Be sure to check out Klinko’s thoughts on his life, art, and photography gear in the interview. One year ago we published a detailed profile of Klinko and his photographic work with his partner Indrani. You can see our latest video featuring Klinko on YouTube for more details.
Here’s a cool resource for your browsing pleasure. Check out this thread on Flickriver to see images posted by photographers using Mamiya RZ-Series cameras. Leaning heavily toward the RZ67, it’s fascinating to see what types of images people are creating with medium format resolution.
Bookmark it and return often to see what other RZ shooters are posting. This is definitely worth returning to again and again. Enjoy!
The esteemed British Journal of Photographyreports Jooney Woodward has won this year’s Taylor Wessing Photographic Portrait Prize. Woodward shot 13-year-old Harriet Power holding a guinea pig, the pair’s hair complementing each other perfectly against a white lab coat.
The prize is worth £12,000, and Woodward captured her winning image with a Mamiya RZ medium format camera.
Elmsford, NY, June 20, 2011 – Jan Lederman, President of MAC Group (formerly Mamiya America) is proud to announce in the U.S., the collaboration of the leading companies in professional digital photography: Mamiya, Leaf, Phase One and Schneider Kreuznach. This has led to the creation of the New Mamiya – Powered by Leaf & Phase One.
Now, as the exclusive importer of Mamiya / Leaf products in the USA, Jan Lederman states, “This collaboration is the fulfillment of a dream we have worked towards for years. The finest solutions in hardware, optics and software are now all together from a single source to offer photographers the best in large sensor digital photography.” Both customer and repair service for Mamiya and Leaf products will be provided by factory-trained technicians at MAC Group.
New Mamiya DSLRs and Digital Backs range from 22 megapixels up to the exciting 80 megapixel version. Mamiya / Leaf Digital Backs, also available separately, are compatible with Mamiya 645, Mamiya RZ, Hasselblad V and H series, Contax 645 and most view cameras.
Camera bodies and lenses are manufactured by Mamiya, digital backs are manufactured by Leaf under the Mamiya/Leaf name, Capture One software is made by Phase One, and new leaf shutter lenses are designed and certified by Schneider Kreuznach.
Included with all Mamiya DSLRs and Digital Backs are two native software options: award-winning Phase One Capture One and Leaf Capture. These powerful software programs are industry leading, and will be valuable assets to any professional’s workflow.
“We’re pleased to be part of this effort. The combination of products brings together the best in medium format photography delivered with service and options to expand the capabilities of professional photographers,” says Henrik Hakonsson, President of Phase One.
About Mamiya For over 50 years, Mamiya has been a name synonymous with excellence and innovation in professional photographic cameras and lenses. Mamiya continues to be a pioneer by continually improving and refining the finest professional, digital photographic products with state-of-art advancements as well as developing superior apochromatic lens technology.
About Leaf Leaf Imaging has been a pioneer in professional digital photography beginning in 1992 when Leaf introduced the world’s first commercial digital camera back. Leaf is dedicated to improving the quality of its products, technologies and services to support the advancement of professional digital photography.
About Phase One Phase One’s Capture One software helps streamline capture and post-production processes for both medium format and DSLR cameras. Phase One products are known for their quality, flexibility and speed enabling professional photographers shooting in a wide range of formats to achieve their creative visions without compromise.
All trademarks are the property of their respective owners.
The New York Times recently ran a Q&A piece with photographer Philip-Lorca diCorcia. For over ten years, starting in the late 1990s, diCorcia had almost complete freedom in his fashion photography he executed for W. magazine.
In the interview, diCorcia states he uses a Mamiya RZ “quite a lot.”
diCorcia’s photography often told stories, sometimes with disturbing juxtapositions. The elaborate and deliberate stagings he created inserted new vernacular in the vocabulary of accepted fashion photography.
As a native of New York City, Brian Matiash was surrounded by buildings. While growing up, the first profession he ever dreamed of pursuing was to be an architect. It should then come as no surprise Matiash’s photography of choice is urban architectural high dynamic range photography.
If nothing, Holger Keifel is a man of patience. Traveling far from his birthplace in the Black Forest of Germany, his most recent project, a series of black and white images of professional boxers, took him eight years and an unknown number of trips around the United States to complete. Living in New York for the past 17 years, Keifel works on his photography until he feels it’s done, and no outside force can rush his sense of perfection.
BOX: The Face of Boxing, was published by PQ Blackwell in September, 2010. With 220 pages of duotone printing, it presents a compelling look at most of the top figures in boxing today. It centers on portraiture, showing a fascinating array of characters, and what the sport has done to them. “I was not interested in doing the typical gym pictures and the fight in the ring,” Keifel explains. “We all know that. I don’t want to discredit what other people are doing. That’s their angle, their thing. I just was more interested to show what happens to a face during a fight.”
In 1986, Keifel flew to the United States from Germany with his bicycle, a backpack, and his father’s old Canon camera. He shot a bit while traveling, and the photographic hook buried itself in him. “I thought, ‘this is really fun, and maybe I should learn the trade so I could make some money to finance more traveling and shooting,’” he recalls. “That’s how it all started.”
Back in Germany, Keifel got hired by a lab in Stuttgart developing film. In 1988 he moved to Cologne, and got his first job assisting in 1989. He assisted in Cologne until 1993, when he moved to New York. He now lives in Astoria, Queens. His work has been featured in museums and gallery shows, and is included in several museum collections.
Beginning the boxing project with a decision to not enter a gym or shoot in a ring, Keifel has a vision which makes this collection stand out from typical boxing books. “I’m more a studio person,” Keifel says. “It’s hard to tell, or you can’t tell at all, most of these pictures in the book I took during press conferences, or like at some fight in some back room. Most of them, I would say, are just on location. I brought a paper roll, like half a roll. I don’t own a car, so I had to carry these things in the subway. You have to limit yourself to the very essentials. Usually, I shoot with one light, and I have my stand bag. I put my paper roll in there. I have my little strobe, my Norman, and I have my Mamiya RZ Pro II with mainly one lens.”
That lens happens to be the 110mm f/2.8. “I love the 110 with the 2.8, and it’s a great lens. Great lens, love it,” Keifel repeats. He also has the 140mm, which he uses less often. He also has an older model RZ II which he keeps as backup. “I’ve never had a problem with the Mamiya in 15 years,” he adds.
Keifel has published photographs in The New York Times Magazine, Der Spiegel, and many other top publications. Taking time out from this commercial work, Keifel financed the entire boxing project himself for the duration. He often flew to disparate locations for just a few minutes of shooting. “Ricky Hatton gave me fifteen minutes, and believe me, it was fifteen minutes.” he says. “I flew to Mike Tyson for a ten-minute shoot.” Without paying his subjects, Keifel’s completion of the project was not easy. He was stood up by some boxers after arranging studio rentals. In the end, he photographed just over 400 people in the world of boxing. The book includes 270. All were shot with his Mamiya on Kodak T-Max 100 film.
Full of great anecdotes about the subjects for this book, Keifel has made many friends in the boxing world. The 89-year-old Jake LaMotta came out swinging, and Mike Tyson and the photographer teased each other. Don King was a limber mental sparring partner, as expected. The efforts have paid off. The New Yorker has proclaimedBOX “beautifully produced.”
Boxing is far from the only subject matter Keifel shoots. His session with Louise Bourgeois produced a delicate image of the sculptor’s forearm and hand holding a piece of clay. The reclusive author Don DeLillo was captured by Keifel in a pose indicative of his character, leaning back, hesitant, and slightly uncomfortable in front of the camera.
When asked how he plans out his portraits, such as Budd Schulberg’s three-quarters profile, or Charles Schulz’s silhouette, Keifel points to operating under constraints. “I just do it on the fly. Usually I don’t have a lot of time. I just set my background up, my light, and then I get these people for a minute or two. Sometimes I get them for a few minutes — three, four, five minutes.” Although he knew Charles Schulz since 1986, it took until 1999 to get him to sit for a portrait. When he did, Keifel had to do some convincing to get the iconic profile shot found on his site.
When asked about shooting things outside of studio portraiture, Keifel feels composition is the key. “To me, if you know how to compose, how to frame a picture, it doesn’t matter what you do,” he says. “It doesn’t matter what you photograph. To me. If you know composition, you don’t have to worry. Once you start thinking about things, it’s maybe too late.”
Keifel has also shot things on a different scale, such as his series of deformed bullets which have killed or wounded people. Photographed in the basement of the Nassau County Police with the 140mm Macro and the Auto Extension Tube #1, this evidence is a startling reminder of the violence and tragedy which happens every day. “With the bullets, I wanted to show what happens when a bullet hits the body or hits the target and how did they get distorted,” he says of this 1996 series.
With his usual pressed-for-time photo sessions, it seems a perfect match for Keifel to undertake a series of organ transplant photos. His work shooting celebrities quickly has helped hone his skillset. “Maybe it’s good that’s the way it is,” he says of his limited time with his subjects. “First of all, regarding celebrities, I can’t do anything about it. I better get my shot. It just brings it down to the essence. There is no posing going on. There is just a straightforward, sharp, honest portrait or document of the face. With the organs, I was in the operating room, other places. They just got the organs shipped in, and they prepared it to put them in the next person.” With his portrait of a human heart, Keifel had five seconds to photograph it next to the brain dead former owner. For the lungs, which came from the same individual, Keifel got a luxurious five or six exposures before they were whisked off to a waiting helicopter.
For this photographer, more than one exposure is greater than the sum of their parts. “I love to work in series,” Keifel says. “Everybody can take a good picture, but to me a series tells a story. To me that’s very, very important. A picture is great, a picture is beautiful, but a series tells a story.”
Maintaining secrecy about his next projects, Keifel has good reason to not want to share details. Twice before, other photographers seized his concepts for new work. As an artist who operates first from the germination of an idea, as opposed to wanting to execute some technical trick, his concepts are where each photographic series starts. Accordingly, he’s keeping quiet about what’s coming next. Judging from the diversity of each series on his site, we can assume the new images brewing inside him will be full of honesty, candor, and emotion captured by a patient man who often only has seconds with his subjects.
The new Mamiya RZ33 is having the “drool-effect” on a lot of Mamiya RZ67 and RB67 owners. Now those camera bodies can be traded in for a credit of $1,000 towards the purchase of the RZ33. We dislike filling out forms just as much as you, so we figured we would go form-free with this offer. All you have to do is turn in your old camera body to your local dealer and you’re all set. This special offer is good until September 30, 2010. Limit one trade-in camera per RZ33 transaction.
It takes an admirable degree of intelligence, technical prowess, and attention to detail to keep a 362 foot nuclear submarine operating beneath the oceans of the world for months at a time. James Bland did just that aboard the USS Birmingham SSN-695 when he served his country in the elite “Silent Service” of the United States Navy. After two years becoming an engineer in the Nuclear Power Training program, Bland spent four years as a Weapons Officer on the Los Angeles-class fast attack submarine during the Cold War.
With the Naval Academy and military background of this Battle Creek, Michigan native, it’s no surprise Bland tries to get it right the first time. Although he will do minor tweaking in Photoshop and Lightroom, this photographer tries hard to get his images as close to perfect in-camera as possible. He applies a meticulous methodology to shooting which helps ensure his post-work is kept to a minimum.
After some time in the private sector in his post-Navy years, Bland found himself living in Hong Kong, where his wife was working. When not studying Chinese, he walked the streets with a Canon SD20, shooting images casually at 5 megapixels. One of his photos from this time won an American Airlines contest for a marketing campaign.
Back in the United States, Bland spent two years with a fine art photographer, both shooting film and helping run his business. After that, he stepped out on his own and has been shooting professionally ever since.
As a shooter in his own right, Bland is fearless, and will shoot almost any subject matter. Fearlessness is a quality which shouldn’t surprise anyone knowing this photographer has logged 175,000 miles of travel underwater. The areas where his photography truly excels are macro still life and product photography. His clean arrangements of merchandise showcase products in a way which are worthy of any large and glossy magazine ad or catalog. From his current location in Austin, Texas, he’s shot this type of work for creators of handmade jewelry, a glassblower, and a distillery.
Such clean, detailed, and exacting photography requires what Bland refers to as “my toolkit, not my collection. I use these things every day, and don’t have sentimental attachment to them.” By 2005, he’s owned a substantial amount of both medium and large format equipment. His medium format body is a MamiyaRZ67. Lenses for the RZ include a 65mm, a 110mm, a 140mm f/4.5 Macro, a 180mm lens, and a 250mm f/4.5 APO lens. He also uses the Polaroid Film Pack Holder.
It’s not a fluke Bland has so much invested in his Mamiya gear. “The quality was at a higher level than alternatives out there. Being an engineer who is equally right-brained, left-brained, I analyzed the cost-benefit of the quality of the images the RZ would produce,” he says. “There’s something about the images—the color depth, the 16-bit processing—right from the first images I created I knew there was a presence to those 53 megabyte files. The information is there and the wide dynamic range is outstanding.”
The massive amount of images compressed for the Web doesn’t deter Bland’s desire to shoot medium format. Images can always be reduced to small jpegs, but you can’t restore data and dynamic range once it’s been stripped out. “Not everything’s going to go on the Web,” he says. “Some day someone’s going to want that image in print. It’s really nice to be able to say to someone the native format out of the camera is a 16″x20″ image at 300ppi. It’s a nice system to work with.”
Bland uses PocketWizardPlus II units for his flashes. “They’ve changed my life,” he says. “The PC cords were terrible. Now I have no cords wrapped around my feet.”
Corporate portraiture is another area Bland very much enjoys shooting, and will most likely continue to pursue, in addition to his excellent product photography. A strong believer in sharing information and community outreach, he’s a member of ASMP, PPA, the Austin PPA, and a Founding Member of the Austin Center for Photography.
With his officer’s training, Bland prides himself on delivering what clients are promised and expect. With his engineering background, he regularly embraces new technology by reading on subjects exhaustively. With his love of learning, odds are we’ll be seeing new approaches and influences on Bland’s work. When your former job was making sure things run smoothly hundreds of feet below the surface of the ocean, we can bet James Bland will have no trouble incorporating new gear and due diligence practices into his photography for his many satisfied customers.