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Showing posts with label misc. Show all posts
Showing posts with label misc. Show all posts
Wednesday, August 8, 2012
Wednesday, August 1, 2012
Thursday, July 5, 2012
Tuesday, May 1, 2012
Tuesday, April 3, 2012
Friday, March 23, 2012
Monday, March 5, 2012
Saturday, February 18, 2012
Saturday, January 28, 2012
Friday, December 23, 2011
Saturday, November 26, 2011
interview
http://blog.leica-camera.com/photographers/interviews/kokyat-choong-the-camera-as-a-paintbrush-part-two/
Kokyat Choong grew up in Kuala Lumpur, Malaysia and after high school he attended interior design school, which may partially explain the strong sense of graphic design that characterizes all his work from sensual images of ballet rehearsals to strikingly abstract and surreal images created as a photographic homage to the renowned French artist Rene Magritte. After working as a project designer in Kuala Lumpur for seven years he saved enough money to quit his job, determined to discover which country and city would be his second home. After a nine-month whirlwind quest through Asia, Middle East, Europe and the USA, he finally settled on New York “to see what differences existed between Malaysian vs. New York in the realm of interior design.” There he continued his education at Parsons School of Design and found a job.
“I had been shooting New York Fashion Week for a few years,” he recalls, “and had come to a decision to pursue other things, but I had a change of heart after an editor asked me to photograph a fashion show in Paris last March, which I did. I actually used my Leica X1 to photograph the back stage and runway for Hermes Spring/Summer 2012. I love traveling and when I am traveling my camera is my only accessory.” It is clear from his compelling images that Choong is fascinated by the beauty and form of the dance, by abstract juxtapositions of form and light and the creative process of seeing itself. That is why he will probably always be an art photographer with the eye of a designer. Here are some of his observations on photographic technique, his underlying influences, street photography in New York and capturing the subtleties of ballet. Also, you can read part one of our interview with Kokyat Choong on the blog.
Q: There seems to be a similar sensibility in your pictures of kids diving into the water at Coney Island and dancers in the dance studio. Do you agree with this observation and can you comment on it?
A: Yes. Both the divers and the dancers are “caught in the act.” Beyond that there is a certain feeling of risk involved in both activities and a type of physical energy that can be felt even in the still images.
Q: How does shooting with the Leica X1 compare to shooting with Nikon DSLRs and can you say something about your preference for f/2.8 wide-angle lenses for your work?
A: When I travel now, I only bring along my Leica X1 because of its convenient weight and size. I know I will get high-quality images, comparable to those captured with the DSLR. The X1 is not as fast as the DSLR, and the auto-focus is not as reliable compared to the DSLR.
Having a fixed focal length lens in X1 is a bit challenging because you don’t have the flexibility to zoom (as people say, you have to zoom with your feet), so it is depends on how creative the photographer is in framing the images. Developing the skill of composition means getting back to the basics. With a wide-angle lens, I have to move closer to the subject I need to photograph. As Robert Capa famously said, “If your pictures aren’t good enough, you aren’t close enough.”
Q: How do you think that your witty and surreal abstract compositions inspired by Magritte differ qualitatively from your photographs of people? Do you believe that the creative process underlying both types of pictures is the same or somewhat different?
A: I would say that the photos of dancers/people are more of a documentary nature while the Magritte-style photos are more dreamlike images, using color and texture inspired by his work.
Q: You mention being influenced by Henri Cartier-Bresson, one of the great street photographers of all time, and state that one of your principal genres is street photography. What is your concept of street photography and why do you believe the Leica X1 is conducive to this kind of work?
A: Street photography for me means always being ready. This camera is easy for street photography because it is so compact and lightweight that I always have it with me. It is much easier to use in the streets than my DSLR — it draws less attention and sometimes people even don’t even notice that I took their picture. Living in the great city of New York there are hundreds of opportunities for capturing all aspects of urban life on a daily basis. The most mundane buildings, intersections or activities can provide surprisingly exciting images. I can also use this camera surreptitiously! Whenever I am walking around the streets of Manhattan, the image of Cartier-Bresson (Downtown 1947 — man with a cat in between the tall buildings) will appear in my mind. Another link with Cartier-Bresson is his famous photo of George Balanchine that ties in with my interest in dance.
Q: Have you ever considered acquiring a Leica M9 and a fast wide-angle lens? Do you think it would have any operational advantages over the X1 for your style of shooting?
A: The X1 is my first piece of Leica equipment, and I hope it won’t be my last! If I am going to extend my camera collection, the Leica M9 will definitely be my next choice. I still remember spending so much time in the Leica booth at the PDN Photo Plus Expo at the Javits Center last year just looking at the M9. If I am not moving to M9 immediately, the only reason will be the cost. Maybe my next one will be the Leica X2, whatever that may be. The big advantages of the M9 are full-frame capture and interchangeable lenses.
Q: You note that you like to shoot dancers using B&W High Contrast mode. Is this because it presents the formal elements in bold relief and eliminates anything that detracts from them, or are there other, perhaps emotional reasons?
A: I do like the black-and-white images I’ve shot in dance studios. I think that medium throws the dancers into bold relief and gives them an inherent sense of drama. I like looking at old photos of dance, before color became the accepted mode. I like the timeless feeling of shooting dance in black and white. For my recent shooting in B&W High Contrast I photographed the principal dancer from NYC Ballet, Wendy Whelan.
Q: You observe that dancing involves raw physicality, sweat and strain that “can be beautiful in its own right” but they prefer “to have an effortless facial expression.” Do you think this dichotomy applies in some way to your photographs of dancers as well?
A: I try to watch for the moment when the dancer is technically at the center of his or her movement; sometimes that coincides with a facial expression that shows the physical effort involved. Other times the face will look superb, but there is something slightly off in the bodyline — the foot isn’t pointed, the fingers are splayed, etc. Dancers are quite particular about being seen to the best possible advantage both in terms of face and form. I usually take a lot of photos when I am shooting dance because many of them will be rejected for one reason or another. Yet some of the “flawed” ones are actually my favorites.
Q: Do you believe, as many have asserted, that there is something special about the way Leica lenses capture an image, “the Leica Look,” and does the lens on the X1 fall into this category?
A: I am still not sure exactly how to define “the Leica Look.” This question has been discussed many times and we still have no concrete answer, since it is a subjective area. It goes beyond technique and clarity. One thing I am sure about though: I am very much satisfied with the quality of the images from the X1.
Q: How do you see your photography evolving going forward? And now that you are traveling with a Leica X1 instead of a DSLR, what influence do you think this “light and powerful” camera will have in determining the direction your imaging will take?
A: With this camera, I feel I have no limits and I am looking forward to continuing to explore the world around me. I want to try more portraiture, for one thing; portraits that Arnold Newman described as “environmental portraits” have always inspired me. At some point I hope I can have a gallery showing of some of my works, perhaps in conjunction with a dance performance or maybe I can find a publisher to print a photo book for me.
-Leica Internet Team
You can see more of Kokyat’s work on his blog, http://reddotcamera.blogspot.com.
Kokyat Choong grew up in Kuala Lumpur, Malaysia and after high school he attended interior design school, which may partially explain the strong sense of graphic design that characterizes all his work from sensual images of ballet rehearsals to strikingly abstract and surreal images created as a photographic homage to the renowned French artist Rene Magritte. After working as a project designer in Kuala Lumpur for seven years he saved enough money to quit his job, determined to discover which country and city would be his second home. After a nine-month whirlwind quest through Asia, Middle East, Europe and the USA, he finally settled on New York “to see what differences existed between Malaysian vs. New York in the realm of interior design.” There he continued his education at Parsons School of Design and found a job.
“I had been shooting New York Fashion Week for a few years,” he recalls, “and had come to a decision to pursue other things, but I had a change of heart after an editor asked me to photograph a fashion show in Paris last March, which I did. I actually used my Leica X1 to photograph the back stage and runway for Hermes Spring/Summer 2012. I love traveling and when I am traveling my camera is my only accessory.” It is clear from his compelling images that Choong is fascinated by the beauty and form of the dance, by abstract juxtapositions of form and light and the creative process of seeing itself. That is why he will probably always be an art photographer with the eye of a designer. Here are some of his observations on photographic technique, his underlying influences, street photography in New York and capturing the subtleties of ballet. Also, you can read part one of our interview with Kokyat Choong on the blog.
Q: There seems to be a similar sensibility in your pictures of kids diving into the water at Coney Island and dancers in the dance studio. Do you agree with this observation and can you comment on it?
A: Yes. Both the divers and the dancers are “caught in the act.” Beyond that there is a certain feeling of risk involved in both activities and a type of physical energy that can be felt even in the still images.
Q: How does shooting with the Leica X1 compare to shooting with Nikon DSLRs and can you say something about your preference for f/2.8 wide-angle lenses for your work?
A: When I travel now, I only bring along my Leica X1 because of its convenient weight and size. I know I will get high-quality images, comparable to those captured with the DSLR. The X1 is not as fast as the DSLR, and the auto-focus is not as reliable compared to the DSLR.
Having a fixed focal length lens in X1 is a bit challenging because you don’t have the flexibility to zoom (as people say, you have to zoom with your feet), so it is depends on how creative the photographer is in framing the images. Developing the skill of composition means getting back to the basics. With a wide-angle lens, I have to move closer to the subject I need to photograph. As Robert Capa famously said, “If your pictures aren’t good enough, you aren’t close enough.”
Q: How do you think that your witty and surreal abstract compositions inspired by Magritte differ qualitatively from your photographs of people? Do you believe that the creative process underlying both types of pictures is the same or somewhat different?
A: I would say that the photos of dancers/people are more of a documentary nature while the Magritte-style photos are more dreamlike images, using color and texture inspired by his work.
Q: You mention being influenced by Henri Cartier-Bresson, one of the great street photographers of all time, and state that one of your principal genres is street photography. What is your concept of street photography and why do you believe the Leica X1 is conducive to this kind of work?
A: Street photography for me means always being ready. This camera is easy for street photography because it is so compact and lightweight that I always have it with me. It is much easier to use in the streets than my DSLR — it draws less attention and sometimes people even don’t even notice that I took their picture. Living in the great city of New York there are hundreds of opportunities for capturing all aspects of urban life on a daily basis. The most mundane buildings, intersections or activities can provide surprisingly exciting images. I can also use this camera surreptitiously! Whenever I am walking around the streets of Manhattan, the image of Cartier-Bresson (Downtown 1947 — man with a cat in between the tall buildings) will appear in my mind. Another link with Cartier-Bresson is his famous photo of George Balanchine that ties in with my interest in dance.
Q: Have you ever considered acquiring a Leica M9 and a fast wide-angle lens? Do you think it would have any operational advantages over the X1 for your style of shooting?
A: The X1 is my first piece of Leica equipment, and I hope it won’t be my last! If I am going to extend my camera collection, the Leica M9 will definitely be my next choice. I still remember spending so much time in the Leica booth at the PDN Photo Plus Expo at the Javits Center last year just looking at the M9. If I am not moving to M9 immediately, the only reason will be the cost. Maybe my next one will be the Leica X2, whatever that may be. The big advantages of the M9 are full-frame capture and interchangeable lenses.
Q: You note that you like to shoot dancers using B&W High Contrast mode. Is this because it presents the formal elements in bold relief and eliminates anything that detracts from them, or are there other, perhaps emotional reasons?
A: I do like the black-and-white images I’ve shot in dance studios. I think that medium throws the dancers into bold relief and gives them an inherent sense of drama. I like looking at old photos of dance, before color became the accepted mode. I like the timeless feeling of shooting dance in black and white. For my recent shooting in B&W High Contrast I photographed the principal dancer from NYC Ballet, Wendy Whelan.
Q: You observe that dancing involves raw physicality, sweat and strain that “can be beautiful in its own right” but they prefer “to have an effortless facial expression.” Do you think this dichotomy applies in some way to your photographs of dancers as well?
A: I try to watch for the moment when the dancer is technically at the center of his or her movement; sometimes that coincides with a facial expression that shows the physical effort involved. Other times the face will look superb, but there is something slightly off in the bodyline — the foot isn’t pointed, the fingers are splayed, etc. Dancers are quite particular about being seen to the best possible advantage both in terms of face and form. I usually take a lot of photos when I am shooting dance because many of them will be rejected for one reason or another. Yet some of the “flawed” ones are actually my favorites.
Q: Do you believe, as many have asserted, that there is something special about the way Leica lenses capture an image, “the Leica Look,” and does the lens on the X1 fall into this category?
A: I am still not sure exactly how to define “the Leica Look.” This question has been discussed many times and we still have no concrete answer, since it is a subjective area. It goes beyond technique and clarity. One thing I am sure about though: I am very much satisfied with the quality of the images from the X1.
Q: How do you see your photography evolving going forward? And now that you are traveling with a Leica X1 instead of a DSLR, what influence do you think this “light and powerful” camera will have in determining the direction your imaging will take?
A: With this camera, I feel I have no limits and I am looking forward to continuing to explore the world around me. I want to try more portraiture, for one thing; portraits that Arnold Newman described as “environmental portraits” have always inspired me. At some point I hope I can have a gallery showing of some of my works, perhaps in conjunction with a dance performance or maybe I can find a publisher to print a photo book for me.
-Leica Internet Team
You can see more of Kokyat’s work on his blog, http://reddotcamera.blogspot.com.
Wednesday, August 31, 2011
The Leica Camera Blog
http://blog.leica-camera.com/interviews/kokyat-choong-the-camera-as-a-paintbrush-part-one/
Kokyat Choong : The Camera as a Paintbrush - Part one
We first came across the work of Kokyat Choong when he was named as one of the winners of the PHOTOBOOK NYC Photo Contest presented by PDN. The New York based photographer documented the acrobatics of a group of teenage boys jumping off the pier at Coney Island Beach in Brooklyn, images he had taken with his Leica X1. A self-described “interior designer with a camera,” his eye for design is apparent in his photographs, whether capturing an action-packed dance performance or the stillness of a piece of architecture. Here he shares the story of his photographic inspirations and aspirations.
Q: What does your photography mean to you?
A: I would say that my photography is very personal. It has a documentary feel, but also, I hope, an artistic aspect and anarchist idea in terms of angles, the play of light and shadow and of textures. I have always been fascinated by the visual world. I took up photography as a way to preserve the memories of things I see around me: people, architecture, nature, dance. My photographs are like a visual diary for me of my life in New York City and of my travels. I like to think they can also appeal to others who can share in my interests or expand their imagination by looking at things in a new way.
Q: What prompted you to enter the PDN Photobook NYC contest and how did you go about choosing the photos?
A: Some of my friends really liked the images I took of kids diving from a high perch at the beach in Coney Island. The photos had a very New York feel as well as a summer in the city sense about them. I thought they might be of interest to a wider audience, as a way of capturing a moment of young people doing something they love doing … something a bit risky, something that not everyone could or would be able to do. I liked how they turned out so I submitted them to the competition and was excited when they were chosen. It was fun to see this series on the big screen aboard the USS Intrepid at the winners’ celebration.
Q: When did you first discover photography as something you’d like to pursue?
A: I met Lois Lammerhuber from my first job in New York City 11 years ago. He is a photographer from Austria and his photographs inspired me. He was using Nikon, that is why my first SLR is a Nikon.
Q: Who has inspired or influenced your photography? Do you have any teachers or mentors, or were you self-taught?
A: I am a self-taught photographer. I was always inspired by Jaroslav Rossler. I love his images because they have depth and so many dimensions. I especially like the way he played with light and shade. I have recently been working on a series of images inspired by Magritte, I am trying to use my camera as a paintbrush or pastel to create some witty and surreal images without using Photoshop.
Q: How would you describe your photographs? Do they fall into a specific genre?
A: I would say my photos fall into several categories, probably starting with street photography with somewhat of a journalistic feel. I can become intrigued with everything from garbage and graffiti to famous ballerinas and high-fashion. Living in a great city like New York, I am exposed to all sorts of visual opportunities on a daily basis.
Also, I got into dance photography after meeting a blogger Philip Gardner three years ago. I contributed two posts to his blog of dance photographs that I had taken with the Leica X1: In the Studio with Joy Womack & Avi Scher and Pillow Prep: John-Mark Owen. I actually love to photograph dance using B&W High Contrast mode. When I go on dance shoots with Philip I like to bring my Leica along to capture the atmosphere. Dance photography is a special challenge, not just because you have to capture the exact moment when a step or gesture reaches its expressive peak, but also because dancers are very concerned with looking technically right in a photograph,. You have to think about pointed feet, line, and the arms, hands and fingers making a nice composition. The raw physicality of dancing, the sweat and strain of the muscles, can be quite beautiful in its own right, but dancers prefer to have an effortless facial expression. That is part of their art despite how hard they are working. When I am shooting in a dance studio, the image of George Balanchine by Henri Cartier-Bresson also inspires me.
Q: When did you discover and become interested in Leica? What prompted you to acquire the X1?
A: I have always loved the black & white images from Henri Cartier-Bresson and Elliott Erwitt. I did some research about which camera they used and I discovered it was Leica. After that, I dropped by the Leica Gallery in Manhattan a few times to see the exhibitions there and I automatically fell in love with the quality produced by Leica. Last year in July, I was at Adorama and they told me they might have one Leica X1 coming in the following day. I was so excited because normally you’d have to wait 3-4 months to order the X1 last year. I called them the next day and they told me that indeed one Leica X1 had come in. I was still undecided, but my friend Philip pushed me saying, “Life is too short; own a piece of Leica.” Finally, I called them and went to the store after work to buy my first Leica.
Q: What approach do you take with your photography?
A: My camera is my constant companion. I like to photograph from many different aspects; sometimes just seeing something unusual or beautiful I will simply pull out my Leica and shoot. At other times, I will head for a specific destination, either alone or with a friend, to see what images I can catch. In the past couple of years I have been documenting the creative process of dance companies based in New York City. These shoots have given me a chance to hone my skills at timing and capturing the fleeting images of an art form that is all about movement in a still photograph.
Q: Do you have any upcoming travel plans or dream destinations you’d like to photograph?
A: After reading a book from Winifred Lai entitled “Reflection, Reflections” I would love to travel to Salar de Uyuni in Bolivia. Now I only travel with Leica X1 instead of my DSLR, because it is light and powerful. The Leica X1 is a perfect camera to capture natural light from the sun.
-Leica Internet Team
Kokyat Choong : The Camera as a Paintbrush - Part one
We first came across the work of Kokyat Choong when he was named as one of the winners of the PHOTOBOOK NYC Photo Contest presented by PDN. The New York based photographer documented the acrobatics of a group of teenage boys jumping off the pier at Coney Island Beach in Brooklyn, images he had taken with his Leica X1. A self-described “interior designer with a camera,” his eye for design is apparent in his photographs, whether capturing an action-packed dance performance or the stillness of a piece of architecture. Here he shares the story of his photographic inspirations and aspirations.
Q: What does your photography mean to you?
A: I would say that my photography is very personal. It has a documentary feel, but also, I hope, an artistic aspect and anarchist idea in terms of angles, the play of light and shadow and of textures. I have always been fascinated by the visual world. I took up photography as a way to preserve the memories of things I see around me: people, architecture, nature, dance. My photographs are like a visual diary for me of my life in New York City and of my travels. I like to think they can also appeal to others who can share in my interests or expand their imagination by looking at things in a new way.
Q: What prompted you to enter the PDN Photobook NYC contest and how did you go about choosing the photos?
A: Some of my friends really liked the images I took of kids diving from a high perch at the beach in Coney Island. The photos had a very New York feel as well as a summer in the city sense about them. I thought they might be of interest to a wider audience, as a way of capturing a moment of young people doing something they love doing … something a bit risky, something that not everyone could or would be able to do. I liked how they turned out so I submitted them to the competition and was excited when they were chosen. It was fun to see this series on the big screen aboard the USS Intrepid at the winners’ celebration.
Q: When did you first discover photography as something you’d like to pursue?
A: I met Lois Lammerhuber from my first job in New York City 11 years ago. He is a photographer from Austria and his photographs inspired me. He was using Nikon, that is why my first SLR is a Nikon.
Q: Who has inspired or influenced your photography? Do you have any teachers or mentors, or were you self-taught?
A: I am a self-taught photographer. I was always inspired by Jaroslav Rossler. I love his images because they have depth and so many dimensions. I especially like the way he played with light and shade. I have recently been working on a series of images inspired by Magritte, I am trying to use my camera as a paintbrush or pastel to create some witty and surreal images without using Photoshop.
Q: How would you describe your photographs? Do they fall into a specific genre?
A: I would say my photos fall into several categories, probably starting with street photography with somewhat of a journalistic feel. I can become intrigued with everything from garbage and graffiti to famous ballerinas and high-fashion. Living in a great city like New York, I am exposed to all sorts of visual opportunities on a daily basis.
Also, I got into dance photography after meeting a blogger Philip Gardner three years ago. I contributed two posts to his blog of dance photographs that I had taken with the Leica X1: In the Studio with Joy Womack & Avi Scher and Pillow Prep: John-Mark Owen. I actually love to photograph dance using B&W High Contrast mode. When I go on dance shoots with Philip I like to bring my Leica along to capture the atmosphere. Dance photography is a special challenge, not just because you have to capture the exact moment when a step or gesture reaches its expressive peak, but also because dancers are very concerned with looking technically right in a photograph,. You have to think about pointed feet, line, and the arms, hands and fingers making a nice composition. The raw physicality of dancing, the sweat and strain of the muscles, can be quite beautiful in its own right, but dancers prefer to have an effortless facial expression. That is part of their art despite how hard they are working. When I am shooting in a dance studio, the image of George Balanchine by Henri Cartier-Bresson also inspires me.
Q: When did you discover and become interested in Leica? What prompted you to acquire the X1?
A: I have always loved the black & white images from Henri Cartier-Bresson and Elliott Erwitt. I did some research about which camera they used and I discovered it was Leica. After that, I dropped by the Leica Gallery in Manhattan a few times to see the exhibitions there and I automatically fell in love with the quality produced by Leica. Last year in July, I was at Adorama and they told me they might have one Leica X1 coming in the following day. I was so excited because normally you’d have to wait 3-4 months to order the X1 last year. I called them the next day and they told me that indeed one Leica X1 had come in. I was still undecided, but my friend Philip pushed me saying, “Life is too short; own a piece of Leica.” Finally, I called them and went to the store after work to buy my first Leica.
Q: What approach do you take with your photography?
A: My camera is my constant companion. I like to photograph from many different aspects; sometimes just seeing something unusual or beautiful I will simply pull out my Leica and shoot. At other times, I will head for a specific destination, either alone or with a friend, to see what images I can catch. In the past couple of years I have been documenting the creative process of dance companies based in New York City. These shoots have given me a chance to hone my skills at timing and capturing the fleeting images of an art form that is all about movement in a still photograph.
Q: Do you have any upcoming travel plans or dream destinations you’d like to photograph?
A: After reading a book from Winifred Lai entitled “Reflection, Reflections” I would love to travel to Salar de Uyuni in Bolivia. Now I only travel with Leica X1 instead of my DSLR, because it is light and powerful. The Leica X1 is a perfect camera to capture natural light from the sun.
-Leica Internet Team
Tuesday, July 12, 2011
Wednesday, July 6, 2011
Tuesday, May 10, 2011
Sunday, January 9, 2011
Wednesday, December 29, 2010
Tuesday, December 7, 2010
Saturday, November 13, 2010
Wednesday, November 10, 2010
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