The Online Photographer

For this fortnight's "Baker's Dozen" readers' portfolio, I asked for smartphone photos, and got as many as I thought I would...lots and lots. I have to apologize to the many people who sent great shots that I won't be using today. If it's any consolation, I thoroughly enjoyed seeing everyone's pictures and reading their comments. Great fun for me.

With several avenues wide open for exploring, I thought I'd concentrate on showing some of the things I think people particularly use smartphones for.

To make a colorful beginning, macro shots! Lots of people are finding that the tiny sensors (with their extreme D-o-F), excellent lenses, and SOTA processing are ideal for photographing things close up. Depth-of-field (D-o-F) is proportional to focus distance—all else equal, the farther away the plane of focus, the greater the D-o-F. The closer the object distance, the narrower the D-o-F (more bokeh, in other words). Another way of saying this: if you have three inches of D-o-F when focused on something nine inches away from the sensor, you'll have 30 feet within the D-o-F when you're focused on something 90 feet away. Specifics can vary, but that gets the principle across.

Tiny sensors and the very short focal-length lenses that are "normal" for the formats make macro photography pleasant. This would have been a very difficult shot to make with a FF DSLR. Peggy Collins, 58, of Lancaster, Antelope Valley, in Southern California shot this orangelicious poppy using a Samsung Galaxy S5. It's far from her only camera, though—she's been a serious photographer for decades (a Pentax shooter mainly) and is a part-time pro.

The inset picture is me cheating on the "baker's dozen" limitation by sneaking in an extra example of a nice shot that utilizes large D-o-F. It was taken by David O'Bryan, 49, of Mechanicsville, Virginia, on an iPhone 6+.

Rick Forgo's nighttime street scene is a perfect example of what I was talking about the other day in the "No Such Thing As Image Quality" post. Mature artists understand the properties of the materials and equipment they're using and apply them with sensitivity to best effect regardless of what those properties are. This is a wholly successful shot, regardless of how well it does or doesn't conform to the "ordinary and usual" notions of IQ. Rick, who is 34 and lives in Vancouver, British Columbia, took it with an iPhone 4s, and says, "it's one of my favourite shots regardless of the camera used."

Here's a "particularly pleasing conjunction" (Huw's words), taken of Stonehenge from a slow-moving car in traffic where the road narrows. So what does this show us about phone cameras? That they're an excellent way for kids to enjoy photography! It was taken by eight-year-old Harriet Hitchin, who lives in England. Her father Huw reads TOP. Aside from being one of the youngest photographers ever featured on TOP, Harriet is obviously also one cool kid:

Note the shirt in the picture on the left! Love it. Father and daughter obviously have fun with photography together. Thanks to both. And nice shot, Harriet.

Continuing with the impromptu "daughter" theme, Bruce Greene's painterly iPhone 5 shot of his daughter in a restaurant illustrates what I think is another exceedingly important aspect of phone cameras: they're fun to play with. Not that you can't play with other cameras, as I should know, but I often find myself playing with the phone's camera in situations where I wouldn't ordinarily be taking pictures, just because I can. And play can be very good for creativity.

Full caption: "A loadmaster from the Tennessee Air National Guard's 164th Airlift Wing directs an all-terrain forklift onto a C-17 aircraft at the Kentucky Air National Guard Base in Louisville, Ky., Aug. 29, 2017, to support rescue operations in Texas following Hurricane Harvey. More than 30 Kentucky Air Guardsmen and 90 tons of equipment are being airlifted from Louisville to Houston to stand up an aeromedical evacuation and air cargo hub. (U.S. Air National Guard photo by Lt. Col. Dale Greer)"

Switching gears, I think Dale Greer's dramatic news photo here illustrates very well what is conventionally meant by "the best camera is the one you have with you"—a role that phone cameras play for many people in many situations. Dale works as a public affairs officer in the Kentucky Air National Guard and frequently shoots news coverage with several D750 Nikons. On the day he shot this, however, he says "...my focus was assisting local news media who were covering the deployment of Airmen from our base for Hurricane Harvey relief operations. Thus, I was not packing my customary 20-pound load of camera gear; I only had an iPhone to shoot photos." Good thing he had that along—his photo went on to receive wide national distribution, including on network news programs. And of course TOP.

Anthony Reczek, Moon Over Nubble

Here's another example of not as good being better: lifelong New Englander Anthony Reczek, born and raised in Vermont, actually had his big Canon and a tripod along on this night, and took a picture of this scene with it, but says that "there's something about this smartphone shot that rivals the cleaner/clearer results of the 'better' camera and lens." Anthony recently returned to playing music (in nursing homes) after retiring from a career as a psychiatric social worker.

Burdette Parks illustrates for us the old "what if you see Elvis stepping out of a flying saucer?" principle: sometimes cool things you couldn't invent just happen in front of your eyes, and beg to be photographed. "This is a shot I grabbed during a rehearsal for a play we're doing here in November. The show is Sylvia and the young lady is playing a dog that has an operation in the course of the play. Coincidentally, her pet was visiting us at rehearsal and had just come from the vet. An unposed moment captured due to the quick availability of my phone." Burdette is 72 and lives not far from TOP Rural Headquarters—in the Adirondacks here in Upstate New York, about halfway between the villages of Tupper Lake and Saranac Lake.

Above: Ridley Scott. Below: Ridley Scott.

Continuing the doggie theme (because dogs make life better), Tim Bloomquist, 55, of Des Moines, Iowa, can't understand why people keep asking him why he named his dog Ridley Scott: "He looks just like him!" Well...except I'd have to say Ridley Scott's ears are just a little bigger than Ridley Scott's.

Of course, given the number of pictures on Facebook (slightly less than infinity—for the time being anyway) and the ease of texting pictures (or sending them the old-fashioned way, by email), the Number One use of smartphone cameras is doubtless for taking pictures of friends and family and sharing them. Kurt Holter of Frederick, Maryland, sent us this charming shot of his 91-year-old mother Facetiming with her soon-to-be one-year-old great-grandaughter near Christmastime last year. Kurt's brother, wife, and daughter were all sharing the moment with her. None of them noticed him taking a picture with his iPhone. Kurt's been a full-time photographer since he started out with a newspaper in 1976, but he says, "in all of my years as a photographer, this is one of my all-time favorite pictures."

Another of the undoubtedly interesting aspects of phone cameras is that you can get them into places normal cameras won't go—or won't go without a little more care and work. When Saturn was going to be occulted by the moon on April 17th, 2014, Marcelo Guarini prepared his small but optically excellent backyard telescope and waited. Holding his iPhone 5s up to the eyepiece of the telescope by hand, he took both this still photograph and also a video of the event. The telescope enlargement is around 120X.

I've seen phone pics taken through microscopes, too, and I've used mine to photograph through the viewfinders of larger cameras to show readers the layout of the viewfinder.

Of course, you can just use a phone for photography, too. TOP reader Giuseppe Pagnoni, a researcher and professor of neuroscience at a university in Modena, Italy, took this at a traditional wedding in the state of Oaxaca, Mexico, of a group of women dressed up in their tehuana clothes waiting in line for their turn at the Ladies (Damas) restroom. He says he wishes he had used the Lightroom app to shoot raw (because of course we photographers are never satisfied and always want more). But he had his Ricoh GR with him at the time: "Sometimes you just prefer to use the phone because of the instant feedback and manipulation possibility." Besides the GR, Giuseppe also has a Fuji X100, and he says he recently made the "unreasonable" purchase of a Leica M6 with a Summicron 35mm, which he blames on me (the OC/OL/OY thing). Okay, I'll take the blame.

...And then there are apps, which are endless. Margaret Rainey of London, United Kingdom, took this picture on a rainy day in her native Glasgow, in Scotland, while playing around with the Slow Shutter app, which, she says, "is something I never do on my 'proper' camera, so this would not have been taken otherwise." I like it.

In the inset (yes, I'm cheating again), another shutter effect: a strange rubber propeller captured by Frank Petronio, who is 57 and reports that he lived after taking this. I can't even begin to explain why his phone created this effect; he didn't say if it was accidental or deliberate. But now I want to go up in a propeller plane.

And one more for good measure: Kristine Hinrichs of Milwaukee, Wisconsin, happened across this sand graffiti while taking a break from traveling in the Pacific Northwest. A sweet shot she says is one of her most enduring.

•

Again, I just want to thank all the photographers featured here and everyone who submitted work. This one was painful; I had to leave so many nice shots out. Sorry again to be late with this—it took me longer to compile than almost any other post I've ever posted on TOP, about 12–13 hours. There were just so many submissions and so many different ways I could have organized it.

The next Baker's Dozen will be posted two weeks from now (well, with any luck) on Friday, November 24th. I'll post the call for work on Monday. Hope you enjoy the rest of your weekend!

Mike

"Baker's Dozen" (13) is a new feature we're trying out. Readers answer a call for a particular kind of work, and then Yr. Hmbl. Ed. chooses a dozen to post along with one extra one for good measure.

Original contents copyright 2017 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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Giuseppe Pagnoni: "Elated and humbled at the same time to be featured among such good pictures! While I wish I would have taken the picture with the Ricoh GR I had with me, mainly because of the high-contrast scene, it's kind of telling that sometimes we just prefer to use the phone: as pointed out before here, it must be the tempting combination of instant examination on a good screen (much better than camera LCDs), quick post-processing of the files, and sharing on the web.

"On the topic of image quality, I found that capturing raw images with the iPhone in Lightroom mobile really makes a big difference: even if you just export straight to JPEG, the output file has very little of the frosted-glass, plasticky artifacts that the heavy-handed noise reduction and sharpening algorithm of the iPhone (and most other cell phones) produce—you hardly notice them on the phone screen, but they become obvious (and jarring to me) once you open the file on your computer. Sometimes, I further process the file with the RNI Films app, which has a good selection of filters based on actual film emulsions and scanned grain and is often successful in removing the elusive 'digitalness' of the phone pictures (although I feel I should eventually grow out of this type of nostalgia).

"So, thank you very much for this. I am loving the baker's dozen idea and looking forward to the next variations on the theme!"

Up first is an image that isn't even a contact print, but might go one better. It's a unique image made directly in-camera on Ilford Harman Direct Positive Paper. Reader Johan Verhulst, 58, who lives in Lebbeke, a small village in the Flanders region of Belgium, uses a brass Suter Petzval lens from the 1800s on his Sinar P 8x10 camera. Because he rates the paper at ISO 2, he says "my poor models suffer a very high dose of flash light."

Denise Ross, Summer Sweet Corn, whole plate camera. Denise writes, "Age: not quite Medicare yet; location: home, by way of the Newport, Oregon, Farmers Market."  :-)  A beautifully simple photograph that I'll bet is considerably nicer "in person" as a contact print.

John Wyke writes from the North of Spain: "Here's me with one of my recent contact prints. I use the Intrepid Cameras 4x5 camera and I'm quite happy with the way it's going. I've always loved contact printing, and I'm happy to have a plate camera now rather than just medium format. I do my darkroom stuff at the La Puerta Verde photography school in Oviedo, Spain, which is run by my friend Ricardo Moreno (La Puerta Verde—Escuela de Fotografía). Although he offers courses in digital photography by necessity, his first love is analog and there are about fifteen of us who use various analog cameras, from Holgas to Hasselblads.

"I'm in the process of working on dual exposures contact prints like the one in this picture. I'm not quite there yet, but the joy is in the journey, not the destination. I'm also looking at Tintype style images. I do like the idea of a one shot, no copies, just a single object that you produce."

Stephen Schafer, Santa Monica Post Office, California (HABS index card)

Although the call was for contact prints, this is too interesting to leave out. Reader Stephen "Schaf" Schafer, who works all over California and Nevada, makes his living with 4x5 and 5x7 sheet film documenting heritage for the HABS/HAER/HALS collections. This is a sample of the so-called "digital contact prints" he submits along with his original negatives to the Library of Congress, where the work is in the public domain.

HABS = Historic American Buildings Survey; HAER = Historic American Engineering Record; HALS = Historic American Landscape Survey. This is true documentary work, and it's a great way to get out in the world with a camera.

William F. Whitaker, Three Vanities, 2004

Will Whitaker, 61, from Salisbury, North Carolina, says that most of the tools, processes and techniques he uses date back to the early 20th century, a period he especially admires in art, photography and design. "This image was taken with an 8 3/4" Wollensak Verito at approximately ƒ/6.3 (which is important because of the nature of the Verito lens whose character changes as it is stopped down). The Verito dates from 100 years ago, so fits right in with the aesthetic I admire so much."

At first I thought these 8x10 contact prints from reader Thom Bennett's website might be the same young lady at different ages, but it turns out they're sisters. Thom is 58 and lives in New Orleans, Louisiana. Currently he works in 8x10 but he says he will soon be acquiring a 7x17, which sounds like something he'll have fun with.

Although an in-camera original and not a contact print, I also couldn't resist including an example of the Tintypes people sent me, and this one's a whopper. Literally. In fact it sounds like Monty McCutchen is "all in": he shoots in 10x12, 7x17, 16x20, and 20x24 and, for the most part, contact prints his work with platinum/palladium, Pt/Pd gumovers, and Ambrotypes/Tintypes. (He did send me several JPEGs of actual contact prints.) He says he uses a lot of Lodima paper from our friends Michael A. Smith and Paula Chamlee, who you remember from our large format contact print sale a few years back. He writes that he resides in Asheville, North Carolina, "and within the confines of my own photographic geekery."

As they say in New Hampshire, eeyup. One measure of how deep Monty's geekery goes? One of his many ultra-large-format cameras is a 20x24 Ebony with a 16x20 reducing back! Ya gotta love that. He says of it, "I am acutely aware of how silly that sounds. At one time getting a 16x20 reducing back seemed to make sense. As the years have progressed I am having a hard time remembering the conditions in my life that would have constituted that decision being of sound mind and body."

Why "whopper"? The original of the JPEG shown above is a 20x24 (!) Tintype, which must have gobs of presence in the flesh—or, er, tin.

Of all the images readers sent in, this might have been the only Kallitype (an iron-silver alt process similar to Van Dyke brown). Although not his main way of working, Steve Wolfe of Columbus, Ohio, says he still occasionally shoots 4x5" black and white film, usually Ilford HP5+, with his Graflex Crown Graphic. He contact prints them and tones the prints with platinum/palladium.

By the way, if you're wanting to dip a toe into large format (LF) and contact printing, a Crown is a good place to start. I loved playing with those cameras. Vulch on eBay for a good one, and take your time looking. Great ones at reasonable prices are still being passed around among photography enthusiasts. Use yours for a few years then pass it back.

A lot of LF photographers I know make digital snaps of their setups when they work. (As well of promising scenes when they're scouting for locations.) Although the top picture above is from a scan and thus a bit outside the call, reader Gary Nylander, 59, of Kelowna, British Columbia, Canada, was kind enough to include just such a documentary record shot, taken with his phone:

With large format, you really do engage in a deep way with your subject—it's usually a relaxed, contemplative, engaged, take-your-time-and-get-it-the-way-you-want-it process. Nothing rushed or lucky about it, usually.

The picture in the picture is called Living the Dream: Stuff, and More Stuff

Since we're stretching the boundaries here (lots of readers sent things other than JPEGs of "purist," or straight, all-analog contact prints), I can't resist including this "selfie" by reader Mike Rosiak. "The print in my right hand was contact-printed from the negative in my left hand, Van Dyke brown process, on paper I hand-coated. The negative is on 8.5x11" Pictorico OHP film, printed from my Epson P600. Original image taken with a Lumix GF1, IR conversion by LifePixel, and using the Olympus body cap lens. Silver Efex Pro to make into B&W, then channels reversed to make the negative. So, the whole thing is pretty much a hybrid.

"The print behind me is another contact print, a Cyanotype. What looks like a print in the big red clip is my first 'negative,' which is positive! Early learning curve.

"Both Van Dyke brown and Cyanotype processes were in existence about a hundred years before I was born. (I'm 75). The Cyanotype print got a second place in a local (Southeast Pennsylvania, Northwest of Philadelphia) art group's Spring show, while the other print was accepted as a finalist in Pennsylvania's annual Art of the State event, and hung in the Harrisburg State Museum from June until September.

"I mostly shoot digital (99+%), haven't had a darkroom in maybe 20 years, but this stuff is fun to fool around with, and requires only a 'mostly dim' room."

Mike has two 4x5 cameras, a Crown Graphic and a (Kickstarter) Wanderlust Travelwide.

And here's Michael Boudreaux, 33, from Austin, Texas. "I shoot primarily a Hasselblad, a 4x5 Chamonix, and an 8x10 Deardorff recently purchased from Blue Moon Camera in Portland," Mike writes. "I'm holding my first contact print out of this (rugged) beauty, shot on Ilford HP5+, developed in Pyrocat HD and printed on Ilford MG Classic FB.

"I sit at a computer all day at work, so I gravitate towards vintage machines like goofy old cameras and quirky British roadsters." I get that.

You've met photography teacher Jeff Dionesotes before—he's the guy who bought my once-beloved SaltHill (made by my late friend Joe Saltzer, RIP) print washer when I moved away from Wisconsin. (Actually, I gave it to him—it was originally a review sample that I ended up paying nothing for, and thus it would have been unethical for me to profit from its sale.) This is a contact print of some of his students made with a Zone VI "Ultralight" 8x10.

...And, for good measure, one more:

Reader Chris Fazio, 61, of Chicago, Illinois took this dignified portrait of his 92-year-old mother this past September, on her birthday. He writes, "I started to get serious about photography in 2005, at the end of the film era! I love making contact prints using the Lodima paper Michael Smith makes." He has recently begun a project photographing people in profile.

•

That's it for this, the inaugural "Baker's Dozen." As I've mentioned, I'm going to try to repeat this feature at two-week intervals—at least for a little while. The next call for work is for smartphone pictures that you wouldn't have made but for the fact that you had your smartphone with you...but please read the call for work before submitting. I'm already awash in submissions (really fun to see them) so it's going to be important for you to follow protocol if you want your submission to be considered. (The amount of email I get is an organizational headache. An assistant, an assistant, my kingdom for an assistant!)

I had about three times as many submissions for this week's feature as I had space for, which is surprising given that traditional LF is such a small niche. It was excruciating to have to leave some of them out. I went for variety and "ancillary interest," you might say, and no judgement of quality is implied for those who didn't get chosen! I really enjoyed hearing from everyone and seeing your work—especially all of those who appended nice personal notes to their emails. Really good to hear from you. Sorry I don't have time to personally reply to anyone. (I really barely have time for email correspondences these days, if you're wondering why you never got an answer to an email. I do read everything that comes in.)

If you'd like to add an image in the comments, TypePad isn't really set up for that, but there's a workaround. First, the image must be on the Web and have a URL; and second, it can't be more than 470 pixels wide or it will get truncated. With those two conditions met, you can use this code in the comment box:

...Where the bit between the quote marks is the URL of your image. Leave the quote marks there.

That it for us for this week—I'm off to work on my book for the weekend. Hope you had as much fun with today's post as I did. We'll be back on Monday, and next week on Friday we'll take another trip Around the Web—I've already gotten started on that.

Mike
(Thanks to everyone who submitted work)

Original contents copyright 2017 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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Butters sniffing a purple onion skin.
Your shot need not include a dog.

Do you shoot with a smartphone regularly, especially a late model one, especially one you bought specifically for its camera?

My theory is that regardless of what you shoot with, sometimes you get a shot that works for you. Have you gotten a "hit" recently with your smartphone? Doesn't have to be art, just something you like. Show us something quirky or personal, something you wouldn't have shot if it weren't for your phone.

Send it to m c j o h n s t o n a t m a c d o t c o m with the subject line "bakersdozenphone" and I'll pick 13 of the most interesting ones and post them on Nov. 10th. The JPEGs should be saved in sRGB and 800 pixels wide, and please include them in the body of the email.

Let me know your name, age, and where you live, too. Any other comments welcome too, of course. Please don't forget the subject line, or I might lose it in the email stack.

Amish cauliflowers. Your shot need not be colorful.

Mike

Original contents copyright 2017 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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No text

Mike
(Thanks to David Bostedo [and several other readers later])

Original contents copyright 2017 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

If you don't get it
Try this

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Kenneth Tanaka: "A cute and clever illustration! Related to your earlier topic on perfectionism, library management, whatever the materials being catalogued, is one place where a perfectionist is most welcome...indeed, required!"

Llewellyn Lafford of La Belle Vie, which has an 11x14 studio stand camera on display in the sitting room. More about that below.

I'm happy to report that my in-person Portfolio Reviews have been going swimmingly. I've done four so far (Bill, Bob, Ed and Ben). Each person's photography has been completely different. Different kinds of work, at different levels of development, different concerns—making four very different portfolios. What the photographers had in common is that all have been unusually thoughtful and bright people capable of discussing their work (and other things) at a high level, and they're all very engaged with their photography. It's been challenging for me, but also quite rewarding. I can sincerely say it was a pleasure to meet each of them.

Having learned more about doing these reviews as I go, I'm making a few changes. The price will stay at $100/hour; I've done some calibrating to other, similar teaching/review services offered by other similarly qualified instructors, and that price seems to be nicely in line with the standard. In the future I won't be offering refunds in exchange for writeups, though. I just got health insurance for the first time since I struck out on my own and it's "like to break me" as Huck might have said. (It's my second biggest expense, between the mortgage and my son's college tuition.) I need the income from these reviews if I'm to be doing them. (Also, no one's done a writeup yet.) I'm limiting sessions to three hours, although you can book sessions on consecutive days if you like (Bob did that). From now on I believe I'd like to start the sessions in the afternoon, at about two or three—I write in the morning, and it discombobulates me to break that rhythm. But later we'll go have a meal, and that's off the meter.

I had anticipated that only people who live nearby would be interested in a portfolio review with me—the first client, Bill, came from nearby Rochester on a day trip with his daughter, who sat in on our sessions—but all three of the others came from various distances; Bob from Virginia and Ed from Massachusetts near Cape Cod. Ben lives in San Francisco but was visiting his and his wife's parents in the New York City area. Ben's wife Suzanne accompanied him here and joined us for lunch—she was as interesting and accomplished as her husband—but didn't sit in on our sessions.

A La Belle Vie breakfast, first course

For people who will be traveling here, I'm going to be recommending La Belle Vie (French for "the good life") Bed and Breakfast in Penn Yan. Llewellyn and Laurel, who run the little inn, are retired computer professionals from Brooklyn. They welcome visitors in a splendid and distinctive restored 1860s Italianate Victorian mansion that's renowned locally (deservedly so). Both seem to be ideal innkeepers, warm and personable. And they take their hosting duties seriously—the breakfasts are magnificent, for one thing. I can attest to that, because I joined Ben and Suzanne for breakfast they morning they left.

Llewellyn is a photographer. He won First Prize one year in Life in the Finger Lakes magazine's photography contest, and the camera in the picture is on permanent display in the living room—it's a Rochester-made Folmer studio stand camera with a Wollensak lens.

All in all I think a stay at this charming B&B would amplify the experience for people coming to visit. La Belle Vie isn't offering discounts for TOPpers but that's because their rates are already reasonable.

The only thing is, you should probably make plans if you want to come in season. Rooms aren't too hard to come by in the off-season (although a reservation never hurts), but during the season (June through September) the earlier the better. You'll need to make reservations at least three weeks in advance and probably more.

Of course there are plenty of other places hereabouts to stay—including a very basic Microtel in Penn Yan, short on amenities and charm but also cheap. And naturally it's up to you.

If you'd like to schedule a portfolio review, please let me know.

Mike

Original contents copyright 2015 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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