Have you ever seen a photography book without pictures?
leica summilux 35mm f/1.4 pre-asph
Walking Around
I just heard about an awesome photographer moving to NYC. Unexpected, but it makes sense. I like his work, they are interesting and you can see an independent thinker. His favorite camera is the Fuji x100 and I love the Leica Summilux 35mm f/1.4 and take my Leica everywhere I go. And I’m not going to New York, I’m in Beijing.
Interesting photography is more than just good looking photos. The photograph is just the medium. The personality of the photographer is deeply imprinted in the work. We think about life through photography and photography through life.
Photography Book Without Pictures
In short, don’t think that street photographers only have time to take pictures and get lucky. In fact, when not taking pictures, photographers are reading and thinking. One more thing, many photographers have never read a text-only photography book. Can a photography book be without photos? Yes, a good photographer must have read picture books without words and photography books with only words. Have you ever seen a photography book without pictures?
Compact Camera
Many street photographers prefer to use Fuji x100 cameras, while I like to use Leica film cameras. Of course, whether the photos are interesting or not depends mainly on the photographer, not the equipment. But one thing we have in common is that we both use small, quiet rangefinder cameras, which are actually more conducive to street photography. Cameras that don’t disturb other people are more advantageous in street photography. Therefore, sometimes the choice of equipment is also very important for the photographer. the Leica m3 and the Leica Summilux 35 f/1.4 pre-asph are my favorites. I learned this from a photography book without pictures, which was an interview with a photographer. Many street photographers choose cameras for street photography that are compact and don’t interfere with passersby.
Sure, I can help you polish the translation. Here’s the refined version:
These days, capturing photos of flowers and plants with a smartphone is no longer a challenge. Achieving background blur is also not a difficult feat, thanks to the advancements in chip algorithms. Additionally, smartphones have made significant progress in HDR capabilities. The Xiaomi 13 Pro is undoubtedly among the top performers in these aspects. As a street photographer, my focus is on the user experience when capturing photos in this setting.
In street photography, lighting conditions tend to be variable, and contrasts are often high. As a result, relying solely on the metering function is not sufficient, and the photographer must rely on their judgment. Experienced Leica players often use full manual settings for aperture and shutter speed, while SLR and mirrorless camera players will typically use aperture priority or shutter priority modes and adjust the exposure compensation accordingly.
I discovered that if the Xiaomi 13 Pro is exposed normally, the resulting photos tend to resemble the style of Sony mirrorless cameras. The color palette reminds me of Sony’s first APS mirrorless camera, the Nex5. However, by setting the exposure compensation to around -1.3 stops, the “leica taste” (a Leica term referring to the unique and subtle aesthetic quality of Leica cameras) is evident in the resulting photos.
It’s unfair to compare the Xiaomi 13 Pro to a Leica M, but finding “leica taste” in a smartphone camera is a rarity. Xiaomi’s collaboration with Leica has produced remarkable results, including a stylized master lens option in the software, allowing for quick and easy switching between the 35mm black and white, 50mm focusing, 75mm portrait, and 90mm soft focus lenses. This design is very user-friendly for photography veterans who prefer fixed focus styles and is a valuable educational tool for beginners.
Despite these features, I prefer to use the professional mode when shooting street photography, with the wide-angle lens, EV -1.3, and all other settings on auto. I shoot everything in color and convert to black and white during post-processing on the computer.
In terms of image clarity, smartphones have made great strides, particularly when paired with the Leica-certified vario-summicron 14mm-75mm lens. The Xiaomi smartphone’s clarity surpasses that of many early APS-C format SLRs with kit lenses. Moreover, the backlit CMOS sensor performs exceptionally well in low light conditions. These two features alone are enough to render many older cameras obsolete.
Moreover, I have found that the Xiaomi 13 Pro’s display screen enhances the vibrancy of photos, particularly when viewed on the phone itself. The colors appear more vivid compared to viewing them on an Apple computer. I attribute this to the high level of color space matching between the phone’s color correction process and the display screen.
Typically, I am able to capture the same emotive power with any camera – the photo feels like it’s coming right at you. Even with a smartphone, that feeling is present, and you can get up close and personal. I used a wide-angle lens at a distance of about 1.5 meters. I have noticed that many people do not mind when you get close with a smartphone, and some don’t even notice. However, the phone does emit a “click” sound when taking a photo, which often prompts a smile from the subject. It wasn’t until later that I discovered that there is no shutter sound in silent mode, but I still prefer the sound, as it lets me know which moment I captured and gives me a sense of accomplishment.
Typically, smartphone cameras have slow response times when it comes to capturing photos, be it focusing or shutter response speed. However, the Xiaomi Pro3 is very fast and boasts a high success rate.
For those who enjoy shooting with Leica lenses at wide apertures, ISO 100 film remains a popular choice that offers greater convenience than ISO 400, particularly when using large apertures like f/0.95 or f/1.4. Furthermore, ISO 100 film can produce much finer image quality than ISO 400 film. The Rollei RPX film boasts a remarkably flat base, which allows for easy scanning without the need for flattening. This is a feature that I personally love.
However, while ISO 100 film is generally considered to be fine-grained, the grain may still be noticeable to some extent. Established brands such as Kodak, Ilford, and Fuji have invested considerable efforts in fine-grain technology. Nevertheless, the RPX film has several advantages: it is affordable, easy to develop, and has good tolerance. By contrast, many ISO 100 films have poor tolerance, particularly the Fuji Acros 135 and Ilford Pan 100. Rollei RPX, on the other hand, has a level of tolerance that is more commonly associated with ISO 400 films. The contrast of RPX 100 is also medium to high.
So why has Rollei resumed film production, offering various types of film including ISO 25, ISO 50, and ISO 100, all produced in Europe? According to the packaging of MACO PHOTO PRODUCTS, the company is located in Stapelfeld, Germany and is a subsidiary of Hans O. Mahn Gmbh & Co. KG, with a 36-year history of producing film. Interestingly, it comes from the same factory as Ilford and Kentmere in the UK, with only different formulations.
Rollei RPX 100 is a traditional medium-speed black and white film.
This film is suitable for a wide range of photographic and scientific applications.
Particularly portrait and landscape photography, architecture and product photography.
The popularity of this film confirms its high quality.
It is a fine grain film that enables good sharpness and a broad tonal range with good contrast.
Kodak Tri-X 400TX, the legendary black and white film, is included with the Leica 100th Anniversary Limited Edition M100 kit, which comprises of a Leica M-A and a Leica M Monochrom. Known as “the film that can be developed in water,” it is highly regarded in the photography industry and was favored by news reporters and Magnum photographers in the past. Its high dynamic range makes it especially useful for capturing candid and street photography, where there may not be time to adjust aperture and shutter speed.
While it has a wide dynamic range, it does not emphasize high and low lights, but rather has significant mid-tone contrast. This makes it suitable for both low and high contrast lenses. Although it may not be the sharpest film, it is still known for its sharpness.
One disadvantage of Kodak Tri-X 400TX is that its film base tends to curl, which makes it difficult to scan, especially with flatbed scanners like the Epson V series. However, the advantage of this curl is that the emulsion surface shrinks inward, reducing the risk of scratches and damage.
ISO 400 black and white film is a popular choice for capturing human subjects due to its high tolerance and larger grains. Kodak Tri-X 400 has gained a devoted following for its ability to handle push processing, allowing it to be used at ISO 800 or even pushed to ISO 3200. However, Kentmere 400, the film we are discussing today, is best used at its rated ISO 400 and should not be pushed beyond that. Its pricing reflects this recommendation.
Regarding Kentmere’s contrast, the film’s manufacturer remains a mystery, with some speculating it could be Ilford due to their shared UK base. Nonetheless, Ilford’s PAN 400 is considered to be of superior quality compared to Kentmere. Kentmere struggles with low-light situations and tends to produce deep blacks, leading to an overall high contrast look that can make images appear harsh, particularly when shooting with high contrast lenses or in high contrast scenes. Personally, I find it best to avoid using Kentmere in bright noon sunlight.
On the other hand, Kentmere 400 performs exceptionally well for indoor and subway portraits, creating a clean, bright look reminiscent of its white packaging. It appears to have a built-in half-stop yellow filter effect and also handles foggy weather with ease.
You will fall in love with his work just by looking at it
Looking at Frank Horvat’s work always gives one a relaxed and spontaneous feeling. Whether it is commercial work or street work, it exudes a spirit of euphoria and optimism. And this spirit is not built by relying on clean backgrounds and telling circumstances, but rather capturing a moment when the characters shine. He does not shoot surprisingly like other photographers, nor does he shoot seriously like some photographers, simply put, you will fall in love with his work at first glance.
I think it is difficult to introduce Frank Horvat in a sentence or two, or in an article, because he is a fashion photographer who is also very good in the field of street photography and is also famous for photographing club girls. Sometimes photographers don’t know how to be themselves.
Frank Horvat has taken a lot of black and white photos, but also a lot of color photos. But from his black and white photos I see more or “open”, no excessive sense of obstinacy, are naturally emitting a kind of optimistic calmness. This is perhaps the secret of his longevity. You can see that he was a very cheerful man.
I’ve always cherished Leica cameras for their blend of beauty and utility, and the Leica M6 stands out as a masterpiece. It’s intuitive, reliable, and—for me—the heart of my collection alongside the M3, M2, and CL.
Metering Magic
In film photography, exposure is everything. The M6’s built-in TTL (Through-The-Lens) metering system is a revelation—precise and stable, reading light off the shutter curtain with uncanny accuracy. Forget the “Sunny 16” rule’s guesswork; this camera gives me confidence to nail every shot, especially when transitioning from digital to film. It’s a trusted ally for capturing fleeting moments without second-guessing.
Iconic Design
The M6’s look is pure Leica: sleek lines, a bold red dot, and a choice of silver TTL or black Classic finishes. I started with the silver TTL, but the black body’s mystique won me over—its understated elegance keeps my focus on the frame. At 580g (body only), it’s hefty yet balanced, a tactile reminder of German craftsmanship.
A Personal Passion
My Leica journey began with the groundbreaking M3, moved to the compact CL, and peaked with the M6. That red dot isn’t just a logo—it’s a symbol of my devotion to photography’s art. After a decade with these cameras, the M6 remains my go-to for its blend of legacy and function.
