distracting if you’re not careful. Depends on your interest and style. I’m just working my way through that right now.

Have you looked at Constantin Manos’ work? He started in black and white and moved to color.
Yes, of course. Constantin Manos’ earlier black and white photos were definitely more humanistic. The people were expressive in the pictures. His color shots are more abstract, but they do maintain a humanistic aspect.
When I shoot black and white, I also usually take the humanistic approach. And I’m applying this same approach to my color work. You know, to be conscious of the color scheme in the photo and how it relates to the people and the sensibility of the image. I really don’t want clutter in my photos, which appears rather easily with color if you’re not careful. In general, I have not made an exclusive change from one to the other. Some pictures look better in black and white and others in color. It just depends. By default, I am shooting in color for my ‘E Pluribus Unum’ (Out of Many, One) project. So it is making me think more in color.

Shoot Film or Digital? I started with film but now I shoot almost exclusively digital. When Leica came out with the M8 it was thicker and it felt too big. I didn’t like the feel. And I missed the click of the shutter cock. So I shot film for a long time while people were shooting digital. In 2008 I was commissioned to do some photography work in Los Angeles. I bought the M8.2 and the more I used it the more I liked it. Since then I never looked back. Very rarely do I use film now. My current project, ‘E Pluribus Unum’ is shot entirely with the M9. As I’m taking thousands of pictures, the time and cost of film and processing would be prohibitive. Now I’ve grown accustomed to the M9 and the ability to change ISO for varying light situations. I shoot primarily 400 ISO because I know the exposure from years of using Tri-X. And it’s great to know if I have the picture by checking it instantly.

If Film, what type of negative? I shot just about everything with Tri-X with the occasional Kodak 3200.
Is there a special time of the day you like to shoot or is any time good? For color, I like the golden hour in the late afternoon. With black and white I prefer overcast days as you can shoot anytime and your exposure doesn’t change.

Why did you choose Street Photography and not another form of photography or stamp collecting?
When I first discovered Henri Cartier-Bresson I saw a quote of his that said, “Photography is nothing-it’s life that interests me.” That rung true for me. Taking pictures in the street was just another form of people watching and telling stories.

I think street photography was always a part of me. When I was young, I took drawing and art classes and learned basic composition. Of course I learned a lot more from studying great photographic work.

I’d been a comedy ‘observation’ writer and performer for 20 years before taking any pictures. Comedy is about observing people, characters and life. So is street photography. It was natural that I would pick up a camera and look for people, characters and stories to tell. Comedy is not entirely different from street photography, at least as I see it.

When I went to China on a business trip, I bought a camera and took lots of photos. After seeing some of them printed, I realized I could use a camera as another means to tell stories. And that’s how I started. I looked for drama and characters on the streets. But then I began to study HCB’s photographs, and I realized how complicated his images were compared to mine. He looked for the form first and knew the drama and emotion would follow. This realization made me start concentrating more on composition. I also discovered Elliott Erwitt early. He has a great sense of humor, which strongly appeals to me.

What motivates you to photograph the streets? I want to capture the truth or authenticity of a situation.

W.Eugene Smith, the great photojournalist said, “I’m not interested in the truth of the lens, I am looking for the essence of truth.” For example, take a look at his famous 1958 shot A Madwoman in a Haitian Clinic. In his contact sheets, you see the woman in a room with objects and details behind her. But in his final presentation print, he blacked out the background by burning in the room. He then applied bleach in the whites of her eyes to make them pop. This left a disembodied face that looked freakish. To him it conveyed the truth of the situation: a woman trapped in her own mind. I’m not passing judgment. I’m just saying, it’s about capturing people, life situations and showing that truth.

I gravitate towards the absurd and street photography allows me to find it. I like people to look at my photographs and say, ‘what the hell is that?’ I try to provide the elements of a story and let the viewer fill in the details.

Is Street Photography an escape or an obsession? More obsession than escape. In the beginning it was a burning love, like meeting someone and going through the first phase of lust. Then it settles into a deeper love. I have a different feeling towards it now than when it began. Before it was – ‘I’m going out to shoot.’ Now, it’s my life. It must be a passion or mental illness that is making me criss-cross America for the next year.

Are you a loner or can you shoot with friends of a group? I am a loner when shooting. When I’m with someone I tend to want to socialize or entertain. However, I have grown to see the immense value of having a person with me as an accomplice. I was in Atlanta in a mall with my mother and nieces when I saw an old lady next to Santa who I wanted to photograph. I told my mother I needed her help to get the shot. She didn’t know what to do. I told her to just stand next to me–it made me look less suspicious.
Favorite street photography city: New York! There’s always something weird going on.

What inspires your photography? I’m always reading books, going to museums, listening to music. Rhythm and music inspire me as a comedy writer and as a photographer. Also the work of the masters. I keep copies of books by Erwitt, HCB, Frank and Vivian Meir in my vehicle while I drive around the country.
What do you look for in a good photograph? From others and from your own work?
I look for a sense of geometry, information, and emotion. It has to tell a story or present the elements of a story in a well-composed frame and create some emotion in the viewer.

I expect that from my own photos as well but I am also trying to go deeper. I definitely add humor to the equation. To see something as funny, you have to understand the seriousness from which it emanates. It has to be based on some truth. And I want to show more than just humor. I’ve had people contact me after buying my book UNPOSED to tell me that each time they look at my photographs they see more in them. They might get an immediate chuckle but then they see the seriousness as well – the deeper story. I love to hear that.

I read that you believe photographing does not require too much thinking because it “constipates” things. How do you go about shooting? Thinking can be a problem. When I’m in the moment, I’m not thinking at all. I’m locked in non- thought. The more you think about a shot, the easier it is to lose it. If you’re thinking long, you’re thinking wrong. Sometimes you just have to take the shot.
Best 3 tips for shooting the streets: Be fast. Get closer. Work on seeing. Carry a camera, and be aware of your surroundings. If you don’t have a camera with you, pretend you are a camera and blink your eye at the decisive moment. That will teach you to observe. It will help you start to anticipate your subjects’ movements and learn when to press the shutter.

Best single advice on how to improve your work: Study the masters, not Flickr.
Best single advice on how to edit your work: Have someone else do it. It can be a revelation. I’ll give you an example. My most well known photograph was one I never thought of printing or showing to anyone. I had a photographer friend of mine whose opinion I respect look at my contact sheets. He saw the shot of a man pissing at a urinal with pictures of Marilyn Monroe looking at him and laughing. He insisted I print it. I did, and it is my best selling print. So you can have surprises.

Best single advice for someone who wants to get into street photography: Elliott Erwitt said, “Be an heir and do it on the side.” I believe he was only half joking. It’s a tough road to hoe, so you really have to love doing it. Shoot as much as possible. You have to dedicate yourself to it and go through a lot of shoe leather. Finally, and this is important–try to take pictures that no one else on earth but you could take. This will help you develop a personal style, which is imperative in a world where everyone with a cell phone is a photographer.

What’s the best moment in your street photography career? Every time I press the shutter and know I’ve got a good one. But there is one really overwhelming experience: A friend of mine suggested I show some of my work to a gallery owner in Durango, Colorado. I did, she liked it and told me to stay in touch. I wasn’t very good at staying in touch but six months later she called me saying that she was doing an exhibit of HCB’s work and was wondering if I would like to show some of my work alongside his. You can imagine how excited I was. I remember the day we put that show up and I stood in the corner and looked at the walls. There were 25 Cartier-Bresson prints and 25 of mine. I teared up. I got into street photography and bought a Leica because of him.

What’s the worst moment in your street photography career? I was run over by a motorcycle in Hanoi, Vietnam. It gave me a pronounced limp for a while.
What projects are you working on and is there a theme? E Pluribus Unum – my project about the United States in 2011/2012. I started off wanting to show the polarities in present day America–economic disparities, political intransigence, etc., with the intent of spending periods of time with families at home or at work. Very soon into the project I realized I was drifting from my personal style. People whom I respect reminded me how important it was to not change my style. So now I am very conscious of not altering it. As a result I changed the way I approached this project. I now shoot in the same way I always do–I look for something that interests me and I take a picture. I will continue the project through the end of this year, and then the real work begins–editing!

Where do you want to be in 5 years with regard to street photography?
I hope to continue doing candid spontaneous pictures of people’s lives. And finishing up my third book. ☺ Just going with the flow, seeing where life takes me. And I hope that I am a better photographer than I am now.
Congratulations on the last exhibit you had at the Phil Stern Gallery last October. Are there exhibitions planned in the future? Yes, I’m part of a 6 photographer exhibit entitled ‘OFF THE BEATEN PATH’ at the Robert Anderson Gallery in New York City. I’ll be showing three established photos and three new pieces from my current project. The opening night reception is June 7th and it runs through August 4th. One of the photographers is Geoff Winningham. I’m looking forward to that.

Leica Liker thanks Craig for sharing his experience and the inspirational advice with us. We will check in on his E PLURIBUS UNUM in the near future.

Craig teaches at Leica Akademie Weekend. His upcoming workshop will be on July 20th to 22nd in Venice Beach, Los Angeles, California. Check out Leica Akademie Schedule here for more information.

You can check out Craig’s gear in Liker Bags’n Gear here.

This is Craig’s self portrait. Notice his Leica M9 🙂

Steve Huff’s Los Angeles Workshop 2012; SLR Magic Hyperprime 50mm F 0.95 Noktor Lens

Back in January, I had the chance to attend Steve Huff’s Workshop in Los Angeles. I also had a chance to play with the SLR Magic’s Hyperprime 50mm F0.95 Noktor Lens for a couple hours. So this post will be a double fisted review of both!

I’m a fan of Steve Huff’s blog so it was exciting to hear from my friend Todd Hatakeyama, owner of Hatakeyama Gallery, that he was working on getting Steve to come to Los Angeles, to do a workshop. Then Steve actually announced it on his site and followed it up with another announcement that he needed ‘teachers’ or ‘presenters’. I quickly jumped at the chance and offered to present a short history, masters and basics to street photography. Much to my luck and surprise, Steve thought it was a great idea. It secured my spot.

Steve is as affable in person as he is on his blog. He and Todd put together a fun filled weekend of pure photography that involved presentations, hands on learning, shooting and sharing. It’s very different from the last post I made regarding Frank Jackson’s B & W class. There,  it was more the teacher – student relationship. Here, it was like going to photography camp.

To give you an idea, I thought I would just tell you what we did. So here goes:

DAY ONE  started Friday, late afternoon with a meet and greet at Hatakeyama Gallery. Todd created a kind of “hot spot” or “home base” where photographers can gather and hang (there’s couches, TV and refrigerator :-)).  His gallery doubles as workshop space in the basement which is adjacent to studio shooting space. He’s working on expanding it to include a permanent workshop/classroom and dark room lab. You can also buy  basic lighting and camera equipment through his store,  Simple Studio Lighting, which occupies the main street level storefront. So basically a one stop photography environment.

30 attendees from around the country and Australia attended. Half of us had Leicas (film and digital) while the others had a variety ranging from Canons, NEX-7 to Fuji x100. It was also great to meet Ashwin Rao after reading his many posts.

The first presenter was Andrew Chan of SLR Magic, who introduced his new Hyperprime 50mm F 0.95 Noktor lens, the challenger to Leica’s Noctilux 50mm F 0.95. He brought 4 prototypes for the attendees to play with to get some feedback. And there were several points Andrew needed to fix which he said he would.

We took the lenses out for a spin around the neighborhood of downtown Los Angeles. Since it was night time, I decided to use the Ricoh GXR with the M-Mount to test out the Hyperprime.The results were pretty impressive.

Hyperprime on Steve’s M9-P

I shot the following two pictures just before we left for the walk to test the Hyperprime against the Noctilux. I did not edit the pictures. It’s just a jpeg of the raw images as is.

SLR Magic Hyperprime

Leica Noctilux

You can see, sharpness is pretty much on par between the two.  The colors of the Hyperprime are a touch on the blue and cool side. While the Noctilux has warmer tones. There is more contrast in the Hyperprime image than the Noctilux. Rendering for both look great.  The bokeh is lovely and smooth on both.

Photo by Ashwin Rao (See the Hyperprime on my Ricoh and on Steve’s Leica. Andrew is in the middle.)

I did notice that the Hyperprime lens was a touch loose on the M-mounting ring of my Ricoh. Andrew told me that it was quite normal. It did not affect the images. Although, I’m not sure if I felt better hearing that.

Physically, the Hyperprime is longer and heavier at 975 grams, than the Noctilux which weighs 700 grams. And I can personally attest to its ruggedness. While we were walking the streets the weight of the Hyperprime caused the standard issue Ricoh strap to loosen and the whole camera fell on the concrete pavement.  (Ouch!) When I heard the THUD, my heart stopped. I was horrified to say the least. It was loud enough that everyone came over to see that the thick lens hood took a small dent but the lens and camera was in perfect condition. Thank goodness, Andrew was all gracious and that it was a prototype and not a final production model. Luckily I didn’t have to pay for its replacement. 🙂

The Leica Noctilux Aspherical has 8 elements, 9 aperture blades and focuses to 1.0 meter.The

Hyperprime has 12 lens elements, 12 aperture blades and focuses to 0.7 meters ( equivalent of an f/0.92 aperture at f/0.95).

Andrew told me the Hyperprime glass comes from China as well as Schott in Germany because not all Chinese glass can perform at the their high quality expectations. However, the housing and all other materials come from China. They assemble in China and Hong Kong. To maintain quality control, the calibration is done entirely in Hong Kong. The combination helps keep the cost down and the quality up.

SLR Magic is committed to making this lens to work for many cameras other than Leica. So you can also get it with a Canon EF Mount, Nikon F Mount or Four Thirds Mount. But the coolest of all, the PL Cinema Mount. You can shoot this with movie cameras too!

Now, it’s hard for me to give a true verdict for the Hyperprime because I only had it for a couple hours. And from other people’s reviews of this lens, I can see the day time shots look pretty good. But at this point, I really still prefer the Noctilux. I hate to carry heavy elements, so the added weight and size of the Hyperprime is already a deterrent (every gram counts with me). However, I can say that if you can’t afford the Noctilux, the Hyperprime is an excellent alternative at half the price.


Since my last update and updates by other blogs and websites, there has been quite a lot of commotion and out-of-context accusations in forums and Facebook regarding the causes, claims and remedies of SLR Magic’s 50mm F0.95 Hyperprime lens, which I gave a first impression review here. As a result, lots of finger pointing and heated exchanges have taken place between SLR Magic and some disgruntled test users regarding the pre-production models. So it’s time to update and hopefully put all issues to rest.

To provide an equal forum, I asked Andrew Chan at SLR Magic some pointed questions. He wrote back at length giving me detailed explanations. Here is Andrew’s response to my questions. I have only replaced names with initials:

1) So it is not clear to me, as there are different claims. Were the lenses that everyone in the tester program got, a pre-production model or a first short run production model?

Check the email you received before for the lens. All LA workshop lenses were pre-production lenses. Only D’s lens had a loose ring and only S’s lens had a mount that need to be replaced. Ever since their lenses the other customers have no loose ring issues or frame line issue. There was never a sho[r]t run production. It was just pre-production that had a stealth version then the production version that is either in green or in black.

2) You claim that some of the performance issues of the pre-production models were caused by poor packaging, which you have since changed- So, with the new packaging, do you have any more issues with loose rings and not focusing at infinity or any other problems?

The new packaging resolved all the issues. Only two people had issues with shipping. M’s was the first person who received the lens and we noticed the issue. We told D to wait since we need to improve the shipping materials but he said he will take a risk since he wants to use it to shoot a wedding that cannot wait. If we did not ship to him by his request there would have been no issues. T sent his lens to his buyer with no issues in our new packaging. We sent M his serviced lens that took one day turnaround time in the new packaging and he had no issues either.

3) So after the ‘testing’ period, have you resolved all of the lens problems? Can you say that your lens performs exactly how you and your team have envisioned it now?

The lens is performing fine. No one at Photokina had issues apart from three people. Two of them was due to human error as they cannot even constantly take accurate photos against a focus chart with Leica camera and Leica lens. The last person had a back focusing camera. He tested his own Voigtlander lens and Leica Camera. His lens is a 1.2 and a 35mm so there was more DOF and backfocus did not matter to him before. Someone did come with a Noctilux 0.95. His lens has very slight back focus that is within tolerance but he cannot constantly take photos on the spot with our chart. He was also comparing the Noct at 1m with the HyperPrime at 0.7m with different DOF properties.

The lens had always perform as we envisioned but what we did not expect was the amou[n]t of camera error and human error involved on the consumers end. When face to face we can test right on the spot. When by mail order it is difficult and with what everyone has read on the internet they automatically feel it is the lens that has issues.

Every lens returned has no focus issues. We have customers not using magnifiers for assist or needing to use diopters that may not be 100% perfect for their eyes and it is a difficult situation for us. To see clearly we need to stack two multipliers so it is impossible to shoot 100% accurate with no assistance. Erwin Putts also said to see 0.95 accurately it helps to have more than one magnifier.

4) When the customer wants a refund within a customary period, are you willing to refund?

Discounted Pre-production lenses had no refund policy as stated in the email. Regular customers may refund in one month only if there is a serious issue with the lens that cannot be repaired or exchanged. Reasons we received was I want to save up for the new Leica M instead, or bought three other Leica lenses this month, or my dealer called me and my Noctilux is in and I want to return, or I found a 50mm Summilux and I need money now. Those are NOT valid return reasons. The only one we felt was decent was he had an unexpected child and cannot afford to commit to the lens at this time. Strictly speaking that is not a valid reason but from the heart that is ok as it is a real financial situation. DA originally cancelled because all his gear was stolen and he need to use his money to get a new camera but he kept his order at the end by changing the LM order to CINE order. We tend to only accept cancellations or refund due to real urgency and not because of another Leica lens purchase. They can refund the Leica gear instead as it was the more recent purchase.

5) What is the expected turnaround in email correspondence between a customer and SLR Magic?

As F said, sometimes you cannot respond to everyone at once. That is totally true. We are a small company and apart from dealing with extremely complicated technical questions I also have to be in charge of the production line. Some on the internet complained we do not respond to emails. Many listed to him. Did he mention he emailed us at 11pm Hong Kong time on Sat and filed a complaint to us on Sunday afternoon? Those are not even our work hours. Leica in Hong Kong are closed on Sat and Sun as well. No one can respond so quickly. I have emailed S. K. from Leica before that is in charge of Leica Asia region. 4 months ago I emailed him and he said he is on business trip and till now there is no reply. The second time I emailed him was a week ago to order the Leica M and he did not respond to me ever and got another customer rep to reply to me a week afterwards. Even Leica company cannot reply immediately and they are a lot larger than us.

We usually respond in 1-5 business days depending on the difficulty of the question. If it is about Toy Lenses we respond in 1 day. if it is about RF lens then usually only I respond and it takes 5 business days. As you can see I typed a lot on facebook on this issue. I have over 28 emails with each Leica lens customer ever since the rumour mill.

6) Are you now selling the full production model?

Yes and we make the lens as a concept lens. We planned to have 10 lenses a month but ever since the rumor mill I was stuck with many emails to attend to and out lens makers were stuck with many people returning lenses for check up and re check up again that would not solve any issue as focus issues were due to human error and not lens error. The rumor mill caused a delay dropping production speed to 2-3 lenses per month only. Thus, S’ claim for dozens of people having issues is not possible as we don’t make so many lenses.


UPDATE: July 14, 2012

Since my brief review of the prototype here, a series of first production models were bought by “testers” for around 60% of the retail price in exchange for feedback. And apparently, the lens has failed in its performance. I saw first hand a loose ring on a friend’s lens. And Facebook is now seeing many complaints regarding the len’s inability to focus at infinity in addition to loose rings.SLR MAGic has been blaming it on packaging in shipping, even when there was no shipping involved. Because of the commotion, Steve Huff, who raved unusually much about the lens and pushed for people to buy and check it out quite heavily on his site,  placed an update asking people to hold off on buying. Although, he says his lens is still okay. You can read his post here.

To add salt to the wound, the complaints don’t end with lens performance. It continues with bad or near non-existent customer service and rather nasty return policy for those who have cancelled pre-orders that have not shipped.

What a shame. SLR Magic is just ruining it’s potential as legitimate brand when it shuns its first most devoted and even forgiving customers. If SLR Magic wants to stay in business, it needs to do major damage control by  immediately offering full refunds to all those who cancelled pre-orders and provide a prompt and complete warranty service  or full refund option for those who already have it. In other words, SLR Magic needs to own up and suck it up.


DAY TWO started off with a presentation by Jay Bartlett, a commercial portrait and fashion photographer here in Los Angeles. He gave us some basic tips on how to shoot portraits, followed by a hands-on studio model shoot. He brought in a professional model Jade Corinne, and professional make-up artist Marjorie Bartlett, who is also his wife (very handy). Jay was very cool. He explained to us why he set up the lighting the way he did and helped us to adjust our cameras to achieve the look we wanted. I had a ball shooting with strobes and a model. Everyone else did too.

I found out how difficult it is to shoot fashion  and models. The pose, facial expression and emotion is everything. But to get the model to look natural is really hard. So many of the shots I did made the model look like a manquin. The ones here are the best from a ton of shots.

Oh, and I finally learnt how to use my Sekonic light meter.  Thanks to Jay’s tutelage.

After the model shoot, we all walked a couple miles to Little Tokyo where we had a buffet lunch. Steve was a good host. You can ask about all sorts of photography questions and Steve gives you his opinion. We all sat together and talked ‘shop” and got to know the attendees as well. On the way there and back we got some street shooting in. This time I did not have the Hyperprime so others could try it out too.

We returned to the gallery to see a presentation of impressive work by Sean Armenta, another fashion photography based here in Los Angeles. It was followed by Ashwin Rao, who gave a talk about  how he built his on-line presence with examples of his photos. Afterwards, some of the attendees had dinner with Steve, but I had to take off. I heard they had a great time.

DAY THREE started with my presentation of the history of street photography, the masters, contemporary and the basics of street photography. And yes, I squeezed in a little shameless self promotion. 🙂 Jeff Garlin, the comedian/actor of Curb Your Enthusiasm fame, popped in early to listen to my presentation. Which he told me he liked by the way. 🙂  After my schtick, the true highlight of the day was when he did a “street photographer’s” stand-up routine for about 30 minutes. Everyone laughed their heads off. To all those who don’t know, Jeff is a huge street photography and a Leica fanatic. He is also a street photographer himself but is too shy to show his work. Hopefully he’ll reveal his art one day.  But for now, he is the producer of the Vivian Maier documentary which John Maloof will direct.

Jeff Garlin

After the laughs, we went to a Mexican restaurant nearby for lunch.  We shot some more on the streets and came back to the gallery to edit our photos. Then we presented our best 3 street images from the weekend. There was a lot of talent amongst the attendees, including first timers. Afterwards, some of the attendees went to dinner again with Steve. Looks like they had a good time.

The only complaint I have is that there was no water left after the first half of the second day and the third day. I know it’s a small, even petty thing but I had to run out and get water from the corner store up the street. I think it was because everyone got so involved into the workshop that it was simply forgotten.

Otherwise, I recommend this workshop to anyone who wants to get in on the know of new equipment, learn new techniques and be part of a street photography community.  I mentioned at the start of this post, it’s like going to photography camp. Like one big hangout. The only thing with this camp, there’s no sleep over. However, you make friends with a lot of like-minded people, who are all interested in the same thing as you. Community is really the most valuable thing you walk away with more than anything else. It’s like being a part of a club. In our case, we are now on Facebook as a group, constantly sharing and critiquing each other. Whenever there’s a question or some cool thing to share, we all get to see and talk about it. Steve is part of the group as well and puts in his two cents all the time. Even Andrew at SLR Magic is in the group. And whenever anyone wants to go shooting, we just post in FB that we’re in town and we meet up at Hatakeyama Gallery.

I’ve linked very one’s websites with their name if you wish to find out more info on them.

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