Camera Accessories
A small topic is camera accessories. There's a lot available. But you don't really need a lot of it. Some things are just sexy or simply trendy right now.
Like the ThumbGrip, for example. At first, I just thought, "Wow, that looks professional," when I saw the first photographer using one. A little later, I had my first ThumbGrip on my X-T2 and my current backup camera, the X-Pro 2. And the ThumbGrip actually does make sense. You simply have a better grip. Do you need it? Not with Fujis. Maybe more so with a Leica M. But overall, you don't really need a ThumbGrip.
AF and Auto Modes
Autofocus. I have to admit, as a beginner, this was very important to me. Simply aim, press the AF button, and then maybe make some minor adjustments to the composition. I especially enjoyed doing this in the beginning with my Canon 5D Mark III. Which isn't a bad thing. After all, everyone has to start somewhere, and you learn by doing. And if the 5D comes into use again from time to time, then I also use the AF on this DSLR.
Exploring Berlin’s Teufelsberg: A Monochrome Architectural Journey
Berlin, a city where history and modernity intertwine, offers endless inspiration for architectural photography. On a recent photographic walk, Sebastian H. R., the Berlin-based photographer behind the artistic project monochrome EDGE, explored the haunting and extraordinary landscape of Teufelsberg. Known for its striking Cold War-era structures and raw, brutalist architecture, Teufelsberg provides a unique canvas for monochrome architecture photography.
Aperture Value - My Experiences
Unlike with focal lengths, I can't contribute much here.
Many say f/1.4 is among the best aperture values. I personally wonder why. Have those who claim this ever taken many photos at f/1.4? I've taken many pictures at f/1.4 and can say for myself that the value is too high. Yes, the blur, the bokeh from Japanese photography, can look good. But you have to use it subtly. What's the point of having the model in focus in a street shoot, for example, but not being able to see the background? The same applies to product photography. What good are the pictures if the product and those further back aren't in focus?
Focal Lengths - My Experiences
As a beginner, you don't really ask yourself this question yet: Which are the right focal lengths? I remember when I started with photography and used a well-recommended zoom lens: a 24-70mm equivalent in 35mm format (35x24mm).
Leica M-EV1 - Low-Maintenance M Camera
Do we have the M that doesn't need maintenance here? There's no rangefinder. You have to do without the classic M focusing via the rangefinder. Focusing is done here, as with the Q, via focus peaking and the digital magnifier. And let's not forget zone focusing. If that's enough for you, you can continue using your collection of M lenses with this M without having to worry about whether the physical rangefinder will ever need servicing.
"How" to Photograph
Can you only photograph with an M-D like you would with a film camera? Is the M-D the only true way? I think not. You have to ask yourself, "How do you like to photograph?" Yes, I used to enjoy taking photos with my X-T2 and its back LCD, holding the camera freely away from my body. And before I knew what zone focusing was, I even used autofocus. But today I like to take my time. I just want to take "a clean picture." No spray and pray. You change as a photographer. And I don't need an M-D to photograph in "my style."
Exploring Berlin’s Brutalist Charm: A Photowalk at Walter-Benjamin-Platz
Berlin is a city where history and modernity intersect in a striking urban tapestry, and few locations capture this blend as profoundly as Walter-Benjamin-Platz. Recently, I embarked on a photowalk through this iconic square, exploring its raw architectural forms and translating them into monochrome abstractions.
Leica Q2 Monochrom
Royal Class "M" system. The measuring probe, a physical component. Very precise, and it works. I stand by what I've already written about the M-System. It's the top of the line. But. The M-System has several aspects that I find negative.
Royal Class “M”
In my opinion (in digital photography), nothing comes closer to the feel of old (analog) photography than the Leica M with its optical viewfinder. There's just something about the rangefinder. It's simply fun to photograph using the prism principle. You look through "glass" and orient yourself using the focal length lines.
Exploring the Industrial Aesthetics of Berlin’s Behala Westhafen
Berlin is a city where history, industry, and modernity converge in striking visual narratives. On a recent photowalk at Behala Westhafen, Sebastian H. R., the Berlin-based photographer behind the artistic project monochrome EDGE, explored the industrial landscape of the site, capturing the raw, minimalist beauty of its structures.
Exploring Berlin’s Industrial Edges: A Photowalk at Behala Westhafen
Berlin is a city where history and modernity collide, offering an endless playground for those passionate about architectural photography. On a recent photowalk, Sebastian H. R., the Berlin-based photographer behind the artist project and online platform monochrome EDGE, ventured to the industrial surroundings of Behala Westhafen. Importantly, all images were captured outside the operational areas, ensuring both safety and respect for the site’s functioning.
Brand servants
Today, when my Leica M8 broke down, something dawned on me. I immediately thought, "Oh God, now I'm not enjoying photography anymore. If the image metadata doesn't say Leica, I'm miserable."
My Leica M8 range finder died
The Leica M. For me personally, the pinnacle of photography. Analog photography excluded. Digital, meaning for me, Leica M. The last vestige of mechanical photography in the digital age. Even a Hasselblad XD2 100C, with its EVF, isn't first-class for me. I came to know and appreciate the M-Experience with the M8.
Photography, a philosophy
What makes photography exciting? What fascinates it about us photographers, us artists?
I see it from a rather melancholic perspective. If you don't want to be an active part of society, if you've turned your back on it, what are you then, living only for yourself?
Foreword to this personal blog
Let's be realistic. Nobody's going to read this blog. This blog is for me. I want to document my journey as an artist here. How one grows. How one develops. To philosophize and to comfortably put my thoughts down in a lounge chair with a hot cup of tea, using my MacBook.
A Photowalk in Berlin’s Hauptbahnhof – Part 2: Monochrome Perspectives
Continuing our exploration of Berlin’s architectural marvels, Part 2 of the photowalk at Hauptbahnhof reveals the station’s intricate geometry through the lens of monochrome abstraction. Sebastian H. R., Berlin-based photographer and founder of the artist project monochrome EDGE, captures the essence of modernist and brutalist influences with meticulous attention to form, contrast, and light.
A Berlin Photowalk: Hauptbahnhof through a Monochrome Lens – Part 1
Berlin’s Hauptbahnhof, a striking intersection of glass, steel, and concrete, offers a playground for architectural photography enthusiasts. On a crisp morning, I embarked on a focused photowalk, exploring the station’s monumental design through the lens of my Canon 5D Mark III paired with a Sigma 24–70mm full-frame lens.
Exploring Brutalist Elegance: A Photowalk Through Berlin’s Sony Center
Berlin, a city where history and modernity converge, offers a unique canvas for architectural photography. Recently, I embarked on a photowalk at the iconic Sony Center at Potsdamer Platz, capturing its striking interplay of light, shadow, and structure. This space, with its geometric precision and bold lines, is a haven for those drawn to minimalist and abstract interpretations of architecture.
Concrete Silence: The Jewish Museum Berlin in Monochrome
Architecture has the power to speak without words. Few buildings embody this idea as profoundly as the Jewish Museum Berlin. Designed by Daniel Libeskind, its exterior is not merely a façade but a spatial narrative—sharp, fractured, and uncompromising. In this series of outside photographs, the building is explored through a strictly monochrome lens, emphasizing form, tension, and silence.