Keld Helmer-Petersen (KHP) was once described as “the best photographer you have never heard of” by the British magazine Creative Review in 2007. I really think that short sentence says it all. In my humble opinion, KHP should be right up there with Ernst Haas and Saul Leiter, but I guess fame does not always work that way. Keld himself was a humble guy and found it a bit funny when he suddenly got some fame at the age of 87!
Keld Helmer-Petersen: Photographs 1943-2013 – the ability to find the extraordinary in the ordinary is perhaps one of the qualities of KHP that I admire the most.
The book in review here presents the full range of Keld Helmer-Petersen’s work across 7 decades. Each chapter has a short introduction with Keld’s own words introducing what you are about to see. In addition to this, there are two longer introduction sections at the beginning of the book.
Keld Helmer-Petersen: Photographs 1943-2013 – HKP pioneered the use of colour in his work, and the book contains a lot of the images from the book “122 Colour Photographs”.
Towards the end of the book there is also a transcript form a short interview with KHP that I found to be an interesting read.
Keld Helmer-Petersen: Photographs 1943-2013 – the graphical dimension in KHP’s work stands out very clearly in the black and white images – here from the praise of the railway.Keld Helmer-Petersen: Photographs 1943-2013 – here an example of some of the later work of KHP. I must admit that I like his earlier work more, but it does show another dimension of his astonishing talent.
If you are interested in KHP’s work and want a book that gives a comprehensive view into his work across 7 decades, then look no further: this is the book for you. However, if you like me are more fascinated by his earlier work, say the classic “122 Colour Photographs”, may be a better alternative to look into.
The title of this book sparks an allergic reaction in me, just like if the book was titled something like “how to get filthy rich in a matter of minutes”. It’s clickbait – it is impossible for anyone to live up to the expectations created by the title.
Read this if you want to take great photographs by Henry Carroll – front page.
But I do stand corrected. This is a great book about the basics of photography. And if you pay attention to what is being written by Henry Carroll and truly apply that to your photography, I am sure you will be a better photographer. Maybe your images will not be “great” as the title promises, but for sure they will be better. Much better!
Theory and practice
Henrys concept for the book is simple and yet powerful: each subject is presented using only 2 pages: one page elaborating on the subject and another page showing an image that illustrates how the subject presented has been applied by another photographer. So it is full of illustrations of how the principles and advice presented in the book has been used or applied by other photographers.
Read this if you want to take great photographs by Henry Carroll. Theory to the left. Real world example to the right. This is how I like to be educated!
This book is part of a series – Henry has written books more focused on say portrait photography or pictures of places. But this one is the basic one – the 101 so to speak. Yet it managers to cover both the very basics photography like exposure and the more artistic dimension to photography. And he does it in a way where the subjects are wove into each other in a very elegant way so you really don’t notice how much ground this little 140 pages book covers.
You will find books that are dedicated to say exposure, which this book deals with in a matter of a few pages. So of course you will not get all the details and all the angles. But you will get a very good grid or overview of what you need to know about photography, and then you can branch out from this book to other sources with more details.
Boom!
One of the sentences in this book actually hit me like a hammer – a big fat sledgehammer if you’d like. It said: “Average photographers imitate beauty. Great photographers create their own”. Maybe the reaction from my side is more a reflection of where I am in my photography life, but those two sentences surely put something straight that I had been struggling to understand for some time: why some of my images seemed to work while others were just meh.
I cannot guarantee that you will have a similar eureka! moment when reading this book, but I am certain that if you are new to photography and want to get a really fast run down and overview of the basics coupled with a few high flyers on creativity and art, this is one of the best books I have come across to meet that objective. Highly recommended!
Admitted, when you see this book for the first time, you will not think much of it: it is very small relative to other photo books, measuring only 18 cm across and 13 cm down. But I think you will find that the images will grown on you once you take a closer look.
Still lifes, California by Rudy VanderLans
The book is approx 250 pages presenting around 125 images from the California region. It is purely landscape or outdoor images and you will find no people portrayed, other than images of people on a few billboards. The title “still lifes” is rather precise!
Dismal
Rudy introduces the book by noting that the Californian environment is at times beautiful, incongruous and dismal. I must admit that I had to look up “incongruous” to undestand that it is “not in harmony” or something along those lines. Rudy’s ambition has been to capture pictures that are beautiful, incongruous and dismal at the same time, but he notes that he is happy when succeeding with 2 our of 3 in the same image. Using Rudy’s own success criteria, I think he has been successful with most of the images in this little interesting book.
Film look
When I looked at the images my first thought was that they were shot with a film camera. However, as far as I have been able to google, Rudy shoots mainly digital. But the images are clearly color graded in a way that makes you think of a film camera. Not to start a long discussion about shooting film versus digital, but I do find it interesting that you can get something that looks so film-ish out of a digital camera!
Still Lifes, California by Rudy VanderLans
Graphical
If you look up Rudy VanderLans, you will find that he is a graphical designer by education and it also seems to be in the graphics design area he has had the most successes and is the most famous. I think you will notice this when you study his images, and I mention this in a positive spirit.
Still Lifes, California by Rudy VanderLans
I find find most of the images absolutely stellar and worth a closer study every time I open the book. I guess that is one vital quality of an image or a series of images: that they make you take a closer look and want to see more. In in this regard, I find Rudy’s work in this little book to be of very high quality.
Bruce Barnbaum has photographed for more than 40 years and has been so lucky as to have studied in workshops held by Ansel Adams! He apparently worked as a programmer and mathematical analyst and abruptly left the field 40+ years ago and never looked back! His best seller The art of Photography: An Approach to Self Expression was published for the first time in 1994 and I think you can see this book The essence of photography as a follow-up to his classic book, as he makes several references to The art of Photography. So maybe you want to start there? I did not, I dived right into The essence of Photography!
The essence of photography by Bruce Barnbaum. Approx 180 pages mesuring 25×25 centimeters.
The book is beautifully illustrated with lots of predominantly black and white images of landscapes, architecture, abstracts and nature. Always tack sharp – no intentional camera movements or out-of-focus images; all very disciplined and true to the subject.
One of the beautiful images from the book. Less is more.
Bruce covers a number of subjects throughout the book:
Finding your own approach to and passion for photography
Professional vs amateur photographers
Realism vs abstract images
Classes and workshops
Composition rules and why to ignore them!
Throughout the book the arguments for a certain point of view are presented in a very balanced way – you can clearly tell that Bruce has had a lot of studens passing through his workshops and he has listened to many different arguments pro/con a certain subject. And in my humble opinion, it is a pleasure to read the balanced views presented by Bruce. You have no doubt where he stands and what his view is, but it is presented in a way where also the imaginary opponents get their say. We could surely use some more of this, both in social media and politics if you ask me!
A classic landscape image by Bruce. From the book of course.
Towards the end of the book, Bruce tells his own story about his love for nature and preserving planet earth as much as we can, and how he has tried to contribute to this end via his photography. And how photography is his passion in which he tries to contribute to preserving what he loves: nature. And that is a nice wrap to a really inspiring book where he uses himself as an example to how to find the passion for photography. He really walks the talk.
On a more personal note, there were 3 points that I really liked about this book: (1) there is no formula to success, (2) rules of composition should be ignored and (3) why some professional photographers are worse photographers than amateurs! If you are tempted to dive into these 3, then you will find this book of particular interest. If not, I would still recommend this book for anyone seeking ideas and stimulation rather than step-by-step instructions for photography.
David DuChemin’s book: The Soul of the Camera has the subtitle: the photographers place in the picture making. And for me the subtitle is a much more precise description of what you can expect from this 270 page book about the soul of the photographer.
Perfection is overrated, and not to be confused with mastery.
David DuChemin
David’s book is not about aperture or camera settings or composition or the more traditional subjects for a book about photography. Rather, it circles around the photographers process and workflow, looking more at the process of taking good pictures, why some pictures work better than others and a bit of the psychology of photography (the need for openness, patience, curiosity and courage – just to mention a few).
Putting the photographer in the center rather than the camera or the end result was for me refreshing, and I really enjoyed reading this book. You can tell that David has done a lot of photography teaching and reflections, he has used this as a foundation for writing this great book.
Towards the end of the book, David argues that you actually don’t need another book about photography, not even this one! His point is that he has learned more about photography from practicing photography in real life than from any book. He does buy books about photography, but only books that shows the work of other photographers. The study of other photographers has according to David taught him more about photography than any textbook. He also argues that we don’t need better cameras, but we need better photographers.
You don’t need another book (about photography)
David DuChemin
The book is filled with great photos!
So despite Davids remark that the world does not need an additional book about photography, I will say that if it needs just one more, this would be the one in my humble opinion. Looking at the photographer and the photography process is for me the right place to look, once you get past the initial study of camera settings and composition and the like. David knows that there is a lot of psychology involved in taking great pictures, and he circles around this subject very well in this interesting read. Comes highly recommended.
The odometer of a used car is an important indicator of just how used the car is! It may not tell exactly how well the previous owner(s) took care of the car, nor if they drove like rotten tomatoes or carefully like some senior citizens are able to. The shutter count on your camera is a little bit the same: it tells something about how used the camera is, but it is not the entire story.
You can tell a lot from the scratches and wear and tear on the outside of the camera body – many professionals (sports, photo journalism) do not baby their gear and you can certainly tell from the look of the camera. However, the cameras they choose for their line of business is built for the purpose, so factor this in when looking at a seemingly beaten up pro grade used camera.
In the spec sheet, camera manufacturers list the shutter count life expectancy for a given camera. The Nikon D4 is set to 400.000, but Nikon is notorious for being conservative when it comes to the life expectancy, and many report that they have passed the expected shutter count by several factors!
The shutter in a DSLR is one of the parts that endure the most wear and tear, and hence the focus is very much on the mechanical shutter itself. If your cameras shutter stops working, it is often possible to have the shutter itself replaced and the camera re-calibrated, giving you – if not a new then – a refurbished camera that most likely will have several good years ahead. However, the precondition is that the camera is within the service window still and that spare parts are available. I have a Nikon D4 that is 10+ years old, and I doubt that I can get that serviced anymore as spare parts simply are no longer produced or in stock.
Other parts like buttons and dials are subject to wear and tear as well as the lens mount and doors in the camera. Print cards and electronics can also see the end of their life, but the mechanical parts is usually where the issues surface first.
Some think that the camera shutter counter is reflected in the file numbering of the pictures. And to some extend it is, but you can typically re-set or change the file naming counter, so it is not evidence of the shutter count. Unfortunately, most camera manufacturers do not provide the shutter counter to be seen via say the menu system or some other easily available option. It is hidden inside the camera!
Good news is that the EXIF information of the images contains the shutter count. So if you take an image and send it to this website, you can get the information “pulled out” of the image, provided your camera is supported. Although they say that the image is not stored, I would recommend that you use a test shot or something that is not dear to you as the image you upload. I have only been able to make it work for RAW files, not JPGs.
Sample shutter count for a Nikon D4
With the move from DSLRs to mirrorless cameras, the significance of the shutter count has dropped somewhat. However, there may still be a mechanical shutter in your mirrorless camera that is needed for flash photography or the like. However, when shooting with the electronic shutter, there is very little wear and tear of the mechanics of the camera (other than the shutter release button of course).
For a mirrorless camera you will typically find a counter for both the electronic and the mechanical shutter. For a DSLR, the distinction is between the counter including live-view shots and the more classic shutter release. It is a fair distinction, as the mirror is not flicking every time you shoot an image in live view.
Matrix metering is the most advanced of the metering options on a Nikon camera, be it a DSLR or a ML camera. It divides the scene into multiple zones and evaluates the light intensity and contrast in each zone. The system considers the brightness and contrast levels in each zone to evaluate the overall exposure. Subject recognition may also be used to determine the most important zones as well as the zone that has the focus point. The system has developed over the years and hence the system is not static but had improved from one model to the next.
Nikon Matrix Metering can work with non-CPU lenses, but with some limitations. Non-CPU lenses do not transmit lens information (e.g., focal length, maximum aperture) to the camera, which can impact the metering system’s accuracy. Therefore the Nikon camera – when shooting with a non-CPU lens – will typically default to center-weighted or spot metering mode, instead of Matrix metering.
Danish photographer Ole Christiansen, born 1955, has created portraits of more and less famous people for 40 years. In this book a number of black and white portrait photographs are presented, along with a few images of street / architecture. However, the bulk of the book is portraits.
Ole Christiansen presents a mixture of Danish and international celebrities. Iggy Pop, Leonard Cohen, David Byrne and Yoko Ono are examples and shows that he apparently has a name internationally. But also people that are “world famous in Denmark” are portraits, such as Lars von Trier and former Danish prime minister Poul Schlüter.
Former Danish prime minister Poul Schlüter.
Ole Christiansen often uses hard light, which is normally not what you would use for (flattering) photography. But Ole’s project seems take the approach that the character of the person is key rather than beauty or a wrinkle free look.
Leonard Cohen, Obviously. Closed eyes.
You can find a few double exposures amongst the images in this book, and Ole does not shy away from using props such as mirrors, a record or a piece of paper. Or the subjects hand (see the front page with Iggy Pop).
However, for me, the most stunning images are the “simple” ones using a single hard light source to draw out and amplify the personality of the subject photographed. Even though his ability to put vivid focus on the eyes of the subject is stellar, you’ll also find images where the subject has eyes closed or is viewed in profile, i.e. not looking into the lens.
Hard light right, more classic portrait left.
If you like portraits and B&W images, this books comes highly recommended. There are also a number of street / architecture images, but for me the important work here is the portraits. There is no text other than a small introduction to Ole Christiansen on the cover page – this is a book with only images. Just the way I like it.
Swiss-born photographer Robert Frank on the cover page of his book “In America” is quoted for saying: “Across the USA, I have photographed with these ideas in mind: to Portray Americans as they live at present. Their everyday and their Sunday, their realism and dream. The look of their cities, towns and highways”.
Robert Frank In America
Many big words – both praising and criticising Franks work – have been written about this book, but I stick to Frank’s simple description of his work done during his travel across America. Then I let others decide if this truly is a landmark in photographic history or a touchstone of American identity.
Robert Frank’s way across America.
What strikes me as a photographer looking through the black and white images of this book is Frank’s extraordinary visual talent. And for me this is a source of inspiration that I can visit again and again. Seeing Franks work really makes me want to be a better photographer – not in the same way as the playfulness of Saul Leiter or the clean compositions of Henri-Cartier Bresson, no, it is a visual talent where the compositions are very natural and – for the lack of a better word – non-composed.
Example images from In America.
Some of his images I can study again and again and still find new nuances and details; new inspiration and the work of a natural talent. It is difficult for me to asses if you will feel the same way, but if you are looking for inspiration from one of the best photographers of all time, this book may be just what you need.
What if I told you that there is a magic little gadget you can buy and install between your lens and camera, and all of a sudden the lens is significantly longer and has more reach? Does that sound too good to be true? Well, it is not. The name is teleconverter, and it comes in different variations but they all do the same: make your lens longer.
Teleconverters for Nikon comes in 1.4x, 1.7x and 2.0x meaning that the length of your lens is extended with 40%, 70% and whopping 100%! And good news is that the teleconverter is a relatively small device that does not add much weight to your setup. But it is not a free ride.
First, extenders are expensive. In order for the converter to work well and not deteriorate image quality, the glass in the converter has to be of super high quality. In addition the converter has to be 100% transparent in facilitating the communication between the lens and the camera in order for the auto focus system to work as efficient and fast as without the converter. That is a demanding challenge for the engineers. So good converters are expensive for good reasons.
Second, getting a teleconverter that works with your lens and camera may be a bit of a pain, especially if you say shoot with a Nikon body and a Tamron lens – should you then go with a Nikon teleconverter or a Tamron teleconverter? Difficult to say if you ask me. You can get third party converters that are more reasonably priced than the main brands, but make sure you study the spec sheet to see if your combo of lens and body is supported.
Third, the speed of your lens is affected negatively. How much depends on the specific model, but you can rest assured that if you have f/2.8 as your current widest aperture, then that max aperture will drop as a consequence of adding a teleconverter. So if you are shooting fast moving subjects, this could be a negative impact you seriously need to take into consideration before making the buy decision. And in addition most teleconverters will also give rise to a slight decline in image quality although the very best teleconverters will keep this decline at an absolute minimum.
And finally, if we are talking Nikon, the teleconverters only work on full frame lenses with built in auto focus motors. So AF glass will not do. Nor will APS-C glass.
So, as you have maybe guessed, I am a bit sceptical when it comes to teleconverters. I know many professional wildlife photographers use teleconverters with great success, but I just want you to understand all the down sides of the teleconverters before you go for it. Alternatively, of you have an APS-C camera lying around, try mounting that to your full frame lens – that will give you 40-50% more reach for free. Of course you then run around with a lot of glass you don’t use, but at least you are using the best part of the glass in the lens – the centre part. I have had my Nikon Z50 mounted with my 200-500 Nikkor lens and that gave a wonderful boost to the reach.
