Session with Beautiful Kayo

I had great chance to have a little photo session with my friend and fellow cameraman Kayo. She turned out to be such a cute model with great intuition. Perhaps her intuition for being model came from her own experience as a photographer.

This image turned out to be the winner of yesterday’s shoot; there’s something that just turned right about this photo.

I used off-camera speedlite to add a bit of illumination to the subject with TTL turned off and manually dialing down the power of the flash so that it doesn’t overpower the ambient light which was already good to start. I removed flash spots from her eyes in Photoshop as they were a bit distracting from that angle.

I learned that in this situation, a bit off-camera flash can actually help to raise the overall exposure a bit, and remove some of the darker shades of the face which often result when shooting in outdoor shade. I always bring either flash or reflector as it can really help to add bit of necessary light to the subject.

Year with Bessa R3m

It wouldn’t be understatement to say that Bessa R3m is the best camera I have ever owned. The overall feel and response of the camera is just exactly what I like, the manual operation feels like Leica, and Bessa is a real rangefinder.

There’s something special what I really like about rangefinders, it’s that special connection you can make with the scene when focusing manually, and there’s no distraction, no mirror blocking your view on that decisive moment.

I have shot over over hundred rolls with this camera, which isn’t awfully a lot I admit, but it’s still quite much for me. I have shot T-Max, Tri-X, Ektar, Lomo and Fujifilm. I have shot in three continents, in freezing winter and in humid ocean environment. Not yet there has been camera malfunction of any kind.

It’s remarkably easy to load Bessa, and the mechanism is near flawless. It could be even argued to some degree that this camera is easier to load than Leica M6, the film rewind crank is straight and thus simpler than angled crank in M6. Sometimes however the tiny crank somehow lifts itself up; and when this happens the film forward lever stops working, it kind of jams, and usually when this has happened, there’s slight variance in empty space between exposures in frame, nothing much to worry, but can cause a bit headache when scanning negatives.

So far, my R3m has held up the test of time well. The rubber covering is coming off a bit, but can be fixed easily with glue. Viewfinder cover glass thing (Nikon’s one will fit) has fell of twice and I’ve just bought the replacement one from Yodobashi.  Vertical alignment  was a bit off since I purchased the camera, but it haven’t got any worse since then.

I also like the meter which automatically turns itself off after use. This is advantage over M6 since there’s no way to forget to turn off the camera, just to find out that the batteries have drained overnight. The metering is nicely made, and feels just right, since it shows the numbers in plus and minus scale.

The controls of R3m has became my second nature, in fact so much that whenever I pick up my X100, I feel strange. Nokton 40mm lens is amazingly sharp and has that lovely bokeh. For me it’s hard to tell difference between photos shot by this camera and those taken with Leica cameras equipped with expensive Leica glass.

Only thing what has bothered me several times is the shutter sound which is indeed a bit loud. And well, it doesn’t sound as cool as Leica’s amazing pleasant click. The shutter of R3m comes from Cosina’s cheap SLR line, so it just can’t match the German precision engineering, but it works, and it has double structure which is designed to minimize the risk of sunlight damage to the curtains. I don’t know exactly how this works, but it’s supposed to be more durable.

Otherwise, I really recommend Bessa R3m for everyone interested in Rangefinder shooting, it’s good idea to invest in Bessa body and invest in Leica lenses. When necessary, one can always switch to Leica M series body.

Read my in-depth review of Bessa R3m here.

Life of Tree

I took this in Jeju-do last summer with Bessa R3M and Ektar 100.

Life of Tree

From Baghdad

Servants begin to gather around. They are efficient and quick and all of them wear
their blond hair tied up, knotted. Then it strikes me that all of them wear nothing but
aprons. ”Wow… Quite a guy.” I think again.

Baghdad 2006, by Jaakko Saari

Updated WordPress

I finally got around to updating my WordPress to the current version 3.5.1. The automatic  update didn’t work so I had to do some fiddling with terminal. I realize how quickly I forget about that stuff..

Anyway I notice some really nice improvements about new WP, especially the new media manager.

Yesterdays Party

It was such a nice party yesterday in Bar Sara. I was surprised so many people came to the party, both old and new friends.

When you keep exhibition, at some point you really have to face yourself as a person or as an artist. It’s always a process and not especially easy one.

But I thought, perhaps this is beginning of new era in my art life and in my personal life too. Perhaps more spiritual things will come.

Really, thank you for coming. You made the event special. If you are around Gakugei Daigaku area, please come and see the exhibition. It’s until 9th of June.

From the Depths of Lizard Point

Although this one didn’t make it to the final artwork, I still love this image because it conveys so much.

Actually, the black cloth was just an experiment what I wanted to try in addition to the main set-up, a torn black camisole which exposed her much more. I shot about four rolls of TMax 400 with her wearing the camisole. Those images turned out to be cool, but it was finally the chemistry with her body and this simple black cloth which really conveyed the idea.

It was really such pleasure to work with Yuki since she has so strong talent and intuition both as an artist and as a model. It wouldn’t have been possible to make this with anyone else. I’m also very grateful for our comrade Paulo who shot video of our shooting and gave a great help for us.

I made silver gelatin prints of the five final images in Dark Room Intl. with kind guidance from the staff. These are the final prints that you will see in exhibition.  I love the feel of traditional dark room prints because every print is unique, like an artwork itself. It’s the spirit of human feeling that I wanted to convey with these works, so I’m glad I decided to use analog media.

If you’d ask me now,  “If you would keep exhibition, what kind of images would you show to convey your own inner world?” I would answer, “images like these”.