Guest Post

Guest Post: Aaron C Greenman.

2022, Guest Post, Inspiration

I am pleased to feature some the latest work of Aaron C Greenman in this Guest Post.

Aaron‘s past contributions may be found here, here, and here.

Thank you,

—Peter.

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From Aaron:

As I previously mentioned Peter, I am back living in the US after 16 years abroad, and it has been interesting so far. Over the past months I have enjoyed having the opportunity to reconnect with family as well as to travel around the American South.

I’m attaching several recent photos, nothing revolutionary aesthetically, but I hope you enjoy all those greys as much as I do.

“Go South, young man
That’s where you belong
The South, young man
Is your promise land
East is East
And West is West
But if you want to go where they loves you the best
Go South, young man”

– Cab Calloway

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aaroncgreenman
aaroncgreenman@acuitycolorgrain.com

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Guest Post: Aaron C Greenman

2021, Guest Post, Inspiration

Photographer Aaron C Greenman has graciously contributed a guest post this week.

Some of his past contributions may be found here and here.

Thank you my friend.

—Peter.

Aaron writes:

Peter,
I hope this message finds you and your family well in such strange times.
As for me, due to some less than pleasant personal circumstances, I have moved back to the US to live for the first time in 16 years, and while the move wasn’t really preferred or expected, I have embraced it as an opportunity to take a new look at the country through eyes, ears and tastebuds, and of course also through camera (the Monochrom).
That being said, before setting off for North America, I was able to sneak in a short photographic trip to Crete, which I had never before visited and was an appropriate destination for more reasons than one in terms of helping me fight some personal demons. It was a satisfying way to say a temporary farewell to a beautiful continent, the fourth on which I have lived and worked.
If you would be so kind, I would welcome the opportunity to show these to your readers (and fellow photographers):
HERE
Most important of all, stay safe and keep shooting……. photography is a wonderful tonic for staying sane these days.
Best Regards,
Aaron
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aaron c greenman
aaroncgreenman@acuitycolorgrain.com
www.acuitycolorgrain.com

Guest Post: Aaron C Greenman – Ete en France Profonde (Color).

Film, Guest Post, Inspiration

I’m happy to share a very special guest post by Aaron C Greenman.

Wait!… Aaron is shooting film now?  And is using colour??? 

Up is down, front is back… what in the world is happening?!

LOL, I’ll let Aaron answer for himself, but as you view his images, I want you to think about how the change in medium and gear has changed his work.

Thank you Aaron,

—Peter.

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Aaron C Greenman writes…
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Peter,
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Well, summer days (and light) are waning again, and I have had a bit of a different experience these recent months, returning to film and shooting with a Mamiya 6 as opposed to digital Leica M’s. I always wanted to test my compositional abilities with the square format and luckily came across the Mamiya, which had not really previously been on my radar. I have always liked the concept of 6×6 square film but had never gotten along with the ergonomics of waist-level finders. The Mamiya 6 – like the Leicas – feels simple and mechanical, gets out of the way and is equally inspiring to shoot with – what I didn’t expect was that I much prefer shooting color vs. black and white on film (perhaps in this regard I was spoiled by the Monochrom?), and my entire summer has been spent indulging in Ektar 100. 
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As you probably know, I have had a long-running project to document life in rural France during the seasons (Ete en France Profonde and Hiver en France Profonde), all shot in black and white. As a contrast, I’ve included some images below from this summer to show my (temporary?) transition to color. 
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Wishing you the best and a wonderfully colorful autumn,
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aaron c greenman
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[Guest Post] Aaron C Greenman and the Mamiya 6.

Film, Guest Post, Inspiration, Mamiya 6, Q&A, Street, Teaching point

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Aaron writes:

“Peter, as you know I have been a Leica M shooter for most of the past 15 years….. until the past three years, when I have been wrestling with the (as of now somewhat false) promise of portable mirrorless digital (the Hasselblad X1D). Back and forth, it has been a struggle to decide between the wonderful image quality and color fidelity of the Hasselblad with the obvious handling, fluidity and OVF advantages of the Leica. 
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Anyway, I have neither now, as I await an X2D equivalent, and I’ve found and am using what I pray every night for exactly in digital – the Mamiya 6, along with its 75mm and 50mm lenses (approx. 50mm and 28mm equivalent).
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For any Leica M enthusiast, the Mamiya 6 (or 7, if you want to shoot 6×7), is a wonderfully familiar experience: a big nice optical coupled rangefinder, compact design for its 6×6 image size, a collapsible lens mount, and quality, lightweight lenses with sharp and characterful rendering. I have also always wanted to shoot square natively, and it is a simple joy in a square, uncluttered viewfinder – never having to turn the camera takes one more variable out of the composition equation. 
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The accompanying photo was taken with the 6, the 50mm and Ektar 100 on a recent trip in United Arab Emirates, and shows the Mamiya excels in the most key area – an instantaneous shutter that allows its owner to precisely capture the moment. 
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All in all, it is an experience of pure photographic bliss…… just be mindful of the limits of 12 shots per roll! 😉”
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Aaron, thank you for your thoughts, which I’m sure will be helpful to photographers out there contemplating getting the Mamiya 6.  As an aside, I never thought I’d see you shooting film, and it’s nice to see you indulge in some colour photography!  Keep up the great work.
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For my part, I have really wanted to get back to film (and almost did so recently) but the constant announcements of film stock discontinuations and ever-tightening shipping restrictions on chemicals for developing have made me hesitate to (re-)commit.  It’s images like this, however, and what I see over at Mark’s site that keep the idea of film photography alive for me.
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Lastly, regarding your comment…
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“…it has been a struggle to decide between the wonderful image quality and color fidelity of the Hasselblad with the obvious handling, fluidity and OVF advantages of the Leica.”
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…much like you, my ideal camera would be designed like a Leica M with a proper (OVF) rangefinder, but would contain a medium format sensor, in a body no larger than a Mamiya 6 (or Hasselblad X1D).
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Leica, if you’re interested, we can help you do it!
(one can hope…)
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—Peter.

[Guest Post] Aaron C Greenman on Cameras, Human Perception, Photography.

Guest Post, Inspiration, Q&A, Teaching point

Aaron just posted this comment (see below) under the the October 1 post, but I believe his thoughts warrant  a standalone post.

Thank you,

—Peter.

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Aaron C Greenman writes:

“I agree with you that for the majority of “shooters” the EVF is the future, but for the majority of “makers”, the OVF and/or rangefinder will continue to be critical to the experience.

My firm realisation was simply that we’ve reached a point where “better” in terms of specifications (megapixels, dynamic range, “what I see in the viewfinder is what I get in the viewfinder, etc.”) is not necessarily better for meaningful and impactful composition. And conceptually, when you step back a bit from the marketing speak of “live view”, it sounds like asinine marketing speak – what’s more “live view” than, in fact, looking at a direct view of reality? I was never aware that TV was more real and live than what my eyes see.

In many ways, philosophically, and given the amazing latitude that modern sensors give and that allowed in post-processing, I don’t understand the photographer’s focus on wanting to pre-determine all output variables before the shot. I understand focus (easiest with manual focus and distance scales even at 1.4, without an obsession for tack sharpness), but why on exposure, color processing, “effects”, image ratio, etc? All of this simply adds to the complexity up front, when the photographer’s focus should be on subject and composition.

I truly believe that for all the advances in technology, now that the pace and goals of camera development have been largely driven by electronics companies (Sony) as opposed to photography companies (Nikon, Canon, Olympus), images may be technically “better” (or more impressively outpacing what the average naked eye can see), but with no more artistic merit than before, and perhaps, on average, less.

A couple years ago on Peter’s site, I posted a comment about the increasing divide in digital photography between human perception of the scene and digital perception of the scene, and it’s impact on creating images that have humanity in them (and not just “impressiveness”). I’m still thinking through those issues, and I’m sure there’s a longer article somewhere in there waiting to be written.

In the industry’s relentless march to continually make more “capable” tools with higher ISO abilities, it has created a larger gap between how the eye and mind perceives a scene in terms of light and how the tool is capable of seeing the scene.

I’ve always believed that a lot of the CCD vs CMOS debate was actually an acknowledgement of the dissonance of the camera not seeing like the eye sees. The M9 with a 35mm Summilux basically tolerated light like the human eye – during the magic hour, the photographer’s ability to see the scene and the camera’s ability to see the scene were synchronised; most all CCDs when paired with a fast lens were tuned in a way to more or less match the film range, which more or less matched the capability of human vision.

As ISOs go through the roof, suddenly the camera sees more than the eye, or to take it to an extreme, the camera viewfinder can create all the aesthetic parameters of the work of art that the photographer wants before the photographer even takes the photo. But is this what we really want and need to develop our “eye” and create a visual memory of our lives in our minds and not just on the screen/paper?

It’s the same story with “creative” points of view allowable with tilt screens, phone remote apps, and, of course, drones. All “impressive” capabilities that allow “new” images from points of view that people haven’t necessarily seen before, but how many of these images have any real merit as compositions with a valuable message or story once the freshness wilts? And does the birds eye view really allow us to develop a better understanding of how to have successful human interaction, which frankly our planet could use more of to get us out of the current mess that we’re in?

OK maybe I’m reaching a little there – but the issues are fundamental. It’s why to me despite the Leica S not “keeping up” with the technology cycle, I still am incredibly tempted by the S006, because of its absolutely brilliant split prism viewfinder screen, no live view, no video, and a wonderful sensor and processing engine. It’s an M9 for the SLR set. Too big for my type of photography, ans call me old school, but I’m constantly wowed by that viewfinder.

I don’t want to be as coy or as blatantly European as saying it’s all about Das W, but Leica in their own way has a real point, once you cut through the marketing babble.

As I’ve said before, to each his own. The M9 has been the only camera in my 30 year career that I can truly say has made me a better photographer, and that I enjoy picking up like no other. The images aren’t as sharp, and the highlights not as smooth, and the composition not as perfect, but every time I’m at least damn sure that it’s identical to what my eyes saw and what my mind remembers, which is invaluable.

Best Regards,

ACG

[Guest Post]: Aaron C Greenman (1 image).

2017, Guest Post, Inspiration, Leica M9(P)/M-E (CCD Lives!), Q&A, Teaching point

Today, Aaron shares his thoughts (as well as a fine image) after his recent extensive use of the Hasselblad X1D.

You can find more of Mr. Greenman‘s work at:  acuitycolorgrain

Thank you Aaron for your contribution!

—Peter.

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ACG writes:

“After a dip in the non-Leica waters for a few months (Hasselblad X1D and 45mm to be exact) and a penultimate, frustrating experience continually trying to get my “decisive moment” (and failing) with that set-up, I’m back to the M9P and MM exclusively, with my trusty 35mm Summilux ASPH (pre-FLE).

We all go through phases, but this last one has taught me definitively: megapixels and dynamic range no longer matter, it’s all about the shooting experience, the “view”, and the rendering of the lens. Long live Leica M……”

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↑Image © Aaron C Greenman.

ACG’s images of the recreation of the Battle of Waterloo (Belgium).

Guest Post, Inspiration

Aaron C. Greenman is a friend who has graced this site with his images in the past. He wrote to me today to share some of his latest photographs. They are worth checking out!

—Peter.

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ACG writes:

“Peter,

Thought you might enjoy some images from the 200th anniversary recreation of the Battle of Waterloo here in Belgium this past weekend.

Some of these will appear on the Leica blog later this week.

Best Regards,

Aaron C Greenman“

Guest Post: Joe Tori and “The Psychic Bees”

Guest Post, Inspiration, Portrait, Sony RX1R

I am pleased to share a first-time Guest Post by Joe Tori.

Joe, I love the emotion, composition, and lighting.

…and the B&W tones are visually mellifluous!

—Peter.

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Joe Tori writes:

“Detroit has a vibrant and collegial music scene; lots of ensembles spanning all genres. “The Psychic Bees” are just one – and one of the newest — bands making up this energetic landscape. And, of course, I would not miss a performance, since my daughter is one of its members. Previously, she was a founding member of an all-girl, alternative punk band that met with some success, recording and performing original music at a number of well-regarded venues around town. Alas, however, logistics and educational demands forced the demise of “Smudge Candy” and Anna immersed herself in university studies and rock music instruction. Recently, she accepted a career-enhancing job opportunity and her music writing/performing passion was reignited. “The Psychic Bees”, made up of some very capable and genuinely nice musicians wrote new music and debuted it at The Diesel Lounge.

In photographing these events I strive for – but don’t always achieve – the goal of capturing the spirit of the performance. Lighting conditions are often challenging. And, it can be difficult to seize an instant in which all performers are out in the open and in the moment. This image stood out for me as one such instance. Anna was immersed and Adam was absorbed. I’m pleased to have caught this moment.

(The photo was made using the Sony RX1R. The RAW image received only minor adjustment in Photoshop CC).”

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Psychic Bees - JTori

Guest Post: Aaron C. Greenman.

Guest Post, Inspiration

Aaron C. Greenman has previously contributed to this site and has even been a Featured Photographer.  Normally, his work is informed by his previous experiences in newspaper journalism, and his interest in graphic arts.  This time, however, Aaron wanted to contribute something a little different.  I’ll let him tell you, in his own words.

—Peter.

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Aaron C. Greenman writes:

“I rarely if ever post photos of members of my family, but this is a photo of my daughter, who was performing in a high school theatre production of Michel de Ghelderode’s “Le Sommeil de la Raison,” written in the early 20th century, between the two world wars. It is a surrealist play about a man who hallucinates in a dream that he meets the seven deadly sins, and death itself, and the play is a comment on man’s hopeless actions toward itself.

My daughter played the main female character – Lust – and As a service to the theatre troupe, I made some photos of one of the final dress rehearsals. She has been preparing the role for almost nine months, and no one in our family had ever heard even one word of text around the house.

During my sneak peek of the play, it was as if watching my teenager transformed. In this one moment, in which Lust wrestles with death, her eye caught the camera (and her father), and with a single, momentary glance, surrounded by a frenzy of color, light and shadow, I felt like she was announcing her power, self-reliance, individuality and arrival as an adult to her father.”

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Guest Post ACG

Guest Post: Aaron C. Greenman’s vision for a digital Leica MP.

Guest Post, Inspiration

As most of the visitors of this site know, I have written an Open Letter to Leica requesting an updated CCD sensor on a future Leica M model.  Thus far, over 200 of you have signed it.

Today’s Guest Post by Aaron C. Greenman will likely generate some discussion because, in addition to requesting a CCD sensor, Aaron goes further and requests a digital iteration of Leica‘s iconic MP film body.  Although several elements in Aaron‘s post have been previously circulated in various fora online, Aaron distinguishes himself by proposing a cohesive vision of his ideal camera — a camera which represents a sort of anti-modern photographic device for the photographer placing simplicity, quality, and reliability above all.

Although I cannot say I agree with every facet of Aaron‘s articulation, I certainly admire the consistency of his vision, and therefore wish to sincerely thank him for this contribution to the Leica community.

—Peter.

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Aaron C. Greenman writes:

“Peter,
 
Firstly, I wanted to thank you for your work on the Open Letter to Leica.
 
It is important for the company to know that there is a reasonably sized photographer community that still prefers the CCD-based Leica digital rangefinders for their rendering style. As Trusense Imaging (and others) are still developing and producing later generation full-frame CCDs, the sensor architecture is anything besides obsolete to photographers looking to dedicate themselves to high quality “stills only” work. Later generation sensors are bound to offer higher resolution than the 18MP in the Leica M9, coupled with 1-2 stops better ISO performance (making ISO 1600-3200 useable in color, even higher in B&W). Coupled with summilux and summicron lenses, such useability would easily cover 90% of normal shooting requirements, while still preserving the wonderful low ISO rendering style of M9 files.
 
It is also clear, based on the better than anticipated success of the Monochrom, that Leica customers above all are interested in embracing what they believe to be the best photographic tools, with little regard to features that they simply do not need or ancillary specifications that are sometimes included for true progress and sometimes included to motivate planned obsolescence/unnecessary purchase upgrading. So with a relatively modest commitment to further research and development, Leica could create a real alternative to its “M(240)” product line and at the same time a successful, profitable and unique (counter-culture) item that would generate revenue and profit for the company.
 
While I agree with your letter, I believe the time is right for Leica to go even beyond your request, toward a true and faithful next generation (i.e. digital) version of the Leica MP:
 

  • Body with same indestructible build quality and exact dimensions as the current MP, offered in both high gloss painted black and chrome silver (no paint) and weather sealed.  With the A7 and A7R, Sony has proved that it is technically possible to sufficiently condense the depth of the camera body;

  • Identical viewfinder to the MP, with a la carte options for different magnifications and single framelines

  • Aperture priority mode as in Leica M9

  • High resolution (36MP or more) Truesense CCD – could even be produced in color and monochrom-only versions, which would effectively carry forward both the M9 and Monochrom product lines;

  • no video;

  • no rear LCD;

  • small top info screen (like frame counter on MP or M8) for battery charge and shots remaining, could even be mechanical dials similar to Epson RD1;

  • manual MP-like dials on rear for ISO (auto + each manual setting) and exposure compensation;

  • only RAW shooting, auto WB only;

  • extremely low power usage, long battery life;

  • manual shutter re-cocking with lever (like Epson RD1)

  • no “motor drive” to save battery life (could have an optional motor drive that replaces the bottom plate);

  • Ideally a 1/8000 maximum shutter speed, though this should take a back seat to low power usage and manual shutter re-cocking; and

  • Frame preview lever.

 
While the world moves toward EVFs, the above would offer a real alternative and reinforce the heritage and mechanic quality of the Leica M rangefinder. I, for one, am waiting.”
 

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Leica MP - Black

Leica MP - Silver

Leica MP - Top Plate

↑Camera body photos © Leica Camera AG.

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Aaron C. Greenman has been a photographer for over 25 years and has lived and worked on four continents. His online portfolio is available for viewing at acuitycolorgrain.com, and his work has been published in various places online including The Leica Camera Blog. His first monograph is now available for the iPad.

[Note:  Aaron was previously a Featured Photographer on this site.]

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Guest Post: Roel van Noord.

Guest Post, Inspiration

Today’s Guest Post is from Roel van Noord, who has often contributed to the discussions on this site, but has otherwise been quietly modest about his own photography.

Well, that’s about to change.

Roel, in one of his projects, had the courage to head out on the street and ask total strangers to pose for him.  The result: a plethora of fascinating portraits.  Despite the diverse cast of characters captured in his images, there is one unifying element: they are all wearing hats.

I’ll let Roel explain how this came to be:

“Hi Peter,

I have been visiting your site almost everyday and I still love it. Thank you for putting in the effort of sharing your images and thoughts which are, at moments, very personal.

Has been a while since we connected… just started my second exhibition this year with a series of street portraits.  The theme is goed gemutst (“well hatted”), which in Dutch means something like “looking good” but also “feeling good” (well spirited).  Don’t know if there is a similar translation for that in English.

The series was shot in winter and shows people comfy dressed (hats/shawls) against the cold (a bit like ‘if you snooze you loose’, or as we say in Holland, “if you stay at home because of the weather you are always wrong”). You will see here that the weather was fabulous ;o) “

—Roel.

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Wolfman Jack

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100% Pure

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Dreads

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Smiling eyes

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Just did it

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Thank you very much Roel!

To see more of Roel‘s work, please see here.

—Peter.

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