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Leica M Monochrom "Elliott" (Typ 246) digital rangefinder camera - Page 24 - Jose Galhoz interviewed by Walter Leica
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Leica M Monochrom (M 246 "Elliott") Digital Rangefinder Camera - Page 24
 
Walk in the Mist by Jose Galhoz.
   
 
   

Leica M Monochrom Digital Rangefinder Camera - Page 24

Index of Thorsten von Overgaard's user review pages covering Leica M9, Leica M9-P, M-E, Leica M10,
Leica M 240, Leica M-D 262, Leica M Monochrom, M 246  as well as Leica Q and Leica SL:

Leica M9 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 M9-P   Links
Leica M10
P                                        
Leica M 240
P 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44         What if?
Leica M-D 262 1 2                        
Leica Monochrom 20 21 22 23 24 25 26 27 28 29
A
29
B
29
C
29
D
               
Leica Q 1                            
Leica SL 1 2 3 4 5                               Books

 

Transistion from Leica IIIc to Leica M 246 Monochrom

By: Walter Leica (aka Walter Pretorius). October 25, 2016.

Add to Flipboard Magazine.

 

Jose Galhoz has been using the Leica IIIc film rangefinder since the beginning of civilization, but now he moved to a digital camera. Walter Leica tries to capture the thoughts and styles of Jose Galhoz in this interview.

In this interview, Jose Galhoz points out that "I think the trick is to have enough theoretical knowledge and then apply it to the practical situation". Admitting to old school and the old ways, he enlightens us on his personal change from Leica IIIc (introduced by Leica in 1933) to the Leica M 246 Monochrom digital rangefinder.

© Jose Galhoz
© Jose Galhoz

Old World Charm

The term “old school” comes to mind. Your pictures speak of “old world charm”. Did any of the old masters have any influence in your work?

Absolutely! It is wise to dig into the roots: those old timers might not have had our technology, but they had time, skills, knowledge, dedication to the art, and they reached levels of perfection we do not see nowadays...!

 


© Jose Galhoz

 

After all, both you and I call them "Masters", right? The name of Robert Demachy comes to mind ... but they were many, and they were great artists!!!

Would you dare compare one portrait taken in that by-gone era of a father, or a couple, or their children, with the modern selfies and similar junk?

Would anybody with a little decency and good taste hang one of those modern "portraits" on a wall with the old family ones..?

I think you point the finger in the right direction when you say "old world charm"! Most things nowadays are tasteless, have no soul, break easily, feel plasticky, are disposable, you name it...! Do you think you can you use your Sony or Canon camera in 20 years...?

 


© Jose Galhoz

 

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Now, just think of the smell of that Russian leather bellows ... the softness of the touch of cherry wood or ebony, the fiddling of those brass knobs and gears, the cocking of the shutter ... Now, that's pure photographic pleasure!

So, am I being nostalgic or just plain right? I don’t mind being called "old-fashioned" or "square".

 

© Jose Galhoz
© Jose Galhoz

 

We are all nostalgic

The Old Masters (starting with the Pictorialists - the name given to an international style and aesthetic movement that dominated photography during the later 19th and early 20th century) studied composition, perspective, golden proportions, psychology of movement and of static, tones, textures, and contrast. They studied quantity and quality of light and its direction, the focal of the lens and its relation to the subject and the background.

 


© Jose Galhoz

 

Nowadays we pay fortunes for lenses with awesome resolution... and then spend hours at the computer trying to get rid of those wrinkles in a woman's face ... and then some more time adding that glow in the skin and a halo around the hair in a backlit situation...

Those old-tech cameras and film would solve the problem the same moment the shutter was fired, right?

 


© Jose Galhoz

 

         
 

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I think, deep inside, we are all nostalgic, some more assumed than others... And even the camera-makers acknowledge that: If not why have black and white, and sepia options, or, in the most extreme case a sensor working just with luminance (like the Leica M Type 246 for example)?

I'm not against some modern trends and options ... my problem is that most of those "artists" (photographers, singers, whatever...) choose to be "different" because they cannot achieve a minimum of quality with "normal" things...!

 

© Jose Galhoz
© Jose Galhoz

 

What in your view constitutes a quality picture?

"Beauty lies in the eye of the beholder" as they say. Is it technical perfection...? The more pixels the better...? The more expensive camera...? Is it compositional perfection...? Tonality...? Hues? And is it only black and white...?
 
Or is it what suits the mood and the person...? And then you must account for the emotional factor attached to a picture...!

And you must account for the purpose intended for the picture...!

I think I could call a quality picture one when the whole is more than the sum of the parts...!

 

© Jose Galhoz
© Jose Galhoz

 

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Transforming to digital

You have been taking pictures since the early days with a Leica IIIc Now, crossing the Rubicon from film into the digital world. Was this an easy bridge to cross?

I used to say yes, but now I'm not so sure... In the film era, a good camera would have a life-span of 12 years or more.

 

Steam boat by Jose Galhoz. Leica IIIc.
Steam boat by Jose Galhoz. Leica IIIc. © Jose Galhoz

 

Now it's the sensors, the formats, and it's the software that is changing all the time... It is hard to think you would invest a lot of money in a good camera and 1 year later it is "obsolete"

Will the next generation be able to see our photos in 20 year’s time...?

Of course I like the possibility of correcting perspectives in software (as I don’t own a PC or T&S lens) or erasing poles or TV antennas from a picture...

Or to adjust the color temperature to better suit the mood in the picture... Or to eliminate a few wrinkles and make the lady happier...

 


© Jose Galhoz

 

Digital photography and computers allow just that, and more easily.

I remember the first (and only time) I asked the owner of the shop I used to visit, to make me a sepia toning... He was a kind person, with an easy laugh, soft voice and lots of health problems.

On Monday he handed me a couple of sepia toned photos, I paid him. As I left the store, he said in a quiet but troubled tone, "Never again ask me to do a sepia toning... My wife threatened me to throw me out of the window and then come and beat you if ever she gets that rotten eggs smell around the house again".

That was my first and last sepia toning from the "chemical era"...!

 

© Jose Galhoz
© Jose Galhoz
 

The cameras of Jose Galhoz

 

Please tell us about your cameras, from the first up to the camera you use at the moment – and your favorite lens.

I can’t remember all of them anymore, but my father lent me a box camera to begin with.

The first camera I bought myself (after having saved money from my Birthday and Christmas for two years) was a Leica IIIc.

It was not just second-hand, more likely 20th hand, so it worked for a while and then the shutter got problems. But by then I was hooked forever with the Leica brand!

 


© Jose Galhoz

 

Then came a Zenith, a Praktica, Nikon, Canon, Olympus, Pentax... I can’t remember the sequence anymore, but there were some cameras that left a great impression and I'll never forget:

- Calypso-Phot (underwater camera) had a quirky but interesting design.
- The Nikon F3 I still have.
- Exakta 6x6 I still have, and I still love it!
- Konica Hexar (fabulous little gem).
- Minolta TC-1 (a diamond from outer space).
- Contax GI and then II.
- Leica 6 perhaps the "nec plus ultra" (“nothing further beyond”).

 


© Jose Galhoz

 

I never had a Hasselblad 6x6 (sob, sob). Now I have Fuji, a Canon EOS D Mark II and the Leica’s, both in color and the Leica M 246 Monochrom.

Some cameras and lenses are better suited for some purposes than others. I think the trick is to have enough theoretical knowledge and then apply it to the practical situation.

 

© Jose Galhoz
© Jose Galhoz

 

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My favorite lenses

Of course I do prefer the 90mm as a portrait lens. If I only have a 21mm I'll have to be very careful with the angle and the distance to the subject – or I'll have to label it as "caricatural portrait", or simply admit a full failure...!

It is hard to say what is my favorite camera and lens, but if I could only keep one I would choose not the most versatile or accurate, but the one which would give me more pleasure in my hobby and produce the results I like best: That would be the Leica M Type 246 Monochrom with the Leica 50mm Noctilux- ASPH f/0.95.
 
And then the goodies. That would be if I could perhaps drop the 90 and the 35 in the bag also!

 


© Jose Galhoz

 

I also like leather-ware like bags, straps and holsters from Fast&Prime (thanks, Mr. Neil).
- Leather straps FG Edition (thanks, Fernando).
- Wotan leather bags (thanks, Wotan Crafters).
- Walter yellow contrast lens for the B&W cameras, very addicting (thanks, Walter).
- JB wood grips. I suggested them to make grips for Leica and one year later they did! (thanks, JB).

 


© Jose Galhoz

 

 

         
 

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"I've already read two of your books and it goes without saying that you "walk the talk! I'm very happy that I stumbled upon you and hope some day to attend a live class with you."
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© Jose Galhoz

 

Be flexible

Would you say that staying in Portugal, surrounded by the most beautiful scenery has had any influence on your photography?

All places are beautiful, sometimes you just have to look harder; and beauty is not the same everywhere.

But, yes, I've knowledge of comments from foreign people praising our "light" especially in southern Portugal. The good weather is inviting to go out and take pictures.

 


© Jose Galhoz

 

The trick is being flexible and not trying to do all things all the time. You have overcast weather: try some flowers, that brings subtle tones and textures. You want high contrast, harsh shadows: Choose a sunny day, and you can play with the polarizer.

Besides, it is not "what you see" but "how you see".

 


© Jose Galhoz

 

I am very grateful to some Native friends who are kind enough to let me sit with them and listen to the silence and see beyond.

That tunes my spirit and allows things to be seen in a much more truthful and intimate way. It’s beautiful to see not only the light reflected but the “inner light ,” the one that comes from within. (Thanks Jeffery, Charles & Barbara, Yolanda, Sandy, Joni, Sam, John, Deb, Anne, Sue, Awi, Jens and many others, and the Elders for their Wisdom). Respect! We are all connected.

 

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© Jose Galhoz

 

 

Accept what is available

Please share with us your favorite subject to photograph and why?

I usually accept what is available. There are areas I'm not very interested in (like sports), but I might photograph a friend's son’s bike trial or a theater performance.

I like doing landscape and street photography, I like being outside and people can be really very interesting. Portraits are fine if I feel good vibes with the subject.

 


© Jose Galhoz

 

All filters are circular

Would you kindly share a tip or two for our young photographers out there?

I would recommend getting to know themselves. What they really like, what they feel comfortable with: What and how they would like to work, and then apply this knowledge to photography.

If you do not like what and how you are doing things, it’s very stressful, and quickly can turn a hobby or a career into nightmare or depression!

 


© Jose Galhoz

 

But when you manage to get it right, just don’t give up.

One last tip: Some years ago I went to a shop and asked for a circular polarizer. She answered me that all filters were circular. Never try to explain to such a smart person what you want ... just go to another shop!

 

© Jose Galhoz
© Jose Galhoz

 

Photos are all © Copyright by Jose Galhoz. All Rights Reserved.
Article © 2016 Walter Pretorius. Webpage © 2016 by Thorsten Overgaard.

 


© Jose Galhoz

 


To be continued ...

More is coming on the Leica M 246 Monochrom camera. Stay tuned. Sign up for the free newsmail to stay in the know.

 

 

 

Index of Thorsten von Overgaard's user review pages covering Leica M9, Leica M9-P, M-E, Leica M10,
Leica M 240, Leica M-D 262, Leica M Monochrom, M 246  as well as Leica Q and Leica SL:

Leica M9 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 M9-P   Links
Leica M10
P                                        
Leica M 240
P 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44         What if?
Leica M-D 262 1 2                        
Leica Monochrom 20 21 22 23 24 25 26 27 28 29
A
29
B
29
C
29
D
               
Leica Q 1                            
Leica SL 1 2 3 4 5                               Books

 

leica.overgaard.dk
Thorsten Overgaard's Leica Article Index
Leica M cameras:   Leica S:
Leica M10   Leica S1 digital scan camera
Leica M Type 240 and M-P Typ240   Leica S2 digital medium format
Leica M-D Typ 262 and Leica M60   Leica S digital medium format
Leica M Monochrom Typ246 digital rangefinder    
Leica M Monochrom MM digital rangefinder   Leica Cine Lenses:
Leica M9 and Leica M-E digital rangefinder   Leica Cine lenses from CW Sonderoptic
Leica M9-Professional digital rangefinder    
Leica M4 35mm film rangefinder    
Leica M lenses:   Leica SLR cameras:
Leica 21mm Summilux-M ASPH f/1.4   Leica SL 2015 Type 601 mirrorless fullframe
Leica 21mm Leica Super-Elmar-M ASPH f/3.4   Leica R8/R9/DMR film & digital 35mm dSLR cameras
Leica 21mm Super-Angulon-M f/3.4   Leica R10 [cancelled]
Leica 28mm Summilux-M ASPH f/1.4   Leica R4 35mm film SLR
Leica 35mm Summilux-M ASPH FLE f/1.4 and f/1.4 AA   Leica R3 electronic 35mm film SLR
Leica 35mm Summicron-M ASPH f/2.0   Leicaflex SL/SL mot 35mm film SLR
Leica 50mm Noctilux-M ASPH f/0.95    
Leica 50mm Noctilux-M f/1.0 and f/1.2   Leica R lenses:
Leica 50mm Summilux-M ASPH f//1.4   Leica 19mm Elmarit-R f/2.8
Leica 50mm APO-Summicron-M ASPH f/2.0   Leica 35mm Elmarit-R f/2.8
Leitz 50mm Summicron-M f/2.0 "rigid" Series II   Leica 50mm Summicron-R f/2.0
Leica 75mm Summilux-M f/1.4   Leica 60mm Macro-Elmarit f/2.8
Leica 75mm APO-Summicron-M ASPH f/2.0   Leica 80mm Summilux-F f/1.4
Leica 90mm APO-Summicron-M ASPH f/2.0   Leica 90mm Summicron-R f/2.0
Leica 90mm Summarit-M f/2.5   Leica 180mm R lenses
Leica 90mm Elmarit f/2.8   Leica 400mm Telyt-R f/6.8
Leitz 90mm Thambar f/2.2   Leica 35-70mm Vario-Elmarit-R f/2.8
    Leica 35-70mm Vario-Elmarit-R f/4.0
     
History and overview:   Small Leica cameras:
Leica History   Leica Q full-frame mirrorless
Leica Definitions   Leica Digilux 2 vintage digital rangefinder
Leica Lens Compendium   Leica Digilux 1
Leica Camera Compendium   Leica X
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Quality of Light   Overgaard Lightroom Survival Kit for Lightroom CC/6
Lightmeters   "Finding the Magic of Light" eBook (English)
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White Balance & WhiBal   "Composition in Photography" eBook
Film in Digital Age   "The Moment of Impact in Photography" eBook
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John Botte   Jose Galhoz
 
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Steve Huff Photos (reviews)   The Leica Pool on Flickr
Erwin Puts (reviews)   Eric Kim (blog)
LeicaRumors.com (blog)   Adam Marelli (blog)
Luminous Landscape (reviews)   Jono Slack
Sean Reid Review (reviews)   Shoot Tokyo (blog)
Ken Rockwell (reviews)   Ming Thein (blog)
John Thawley (blog)   I-Shot-It photo competition
   
 
 
The Von Overgaard Gallery Store:    
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Photography Books by Thorsten Overgaard   Ventilated Shade for older 28mm Elmarti-M
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Overgaard Workshops & Masterclasses   ventilated Shade for 90mm Summicron (coming)
Artists Nights   Ventilated Shade for 28mm Summaron (coming)
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Gallery Store Specials   Ventilated Shade for 50mm Noctilux (coming)
 

 



   
   

 


   



 

Above: Walk in the Mist by Jose Galhoz.

 

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LEItz CAmera = LEICA
Founded 1849 in Wetzlar, Germany.

 

Latest Leica M Monochrom Firmware Update

 

Walter Pretorius aka Walter Leica
Walter Pretorius
is perhaps better known as Walter Leica. He is a contributor to the Thorsten von Overgaard website since 2016 and the man behind eyepieces and a number of accessories for Leica cameras as featured on his website walterleica.com.
While he listens to Vivaldi and invent new things for the Leica in his home in South Africa, he also meet a lot of interesting people via e-mail when they send him pictures and questions. Some of those people may be the subjects for future articles.
Feel free to e-mail Walter at walter@walterleica.com

 

Jose Galhoz
Jose Galhoz



 

 

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Thorsten Overgaard
Thorsten von Overgaard is a Danish writer and photographer, specializing in portrait photography and documentary photography, known for writings about photography and as an educator. Some photos are available as signed editions via galleries or online. For specific photography needs, contact Thorsten Overgaard via e-mail.

Feel free to e-mail to thorsten@overgaard.dk for
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"Leica Q Masterclass" Video Course
+ Leica Q Presets for Lightroom

You save 30% on buying as bundle compared to buying the individual items. Video Masterclass is delivered instantly. eBook and LR Presets in a few weeks.

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"The Freedom
of Photographic Expression"

For eBook for iPad, Kindle
and computer. 268 pages

Only $148.

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"Finding the Magic of Light"
New Version with +30 pages.
eBook for iPad, Kindle and computer

Only $47.

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Bestseller
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"Composition in Photography"
- The Photographer as Storyteller

Preorder today. Only $148

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Leica M-D 262 Masterclass with Thorsten von Overgaard

"Leica M-D 262 Masterclass"
eBook with LR Presets

Release date: Februry 20, 2017
For eBook for iPad, Kindle
and computer.

The eBook comes with
Thorsten Overgaard's presets
for Lightroom, specially made
for the Leica M-D 262 files.

Only $198.

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The Thorsten Overgaard New Extension Course 2016

The Thorsten Overgaard New Extension Course 2016

Only $798
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Lightroom Survival Kit

How to survive and master Lightroom
so you can get your photographs made.
My accumulated experience
on workflow, storage and editing
in one essential package.
Lightroom 2 to Lightroom 6 tutorials
plus Photoshop and
Media Pro 1 tutorials.

Only $498

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100% satisfaction or money back.

The New Inspiration
Extension Course

Only $798

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