Thwaaaaap. No click. Slap. Pop. Just a thwaaaap.

In the white noise which is life its almost unperceivable Like a trained killer. Silent. They say that not that I know assassins are trained to kill first by being a sniper, then a hitman with a handgun and then up close and personal with a knife. A Leica M is the equivalent of a trained-friggin-killer. Up-close-and-personal as it were. They arent designed to cover sports or wildlife where long lenses own the realm nor are they designed for macro although a couple of lenses are made for this purpose. They are designed to give a photographer not a picture-taker or film-burner the most basic and highly honed tool for making visual notes in a visual notebook. The term photojournalist has always rubbed me the wrong way. Rather, I think it should be visual-journalist. If you dont agree, I dont care. Trust me. An SLR and if youre reading this and SLR means nothing to you, close the fucking file and go back to surfing porn is by far the most popular instrument for making photographs And much to the chagrin of photography it has been for some time. I use one. I use one well. That being said its not what I prefer. The SLR tends to come between photographer and subject. When reduced to the most simple a photographer and his/her subject is what photography is all about. In my humble okay, not-so-fucking-humble opinion it is of tantamount importance for a photographer to have as little between he or she and his or her subject as possible. This includes the size of the picture making machine and the sounds there from emanating. A phone call can kill hot sex.

A loud sound can kill a beautifully and painstakingly prepared souffl. Sometimes a whisper is all that is needed to get ones point across. As much as I have a blood-lust for pissing off conservatives I actually deign for the quiet and almost-not-there. If you are reading this and feel that digital is the only way to go, please stop. That being said, if youre going to read this only for the purpose of leaving a negative comment or writing me a note defending digital, just fuck off. Okay? I know all the reasons why I would use digital. Better than you do. Its funny. I compete with other photographers on a daily basis. The photojournalist genre. The event photographer genre. The fashion genre. Adwork genre. And even the banal wedding genre. Ive gotten emails from photographers with whom I compete in the wedding genre saying, how dare you tell so-and-fucking-so that my black and whites are not really black and whites. There is a style. Its very popular. Its black and white. Im a purist. Fuck me. Okay. I know the difference between a few vineyards in the Cote dOr. I like Cuban cigars. I like my Parmigiano Reggiano Vacche Rosse rather than the insipid American wanna-be version. Im not a fan of American movies mainstream, at least. Having digressed I find that I enjoy looking at a true photographic print rather than a digitally made print. In fact, I enjoy looking at a photographic print made with film not from a digital file. I dont care what wunder-filter one has batched in, there is a huge difference. HUGE, I tell you. HUGE! When I shoot a wedding I want to be a thief in the night. The biggest compliment received was from a brides mother-in-law, Did you hire a photographer? I didnt see one all night. Thats because I shoot fast. Fast film. Fast lenses. Im inconspicuous. Hearing a thump and a bright flash of light kills the REAL moment. It creates a CONTRIVED moment. Except for Hollywood movie sets CONTRIVED moments are not a good thing. They are not how we remember life.

Was the birth of your child contrived? The arrival of a new puppy or kitten? A Christmas memory? I think fucking not. Shooting inconspicuously is the only way of recording a true moment. Waiting. Stalking. Knowing that the moment will come around and being patient. Thats when the moments come about. You cant force anything. Back to the wedding photographers. I love to digress and regress. Unless theyre shooting Hasselblads, I wont even listen. But Ill ask, What equipment do you shoot? As soon as I hear about some digital gear I stop them, Yo black & white is shot with film, what part of that dont you get? Digital black & white my own included besides the composition which should be spot on anyway looks the same. Its digital. It lacks the nuances and blending of shades that only black & white film can provide. We wont talk about the archival value well not now at least. They cant respond. I then tell them that selling a wedding client on black and white when theyre not really shooting or seeing the photos in black and white theyre defrauding their clients. I then get called an asshole or a Leica-snob. Its all good. The client ends up writing me the check. I will say, however, that sometimes I do, in fact, hire another shooter to shoot only in digital. The groups. The relatives. I dont care about that. All those photos seem so contrived. I prefer available light no matter the available light. When one starts putting strobes and softboxes and other light modification gear between the photographer and the subject the magic of the relationship between the subject and photographer grows contrived not to mention crowded. And you know how I feel about contrived moments. You say, but you shoot on the red carpet.

That is Hollywood. Hollywood is contrived. Besides the money in entertainment content is beyond sick. And I dont like coach nor do I sleep in hostels. Ive accepted selling out to a certain degree. Im not going to be one of those holier-than-thou-artist-types that has no chance of making it commercially. Ill sell out but on my terms. The money from a wedding client is the same value as the money I get from making environmental portraits or doing the ad for a new restaurant. I know what I prefer but Im not going to go live downtown, make alright pictures, date artistically-dramatic wannabe actresses and eat Top Raman or however the fuck you spell that. I let the commercial and editorial fund my love. My love for making the photos I want to make. My love for walking down a street. One camera. One lens. One roll of film. A day that I wish would last the mental equivalent of two. Those lazy days one remembers at twelve years of age when the world seemed to go by so slow. Those twenty-four hour periods where nothing is expected of me by anyone. A camera that I can hide under a light jacket. Almost like a concealed weapon. A lens and film combination that can handle the-almost-too-dark to the sun beating down at midday. Those are the bullets. Not rapper-toted Tec 9s spraying wildly. More like a single shot .22 caliber with a bolt action. Something that makes you think before you shoot. Because sometimes you have one chance. One shot.

As much as I like learning from the missed shots I love nailing them. The first time. Moments dont include the opportunity for re-shoots. Moments especially on the street can be more difficult to photograph with anything other than a rangefinder and an intimate knowledge of your lens depth of field scale. Not to mention exposure. Wait one can still make photographs of moments with any type of camera. When I first wrote that sentence I had film cameras in mind yet one can also make street photographs or everyday moments with digital cameras from professional equipment to consumer-point-and-shoot. They are not the real thing and I cant imagine something in that context making a photograph of the same moment That I would attempt to record without a rangefinder. The pinnacle of rangefinder performance and technology is now at this point in time clearly held by Leica. Lets discuss Leica. For the most part Leicas are purchased, collected and fondled by retired doctors, dentists (they love cameras for some reason, go figure) and just rich guys. That being said, just because one owns a Leica does not come close to meaning that one can make anything other than a snapshot. In fact, Ive found that most Leica owners are not very good photographers. Yes, there is extreme sharpness at f/8 and Velvia with a 35/1.4 Summilux ASPH. Then again, most bargain lenses compared to the prices of Leica lenses at f/8 and Velvia can produce sharp images. I dont give a fuck about lens charts. In fact, there is this guy that all he does is test the resolving power of lenses. Good for him. His photos of his cats and his models are beyond fucking boring. But the fondler crowd loves him. And all his shots are shot with Leica. Any person can own any make of camera and it has nothing to do with ability to use said camera system. NOTHING. I like the sound of violins. But ask me to describe the difference between a Stratovarius and some other. Well, I cant. Ask Yitzhak Perlman as Im sure he could describe the tones that emanate much better. Id hope at least. Some of the most horribly uninteresting pictures Ive seen mostly belong to Leica Users Groups. A photo of the back of someones dog looking in a bush is as uninteresting when shot with a Canon Powershot as it is with a new Leica R9 and a fast zoom. Ive found that many Leica owners feel that they are grandfathered into the realm of photographer simply by plunking down US$10,000 on a camera and lens. They fondle their cameras. Ive met some of these types. Their cameras pristine looking in a special leather case. But like the inevitable Rolex they have on one wrist all they care about is the logo. Not are they only rich assholes but they are rich assholes that think theyre a photographer just because theres a nicely scripted L-word on their camera.

Ive seen the way they look at any one my camera bodies brassed and used with an air of disdain. Although Leica lenses are entirely sharper than most of their competitors, this is not the reason I use them. I use them because theyre fast. I use them because when one puts black and white negs or C-41 negs or chromes on a light table there is nothing else on Earth that looks like them. A trained eye knows how to distinguish them from those shot with a Nikon or Canon or Minolta or whatever. They produce out of focus areas and out of focus negative space like no other. The contrast they maintain when shot at their widest apertures cannot be duplicated. Imitated perhaps but never ever duplicated. And, unlike the fondlers, I appreciate the fact that I can beat this equipment to hell. If I put my Canon professional digital gear through the same paces Id end up with a heap of plastic and wires and magnesium. With a Leica I can literally bounce a body and lens off the curb outside il Colliseo in Roma and I can go on making photos for the next two weeks. After returning I can send the body and lens back to Leica and no matter what my equipment will be returned in the same working condition not the finish of the body or lens, mind you, for Id never want that as when I first acquired them. Five year warranties provided by Leica on their newly purchased through the proper non-gray channel is second to none. I use those warranties on a regular basis. Im sure they hate me. But I have to expect that at least one old-timer in the repair department is happy hes restoring a camera that has obviously seen many experiences with his/her owner and just needs a bit of adjustment to bring it back to the original factory specifications rather than hearing from anal retentive type who thinks the aperture ring is just a bit loose. Only loose because of fondling. Not making photographs. When I hear the thwaaap I know I have it. I know that its not going to disappear in some electronic maelstrom. This is what Leica assures me. This is what I expect from them. I put a lot of thought into making photographs; they have put a lot of thought into making the instrument enabling me to record and photograph the moments that Ive stalked.

And its not just the moment Im stalking catlike through unfamiliar streets wherever I may find myself on this beautiful planet. Its the moment that mean something to me as a emotionally sensitive human. I want those moments to be recorded in a medium thats been tested by time. A format that is universally accepted as a norm. Digital cannot do that yet. Today we have JPEGs, tomorrow, perhaps the Digital Negative or DNG format will be widely accepted. Maybe next week there will be an entirely new format that makes the previous versions incompatible. I dont know. I know that my nicely indexed files of negatives will always be able to be reproduced. They unlike the files stored inside a digital camera body are not susceptible to electronic storms, which can destroy and render information image data useless. One that has never used film is not a photographer; they are digital imagists. Even if someone has just used film doesnt mean they are photographers. But Ive gone over that. Im writing this as someone that has exposed more than two million frames of film and sensor information. I look at all photographic equipment as tools. I dont nail nails with screwdrivers. I dont screw screws with pliers. Everything has its place. Its purpose. No matter my money-pump or my cash-enabler I know that my lifes purpose is relaying information of one sort or another. My preferred method of relaying information is visual. In black and white with its beautiful nuances of tone and detail in the highlights, midtones and shadows. I dont have to blink to save a photo like I did when I was eight and watching life go by, I have the tools that most dream of attaining. Having every tool that I could possibly need to accomplish my goal, I still prefer the ancient by todays standards, at least technology of a manual camera relying on my experience as a photographer. I was shooting for a wire service only last week when I was asked by a line photographer what was going on with his digital Nikon. I solved the problem for him. EE shows up when the smallest aperture isnt selected and locked down. He then asked me to look and listen to his flash. It was borked. Badly. Told him how to solve that, albeit temporarily, as well. But when I started laughing he took offence. I told him I was laughing near him and not necessarily at him. When I looked at his settings I asked, Do you know what P means? He said, Program. You always shoot on Program? Yes. How can one call oneself a photographer when the camera does all the thinking?

I can understand selecting a shutter speed and letting the camera decide on a parameter of apertures. Conversely, I can understand selecting a desired depth of field and letting the camera decide on a parameter of shutter speeds. Indeed. But letting a camera do a photographers job? This is not just. Interestingly, enough, this same line shooter wrote me an email thanking me for his new understanding of what shooting manual is all about. I wish before someone picks up a digital camera, posts photos on a forum and is praised for their pictures that theyd actually learn how to photograph. Its the same with photographers I know that have made it as it were. Some of them. Not all. They picked up digital cameras, kissed enough ass or blown someone and now theyre the next-best-thing. They make me sick. Vilely ill. But whatever. I prefer to set my own cameras and lights. Assistants carry shit. They move shit. I know. Because beyond the carrying of said shit I watched and learned and absorbed. I assisted in a wholly-different genre from what I shoot today. I dont care to see another motorcycle or automobile lit at magic hour ever again. Light is light is light. How it strikes geometric objects and how said light strikes said geometric objects captured within a rectangle or a square for that matter is what it all about. I used to only think that acceptable photography could be made during magic hour. No more. I remember what this one photographer I used to assist about another ass-kissing and more successful photographer, I could be like so-and-so, put it on Auto and forget about it but I still love what I do.

Ive always had that in the back of my head. Fixing it in post is for losers. Just like cropping something that should have ALWAYS been cropped in-camera can always be discovered by someone with a trained eye. Just like stripping saturation to grayscale is black and white. Sure. And George W. Bush is the most honest man in the world. And trickle-down economics is just. And the collateral part of collateral damage wants to be collaterally damaged in anyway? Photographers always talk about the perfect photo. There is no perfect photo. Anywhere. There is a perfect moment which can make a photo as good as its going to get. We search for these perfect moments. High and low. To and fro. On the streets. In the coffeeshops. In our own abodes. They are there. Photography above and beyond the technical aspects is about observation. Keen observation. One cannot just pick up a camera a point-and-shoot or the latest digital SLR or even a Leica and make beautiful photographs. Its about practice and observation and patience. I think the most true form of photography is seeing the scene, the players and the photograph. Mentally. Only in ones mind. And blinking in that moment where it all comes together. Saving that mental image and thinking about it. Was it what you wanted to see? Was it all it could have been? Did you make the photo at the moment where it all worked? Using a Leica is akin to blinking and making a mental photograph.

It reduces everything to only what you need to make a photograph. To only which is essential. It cuts through the distraction, which is automation. A photographer thinks. A camera records. A photographer should never let a camera do the thinking. If thats the case than the camera is doing the job of a photographer. A photographer makes the photo. Photographers tell the camera what to do. When it is the other way round the photographer is not a photographer. What is he or she? Someone pressing the button. If they are not thinking about EVERY aspect of the photo they are making, they are nothing more than a button pusher. Akin to someone in a shitty job pressing out hubcaps. Akin to someone with an omnipresent boss telling them what to do. Putting it on program or automatic and forgetting it is wrong. It reduces the photographer to just another cog in the wheel. A photographer is the wheel. Dont forget that. A photographer decides on what aspect of their photograph is important tantamount in their mind first. They then expose for what is important. Any other way makes the photograph flat. And Uninteresting.

A fifteen year-old model with picture-perfect makeup involved in a world that is bustling around her. Trying ever-so-gently to enjoy her water without destroying her lip work. What is she thinking? I isolated her. I isolated her through depth of field and made her sharp as my focal plane. Yet the world that surrounds her is also of utmost importance. Not because it was the world I was surrounded by as well. Im not in the photo. Im making the photo. For the world around her affects her and is tantamount to understanding the photo. I was standing on this street. Franklin. In Hollywood. Right by a Scientologist mega-center for whatever-the-fuck-they-do-there. I watched a guy. I watched a girl. In fact, I watched a guy and two girls. The guy got the digits from one of the girls. The photo wasnt the process. The photo was the result. When he approached where I was standing sucking on an American Spirit waiting for a comedy show I asked if I may photograph him. Photography is all about a photographers relationship to the subject. The scene. The whatever. The less equipment has between himself or herself and the subject or scene reduces everything to what is essential. A photographer to think about their photograph and a camera to record the moment that the photographer had in his or her mind. And this dude got lucky. She has a 310 telephone number. No shitty 818 number. A 310. But then again she was probably an actress. Which in this town is a dime a dozen. A bakers fucking dozen.

I dont hide behind a camera. I want interaction. Whether its an interaction to hide my true purpose of being a true impartial observer or so that theres almost nothing between myself and my subject-of-the-moment. Forgive the pun. Dont forgive it. I dont fucking care. I care about making photographs. I care about being a good daddy. I care about people finding themselves and peace and anything that makes them happy. If for only a moment. Perhaps if they had a long string of happy moments, theyd become happy. Im at this party. In one of the most infamous places in Hollywood. The Chateau. Room sixty-fucking-four. If only this place could talk. The stories. The sordid moments. The girl from Kansas just off the boat with turnip blood still staining her palms. She found out more about Hollywood than she ever cared to know. Conversely, the boy just off the bus from Iowa. Big dreams. He may have found himself on his knees. With the dream still elusive. This room almost feels haunted. Dreamy. A feeling. A presence. Nothing is necessarily sharp. Including my own memory of the same. But does it need to be? I dont think so.

I know that Ill always remember the girl wearing the scorpion around her neck like a year ago. Ill always remember her name. Ill always remember that we have a game. Shes Sienna. She lives with a little white dog. She smokes Parliaments. I hope she never wears a bra. Shes about the only Scorpion girl that doesnt frighten me and make me want to have something to do, Ill be back. Shes a scenester. Then again, I am probably as well. Then again, I dont Instant Message with Ashton.

Hipsters wear dirty shoes. Scenesters do not. They still sleep with each other, though.

And they love to smoke. And watch each other.

And I watch them. Their worlds collide. In one context or another. Whether its by automobile or some previously undisclosed STD.

Be very picky if you get to this point about sleeping with models. Be forewarned. Models like rockstars. Rockstars like drugs. Rockstars like blow-jobs behind the bus. After theyve blown the security staff to get the chance to blow the rockstar. Think about it. Lots of mouths. Lots of parts. Lots of whatevers. And they come to Los Angeles by the droves. All with the hope and the glimmer of gold that isnt really gold. Its fools gold. They walk down Robertson. With their portfolios. Sometimes they buy a photographer coffee. Sometimes the photographer is more interested in the accident that just happened on the corner. Or the fact hes really uninterested in making photos so she can carry them down Robertson. Or Sunset. Or where ever.

And where ever takes me many places. The shallow parties and red carpets of Hollywood. My daughters life. Weddings in far-off locales. The fashion world. And, yes, I make digital images. Not many are my favourites. I dont know if any really are. Im not saying a photographer cannot make winning images with digital. They do. I do. I see my name in print every day. But I smile when some art buyer or photo editor chooses one shot with a Leica. Painterly bokeh which means in Japanese when a mans mind becomes fuzzy due to age but is applied to the out of focus areas of a photograph in this context. Spot on contrast. A lens signature that is unmatched by Canon or Nikon film OR digital. The most quiet shutter Ive had the pleasure of tripping. I smile. When I hear that thwaaaaap. And feel that slight torque right to left. Like holding a bird. Just so. Theres no mirror flopping in the way of my eye in that instant that makes a moment count. I see the moment that I hopefully had in my mind. Through the viewfinder and my eye. Open. Because this camera my Leica it replaces my other eye. Using the other eye unabated by a clunky SLR can continue the contact with my subject. Less is more.

One doesnt need to make David-La-Chapelle-esque sets to record something beautiful. Or compelling. Or sad. Just a photographer with knowledge of how to expose in an instant. What works. What doesnt. Become a human light meter and possess a mental French curve. And magic can happen. The kind of magic when one sees the birth of their child. That second. That very fucking one where she takes her first earthly breath. This is the same feeling I get when I press the button. And record my moment. Because, like I said earlier, there is no perfect photo only the moment. Perhaps, Im just a moment-chaser that happens to have a camera. I dunno. I do know that making photographs truth-be-told whether its with my Leica or a D-SLR gives me the same joy as my daughter. This doesnt cheapen the way I feel about her. Au contraire. I love moments. All of them. The good, the bad, the ugly. For in some instant and from some perspective they are all beautiful. Much like we all are.

Whether were sitting in a trailer waiting for the real-magazine-moment

Or being an hour late

To the last time he sees his little girl as his little girl instead of someones wife

Think she remembers any sharpness to this moment?

Because even during these times a white dove will land next to you after the clouds have parted the rain a temporary reprieve

The first time I kiss and hold your face with my hand that bears your ring

And soon youre going to have your own and it wont be a niece to be the first one to congratulate you

As does everyone else

I love when they dont mush it into one anothers faces. It means so much.

As does partying until six in the morning.

There are stories around us all. My own. Those of my clients. I feel so safe and secure knowing that truly important moments are being recorded to film. Honestly, Im happy so many of my counterparts are completely abandoning the use of film. In fact, I suspect there will be a whole generation that has no concept of what was this lovely medium. -That is the closest Im coming to a paragraph. Just so you fucking knowThat isnt susceptible to some freak magnetic force that could destroy my entire archive. In a millisecond. I enjoy knowing that both my own moments those between father and daughter and father and daughter and chihuahua and those of my clients whether theyre a party where theyve spent seven figures or the last time a father sees his daughter as his own and not another mans are recorded on a permanent archive. That is only film. And film That is exposed with a body and lenses that have seen the test of time. And designed by sheer genius optics engineers. I not only know the negatives will be here forever but also that the equipment Im using to expose this film never fails. To record the moment in the first place. Simplicity. Reduced to all that is needed. Aperture. Shutter speed. Quiet determination. And a thwaap. Only a thwaap.

Because the trick is to be as low-profile as possible and not disturb those having their moments. Walk softly and carry a fast lens. And produce a photo that carries a punch. That is only that which can be made with a Leica and glass whether it was passed through the able hands of a skilled technician yesterday or fifty years ago it all marries up.

Camera. Lens. Film. A moment. Mechanical perfection that can take the knock of a New Orleans police officer or an inebriated lapse of judgment when one drops their equipment reduced to what is essential like the unmade face of a supermodel. There is beauty. And in the context of my preferred system for recording my moments beauty in the simplicity of things. When in that moment you see the battery indicator blinking and then it disappears you know that based upon your experience you still have the opportunity to make a photo. Thats beautiful too. Because you were able to make the photo and not just stare at a dead electronic SRL. I dont like being a slave to anyone. Anything. Especially my equipment. As good as technology is I am its master. When its the other way round it just aint a good fucking thing. I know I can make a photo in the residual rain of a hurricane and not smell something funny. I know I can make a photo no matter how hot it is. Or cold, for that matter. Any condition. And Ill hear the thwaap and know I nailed the mother.

But somehow most others dont hear the thwaap as they may see a bright flash or a click-pop-slap As they may with any other system of equipment. When using a Leica M there just isnt much between you and the real world. Nothing to hide behind. But why hide? Blend. Hide right out in the open. That said that all said I think I have finally reached the point where I do not need any additional Leica equipment. My MP and M6-TTLs both reflect the patina of having traveled long and traveled well with me. My M3 that rarely travels but nonetheless enjoys it. The rarely used twenty-one-two-eight enjoys the life it leads in its case. But when its appropriate it shines. The thirty-five lux is my go-to lens and it shows it. The Nocti-lust even though I cant fit a filter on it at present. My new-best-friend-forever in the seventy-five cron. Nothing does headshots like this lens. Nothing. To the now-mostly-unused ninety two-oh. Because even I have been bitten by the digital bug more than Id probably like to admit. I have a Leica system that will take me through the rest of my life. Four bodies. Five lenses. Capable of out-performing anything else except in the fields of sports and macros where the matter truly matters to me. Using my Leicas to record the moments that mean something great to me is also practice. In the same lesson my daughter taught me. Patience. Tolerance for not getting what youd like at that very instant. See I still remember when stores were closed on Sundays. And having to wait.

In the day of I-can-have-whatever-the-fuck-I-want-when-I-want-it as we have today there is something to be said for waiting. Trite, perhaps, yet, nonetheless true good things come to those that wait. For with photography one needs to think about what they made just like seeing the photograph or moment in ones mind Reflection is a good thing. This practice of reflection and introspection of ones work in ones head allows you to better appreciate what went into the photograph. To memory. Its tactile. Chimping your monitor to see if you nailed it does NOT replace KNOWING you nailed it. Besides, in that moment where youre just checkin another moment is going to pass you by. Knowing you nailed it. Is like walking around with a porno-sized member. Sorry ladies. Im a guy. Seriously, dont be hatin if you can only afford what you have right now. That doesnt make it the God-send-end-all-be-all of camera. There isnt one. Just like there isnt a perfect photo. There is only the confidence one attains by knowing they dont have to see the photo whether a moment after it was recorded or three days at the lab and knowing That you made the moment you saw in your head. What applies to film also applies to digital. And, vice-versa. Except that digital is mired in the distraction that is technology. And an all-mechanical camera relies on whats in ones head. No crutch. Because whats important is the moment. Relying on what you know in your heart and mind as a photographer and only that. It feels nice; trust me.

Because I trust in the thwaap. And my daughters laugh.

Photo Legend Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 38 Page 39 Page 42 Leica MP 50/1.0 Leica MP 50/1.0 Leica MP 50/1.0 Leica MP 35/2.0 ASPH Leica MP 35/2.0 ASPH Leica MP 50/1.0 Leica MP 35/2.0 ASPH Leica MP 35/2.0 ASPH Leica MP 75/2.0 APO-ASPH Leica M6-TTL 35/2.0 ASPH Leica MP 50/1.0 Leica M3 50/1.0 Leica M3 50/1.0 Leica MP 35/1.4 ASPH Leica M6-TTL 35/1.4 ASPH Leica MP 35/1.4 ASPH Leica MP 35/1.4 ASPH Leica M6-TTL 35/1.4 ASPH Leica MP 35/1.4 ASPH Leica MP 35/1.4 ASPH Leica MP 35/1.4 ASPH Leica MP 35/1.4 ASPH Leica MP 35/1.4 ASPH Leica MP 35/1.4 ASPH Leica M6-TTL 35/1.4 ASPH Leica MP 75/2.0 APO-ASPH Leica M6-TTL 35/1.4 ASPH Agfa APX 25 +1 Ilford Delta 400 +1 Ilford Delta 400 +2 Ilford Delta 400 Ilford Delta 400 +1 Ilford Delta 400 +2 Ilford Delta 400 Ilford Delta 400 Ilford Delta 400 Ilford Delta 400 +1 Ilford Delta 400 +1 Ilford Delta 400 +1 Ilford Delta 400 Ilford Delta 400 Ilford Delta 400 Ilford Delta 400 Ilford Delta 400 Kodak Portra 400 Ilford Delta 400 Ilford Delta 400 Ilford Delta 400 +1 Ilford Delta 400 +1 Ilford Delta 400 +1 Ilford Delta 400 +1 Ilford Delta 400 +1 Ilford Delta 400 Ilford Delta 400 125th at f/1.0 1/30th at f/1.0 1/30th at f/1.0 1/60th at f/2.0 1/15th at f/2.0 1/30th at f/1.0 1/60h at f/16 1/1000th at f/2.0 1/2 1/1000th at f/2.0 1/500th at f/2.8 1/60th at f/1.0 1/30th at f/2.0 1/250th at f/1.4 1/250th at f/5.6 1/2 1/125th at f/2.0 1/1000th at f/1.4 1/2 1/500th at f/1.4 1/15th at f/8 1/250th at f/2.8 1/125th at f/4.0 1/30th at f/1.4 1/30th at f/1.4 1/30th at f/1.4 1/4th at f/1.4 1/60th at f/1.4 1/250th at f/2.0 1/250th at f/1.4 1/2

Chris Weeks is a professional photographer living and working in Los Angeles.

-This document is not to be posted anywhere on the internet or World Wide Web and is intended for the use by deviantArt.com members and subscribers onlyAll words and photos 2005 Chris Weeks All Rights Reserved