Tagged: Mamiya 6

Stephen Voss Gets His Story

At under eight square miles, you’d think not many big things happen on the quiet barrier island of Grand Isle, Louisiana. Stephen Voss discovered this wasn’t true when shooting on assignment for a client in the area recently.

A professional photographer and resident of Washington, D.C., Voss was enjoying some downtime when not attending to his client’s needs. He wandered the island, eventually discovering privately contracted security guards were preventing access to public beaches. “They were presumably working for British Petroleum,” he says. “They weren’t public employees, like police officers, and they didn’t identify themselves. They were working for BP, saying, ‘These beaches are closed,’ or ‘You can’t go past this spot on the beach, you can’t talk to the clean-up workers.’ This was in Grand Isle, Louisiana,” he reaffirms.

Being a professional news photographer in Washington, D.C. has given Voss the training to not be turned away easily when looking to get a story in his viewfinder. As any seasoned freelancer can tell you, the first rule of meeting resistance is to simply move around it. “I got frustrated with it, so I found a guy who rents kayaks and spent about half of one day kayaking up and down, not on the ocean side, on the Gulf side of Grand Isle, just kind of taking a look around that way. For the most part, I had my digital camera and my Mamiya in a dry bag, but I’d taken it out for a little bit, and the wind had sort of changed at some point, and the waves started coming the other way. The current picked up a little and splashed over the kayak.”

Film damaged by light and dark streaks caused by oil in the Gulf of Mexico, ©Stephen Voss

His digital camera escaped dry and unscathed, but his Mamiya 6 was sitting in about one-quarter of an inch of oil-tainted Gulf water. Voss headed in to the kayak rental and removed the exposed film from his Mamiya. He used distilled water to carefully rinse out the bottom of the camera.* “I’ve been looking at it every couple of days since I’ve been back, and amazingly, I don’t see any signs of rust. Thankfully, I think I’m in the clear, which honestly sort of blows my mind, because I assumed the camera would be fried the second the water hit it.”

Although his Mamiya seems to be working fine, his film was damaged. In the photo at the top of this story you can see both heavy and light streaks of oil which entered the camera and stained the film emulsion. Several other images also were processed to reveal similar damage from this roll.

Oil contaminating a breakwater on Grand Isle, LA, ©Stephen Voss

Voss currently has not one, but two wonderful series of photos on his blog having to do with the April 20, 2010 Deepwater Horizon oil spill. The BP-owned rig, which was destroyed in an explosion, created a Gulf of Mexico sea-floor oil gusher releasing close to five million barrels of oil and the deaths of eleven platform workers before the wellhead was capped on July 15. It is the largest marine oil spill in the history of the petroleum industry. Voss’s eerie black and white images show deserted beaches at the height of tourist season, oil booms attempting to keep crude from reaching the dunes, jetty rocks covered in oil, and a lawn of crosses, each one bearing the name of a marine species or seafood dish which will no longer be harvested from the Gulf of Mexico.

His color images documenting the spill include a series of detritus contaminated by oil. They include a hermit crab, a polystyrene foam boom, a clod of sand, and a plastic water bottle. Shot simply on a white background, these images are a stark testament to human industrial error. The irony Voss hints at by choosing the boom and the bottle—both petroleum products—is more apparent when documented in this setting.

John C. Bogle, ©Stephen Voss

Landscapes and still lifes are not the only thing Voss shoots. As a photographer in the capital, he often photographs government officials and CEOs. If you’re an aspiring photographer hoping to become a pro who shoots celebrities and world leaders, Voss has showcased a session he had with former Soviet leader Mikhail Gorbachev, which lasted all of a sobering 90 seconds. His latest personal project is a fascinating and haunting study of American car dealerships, which, once again, come at a poignant time.

From his car dealer series, ©Stephen Voss

Shooting both digital and film cameras, Voss still uses his Mamiya professionally. “I am really a huge fan of the Mamiya 6. I absolutely love the camera,” he says. While his favorite camera is the Mamiya 6, he also owns and uses a Mamiya 6MF. “They’ve been really good rugged cameras. I have the 75mm f/3.5 lens and a 50mm f/4 lens. For a long time I just had the 75 and more recently got the 50. They’ve just been incredible for me. I think these are the sharpest ones I own, and I love the square format. I love the range finder. There’s just something really special about being able to work so quickly and unobtrusively and still get like a really big image that’s so much bigger than 35mm. Yeah, I’ve been really happy. They’ve been really great cameras for me. I actually prefer the 6 because it has less markings in the window.”

From his car dealer series, ©Stephen Voss

A computer science major in college, Voss took one Intro to Darkroom class in his junior year. Other than that, he’s largely self-taught. Currently eyeing the DM33 for his magazine work, Voss continues to shoot his mix of portraits, editorial, landscapes, and stories. Watch for his continued coverage of major events in Washington, and anywhere assignments take him. Security guards should be careful about denying him access to his subject matter. You never know what this talented shooter will find if turned away.

*It should be noted Mamiya does not condone, approve, or encourage this type of user servicing.

Stephen Voss Photography
Stephen Voss blog
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Written by Ron Egatz

Ervine Lin’s Split Personality

“Ever since I was young, I knew in my heart I would be an artist of some sort,” states photographer Ervine Lin. Unfortunately, the educational system in Singapore tended to frown upon students who chose to study art during Ervine’s youth, “leaving only the less academically inclined students to pursue it,” he says. Ervine was whisked away into science-related courses with other academically-gifted students. The closest he could come to art was becoming an architectural major, which proved to be an unhappy pairing.

©Ervine Lin

Taking a year off from his studies, Ervine and a friend opened a photography studio. His friend quickly left the business, leaving the neophyte photographer with the studio and the rent to pay. Ervine found himself a professional photographer with professional responsibilities very quickly. Fortunately, commercial clients appeared, and Ervine began his autodidactic journey as a photographer.

©Ervine Lin
©Ervine Lin

When asked about his impressive blend of lighting and saturation, Ervine claims to have a split personality when it comes to work for clients and work for himself. He will do anything required to get what clients are paying him for, including total image manipulation with his formidable Photoshop skills. His personal photographs get very little digital tweaking, if any. Most are scanned directly from slide or negatives. Sometimes there’s dust removal, cropping, and maybe a small amount of dodging and burning. “Most of the saturation that you see comes from the slides I use,” he says. “If you thought the photos online were saturated, wait until you look at the some of the slides under a loupe!”

©Ervine Lin
©Ervine Lin

Although his black and white photos often exhibit a wide dynamic range of luminosity, Ervine professes to not work hard to get this effect with his Mamiya gear. “While I often bring my Sekonic with me, there are times when I’d rather skip the whole zone metering and just let the camera do its work in AE mode,” he says. “I’m using a Mamiya 6, (a forerunner of the popular Mamiya 7 II) and it’s metering is done through the viewfinder. Film latitude on black and white negatives is just so broad that it’s really quite hard to go drastically wrong.” For color work, he shoots Kodak VS100 and Fuji Provia 400F. His black and white films are Fujifilm Neopan Acros 100 and Neopan 400, and everything is scanned with an Epson Perfection V700. He shoots with strobes for his professional work, but his personal photos are done with available light only. When necessary, he utilizes a Sekonic 758 meter. “One of the biggest plus points about the Sekonic is its ability to average out a number of meter readings. This really speeds things up for me when I need to move fast but still meter with a spot meter.”

©Ervine Lin

©Ervine Lin

Completely self-taught in the art and science of photography, Ervine switched from the Mamiya RB67 to the Mamiya 6 Rangefinder. The reason for the switch was ease of portability in the field, as most of his personal photographs are done in foreign countries. Of the Mamiya 6, he reports, “It’s shutter is so slient you can hardly tell it went off.” He shoots the 50, 75, and 150mm lenses. “All three lenses are superb and pretty much ideal for the work I do. They tack sharp even when wide open.”

©Ervine Lin
©Ervine Lin

Ervine has written about how digital photos appear too clean for him, and film seems “more authentic.” When asked if this is something to do with medium format film, he replies, “Not just medium format film. Polaroids, 35mm, 8×10′s, et cetera, all have this wonderfully beautiful look. Anything shot on film looks more down to earth, more humane, more alive, even. There’s the fact that when you tell people you shot a photograph on film, it helps to give you a bit more credibility as a photographer.”

©Ervine Lin
©Ervine Lin

When viewing the gorgeous tonality evident throughout his work in exotic locations from Australia to China to Bali, it’s clear Ervine Lin made the right choice. He is definitely an artist, and was wise to listen to the voice which spoke to him in his childhood. With his sights set on moving from commercial photography to more personal work and possibly opening a gallery, Ervine says, “I love making nice images for no other reason than making nice images. There’s nobody to answer to, no lists of deliverables and deadlines to meet, no invoices and quotations to write, and so on — just taking photographs for the love of photography and nothing else. Again I boil this down to my photographic split personality. In the future, if the time and opportunity arose for me to earn a decent living with my personal work, I would make the switch in an instant.” Although his commercial clients would disagree, we look forward to more stunning personal work by Ervine Lin, and wish him the best in continuing to make his artistic dreams a reality.

©Ervine Lin
©Ervine Lin

Ervine Lin Photography: http://www.ervinelin.com

Written by Ron Egatz