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The photo at 1:20 is from William Klein

Where this photo edited some how?! They are to vibrant….

He's super good.. brings back life to photograph, for me.thanks for uploading this video.

6분 28초

SILENT NIGHT ...how fitting deep personal , as we see the Life of this World ...we are given to cherish and love , to share. Beautiful Sir ... I thank you . Thank You 🙏🏻 ♥

This is so inspiring , deep and beautiful. I am a Pro Photographer who can use much improvement in flash photography , but here in the Light , and texture shadow movement , in the warmth of a huge city or the expanse of the South West US , in Tibet , in Old Europe , and deeply in again Light and nature , the capture of the moment , even if waiting for that Street composition ... Ernst Haas shows us his beautiful touch , vision and love , the love of light of life of all of it. This is so deeply inspiring to me. Thank You Sir. 🙏🏻 an American . 🇺🇸

Great Photographer !

Skip ad every two minutes? Wth??? It's not your work that you're showcasing

She has become my favourite Street Photographer !

Es una patada en el estomago, un beso en el corazón, una lagrima y un suspiro.

Another great compilation - I'd only pay attention in the future if the colors of given photo are accurate - some are horrifically shifted, oversaturated or overcontrasted. Not a good way to intriduce people to any artist. Thanks!

They said she became poor and couldn't print her work, so this means she only did it for fun

U know what's crazy is that no one ever claim to know the ppl she photographed, like tow homeless ppl on the street or the child with the adult, or the women in fur coats.... I find it odd and I know each one has a story to tell

I bought the 1968 edition of this Basic Photo Series books and learned the Zone System from them in 1971 - 72 and used it until 1990 when I moved overseas and had to pack up my darkroom. I got my start in photography assisting a well known pro in 1972 with a portfolio of Zone System prints and it also helped me get a job as a photo tech at National Geographic in 1974 where I got deep in the the technical side of photography and photo reproduction. I have a huge amount of respect for Adams but the more I learned about how photographic materials work the more I realize he made the process far more complicated than it needed to be compared to the Kodak approach learned first, which is what made roll film and photography by amateurs possible. In the mid-1980s I had the opportunity to to work with about a dozen original prints of his most iconic scenes which I reproduced with long range double black duotones for a magazine we were printing where was production manager with halftone screens and litho film using the skillset I learned at National Geographic 😊 With the Kodak approach the negatives were always developed for the same time with the time which fit a “Sunny 16” cross-lit scene on #2 contrast paper being the baseline. For frames on the roll taken in open shade or overcast with less contrast the processing lab, by reading the density range of the negative, would print on #3 or #4 paper which had more contrast. If over developed or the lighting had more contrast than cross-lit direct sun there was a #1 grade paper with less contrast. The linear DlogE range of the negative was 2-3 stops greater than the range of the print paper which meant if you always erred on the side of overexposure by as much as 2-3 stops the lab could still make an acceptable full range print by using more exposure when printing. What made Adams Zone System different was he printed everything on #2 paper with exposure of the negative controlled so the borders of the frame if exposed to print maximum black (Zone 0) would cause any density recorded down on the toe of the DlogE curve as a Zone 1 (dark shaded object - near black on the print) which created a subtle difference in the rendering of shadows on the prints. Always printing on #2 paper meant that negative development needed to be matched to the contrast of the scene lighting. Like in the Kodak system the baseline development time was found by fitting a Sunny 16 cross-lit subject to #2 paper, but for shady or overcast days instead of using different contrast paper the negative was developed longer creating more density in the highlights. Metering with the both the Kodak and Zone System was best done off an 18% gray card. Film prior to 1975 was ASA rated with a speed which would expose shadows ideally with density on the negative if a reading was taken off an 18% card instead of the actual scene which might reflect more or less light. The first test in the Zone System was to shoot at a film’s rated ASA then look at the negatives, adjusting the ASA setting of the meter until Zone 0 voids like a cave or deep doorway were clear on the negative and Zone 1 details creeping out for those voids had density. What we Zone System practitioners would do to make it obvious the Zone System was used correctly according to the gospel of St. Ansel was to file our negative carriers larger so when a full frame print was made without cropping there would be a black border around it created by exposure of the film base for max. black with min. exposure. When attending Knox College and shooting for the school paper and College admin office I was using a pair of Nikon Fs for photojournalism with 35mm film and measuring exposure with a Pentax 1° spot meter so I streamlined the process by metering directly from Zone 1 shadow areas in the scene and then adjusting the meter’s ASA setting by 3-4 stops until I exposed the Zone 0 black voids with clear film base and the Zone 1 area I measured with the meter with the first hint of density and tone above max. black on the the print. I then measured a Zone 9 sunny non-specular white area in the scene to determine the EV range between Zone 1 and 9 and from that either how long to develop the film to fit a #2 print of shooting an entire roll under the same EV range lighting, or if I shot different EV ranges on the same roll what grade paper would be required to reproduce it. I was using Polycontrast paper so the EV range informed me in advance what amount of magenta or yellow filtration would be needed. When I was able to buy a medium format camera and set up my own darkroom I equipped it color enlarger head which allowed me to dial in the more precise amounts of yellow and magenta light to fit any EV range scene to the print paper exactly. I determined how different amounts of filtration affected print contrast and exposure by printing test prints with calibrated transparent grayscale and using an enlarging meter / densitometer. I had a graph on my darkroom wall showing filtration needed for any EV range scene. What set Adams work apart creatively was his use of color filters when taking the photo to change the contrast of sky (using red filter) and foliage (using green filter) and by extensively dodging and burning in selectively when making the prints. What the analog process lacked and Photoshop and other digital editors have is the ability to to ‘bend” the curve, shifting the tone of midtones ‘globally’ in the entire image by moving the middle slider in Levels or moving the middle of the straight 45° line in Curves or other adjustments like Brightness which change the middle tones without affecting highlights and shadows. The shortcoming of digital sensors is not being able to cope with the contrast of a Sunny 16 cross-lit scene or the contrast of a single artificial source indoors without some form of secondary fill with one exposure. The work around for that is either shooting two exposures for highlight then shadow detail and combining with HDR - which phone camera do automatically now with AI - or use dual flash with centered fill for the shadows with overlapping off axis key flash to correctly render the highlights. Photographer today who shoot B&W film but then scan it instead of making silver prints aren’t really using the Zone System because like digital camera the scanner has a single fixed range. The ideal development time for the film would be one that produces a negative density range on negatives shot under the highest contrast lighting conditions (e.g. cross-lit beach or snow covered landscape) which fits or is slightly under the DR of scanner, correcting the contrast of less contrasty lighting (e.g. open shade / overcast) with Levels or Curves when editing digitally.

This is an amazing channel with awesome content liked and subbed i particularly enjoyed the Vivian Maier spotlight any on Saul Leiter or have i missed his spotlight.

Great photographer?

Gorgeous! He clearly has a great gift. And such diversity of tiny creatures! I wonder if all have been categorized.

Мне нравится ❤

Don't know why but I can't stop thinking about the fact that most of this people are now dead

Read Capa's book 'Slightly Out of Focus.' He has a great sense of humor, too.

Ernst Haas: More talent in one photo than 1000s of current "street photographers".

Is Vivian Maier the only one woman as great photographer? Where are all the others?

Master Fan Ho utilized the floor of the Central Market as a reflector... Wow~

A real poet of poets !!

It was at this moment that I realised I'd wasted my entire fking life with a camera. Why didn't I know about Rodney Smith when I was 16 ???? It would have changed the course of my life. I don't know how it's possible to take this many exquisite images in just one life. I'd be happy with just one of his highly stylised images.

Absolute Wow!

Unfortunately the solitude of the experience was interrupted by background noise of some kind throughout a large portion of the latter half of the video.

This man had undiagnosed PTSD from his photography in the pacific theater. He landed on as many beaches with the marines and accompanied them throughout their jungle assaults. He has more beach landings than many pacific veterans. If that wasn’t enough he flew with the air corp during their bombing missions and also racked up more bombing missions than some pilots. The photos from these show you that he was in the front with the infantry armed with a camera. That participation in what he was photographing took its toll and in the postwar years you can see this in his behavior. They called him anti social and difficult to work with etc and I think we can attribute much of this to the toll on his psyche from the war.

Why is street photography so random?

WOW...Unbelievable talent...!!!

Why did stop uploading? Pls resume it, we need your vids!!

So beautiful… ❤

Not many keepers there

Slice of life, great work.

I wouldn’t call this a great photographer by any means

Music and photos go together so well, love it!

As a lifelong fine artist & pure creative myself, I strongly relate to Vivian Meyer's unique POV & genius for capturing photos of strangers in downtown neighborhoods at their most candid. Her wonderfully composed self-portraits via ornate & gilded mirrors in store displays through the storefronts' windows containing the secondary reflection of her capturing the shot, are genius at depicting in a single-shot photograph her ability to summarize the richness of her inner world in the layers of that single image, without any sort of post-editing. I am so happy that she is recognized, even though posthumously, from an accidental auction purchase by John Maloof, the film's co-director who discovered her work: I learned of her about 7 years ago from the documentary 'Finding Vivian Maier.' I see her as a creative peer: able to find the living blood & pulse of life in the most seemingly banal of settings

世界を真摯に見つめる目、時代を必死に生き抜く人々。写真にあふれるヒューマニズムと愛の眼差し。

Great video, thanx for sharing the pothorgrapy of Gary, i tried to get some books (specially de bnw streetphotography) and the prices were so high.👏👏

⭐⭐⭐⭐⭐

💎💎💎💎💎

💜💜💜💜💜

멋진인생

5:57 - This image is not by Eggleston but by Alec Soth OF William Eggleston (2000).

Très très touchant … quel cœur immense ❤

I can't believe I'm discovering him only now. What an artist, wow.

Thank you! What a joy to see.

Magnifique

In this moment probably the best photographer in the world

I love her work. I wonder if she was autistic.