peterm1
Veteran
I would have to say Saul Leiter. His eye for color, light and shadow in particular. I can't claim to be a patch on him of course but he is a muse. I am still trying, still learning, still too often failing, though with an occasional shot I can be pleased with.
Leiter
Through a Glass, Darkly by Life in Shadows, on Flickr
With maybe a nod towards great Masters from whom we all should learn.......Vermeer for example, for his mastery of light.
_-_The_Girl_With_The_Pearl_Earring_(1665).jpg/715px-Johannes_Vermeer_(1632-1675)_-_The_Girl_With_The_Pearl_Earring_(1665).jpg)
Cafe Colombia - Adelaide Central Market by Life in Shadows, on Flickr
Leiter
Through a Glass, Darkly by Life in Shadows, on FlickrWith maybe a nod towards great Masters from whom we all should learn.......Vermeer for example, for his mastery of light.
Cafe Colombia - Adelaide Central Market by Life in Shadows, on FlickrDownUnder
Nikon Nomad
i'm not into hero-worship, but I've learned many things about photography from a great many people, not only Old Masters but also everyday shooters, as well as the hard-working pros of the period 1950-1980s who had small studios and tackled anything and everything that came their way.
If I'm backed to the wall and told I MUST name a few greats, then I would (reluctantly) nominate as my (sort of) heroes, Henri Cartier-Bresson for having taught me to loosen up and stop thinking in grids - Julius Shulman and Ezra Stoller for having taught me the basics of architectural photography - Alfred Eisenstaedt for showing me many ways to make even the smallest life events stand out equally to the great moments - and all the multitalented photographers for Life magazine who over so many decades, traveled the globe in search of images large and small, of anything and everything in this sad and yet wonderful planet we inhabit.
As a lifelong bookworm I learned much from older technique books such as were available from about 1930 when photography moved up from Kodak Brownies and static snapshots on slow films to more exciting action made possible by the advent of newer cameras - notably the Kodak Retinas and other folders of the period, but not forgetting those icons of the genre, Leica, Contax, Rolleiflex and Zeiss Ikonta, all the top of the range gear when I was growing up in the 1950s and getting interested in making my own images, films and the darkroom.
The two books that taught me most about the basics of everything I do today, were those tried-and-true old Kodak publications, 'Let's Make Good Pictures' - I have an early edition of this photo bible dating back to, I believe, just before the First World War, and I marvel at how instructive it is given its century and beyond - as well as the now almost iconic 'This Is Photography' (the Wilson-Brummitt tome from the 1940s) which taught me a lot of basics and, amazingly, can still be easily foundfor a few dollars from Amazon or Ebay.
Then I also must praise those authors (many still with us, others now passed) who have written the books I have on the four shelves of my largest bookcase at home, titles too numerous to list, but each having influenced me in some way or other in the basically just passably good photography I've done over the past six decades and hope to go on doing for a few more years.
As most of us do, I go on buying photo books as and when I find them, now and then from good discount book shops but often from charity shops. My latest find, a near mint copy of 'David Bailey's Book of Photography' from the 1980s, cost me A$3 last week and i'm happily perusing the many informative chapters in it and admiring the lovely ladies this talented English photographer seemed to so easily immortalise in their greatest glory on mostly black-and-white film.
So yes, my list of 'heroes' would be endless. Enough said. Que sera sera.
If I'm backed to the wall and told I MUST name a few greats, then I would (reluctantly) nominate as my (sort of) heroes, Henri Cartier-Bresson for having taught me to loosen up and stop thinking in grids - Julius Shulman and Ezra Stoller for having taught me the basics of architectural photography - Alfred Eisenstaedt for showing me many ways to make even the smallest life events stand out equally to the great moments - and all the multitalented photographers for Life magazine who over so many decades, traveled the globe in search of images large and small, of anything and everything in this sad and yet wonderful planet we inhabit.
As a lifelong bookworm I learned much from older technique books such as were available from about 1930 when photography moved up from Kodak Brownies and static snapshots on slow films to more exciting action made possible by the advent of newer cameras - notably the Kodak Retinas and other folders of the period, but not forgetting those icons of the genre, Leica, Contax, Rolleiflex and Zeiss Ikonta, all the top of the range gear when I was growing up in the 1950s and getting interested in making my own images, films and the darkroom.
The two books that taught me most about the basics of everything I do today, were those tried-and-true old Kodak publications, 'Let's Make Good Pictures' - I have an early edition of this photo bible dating back to, I believe, just before the First World War, and I marvel at how instructive it is given its century and beyond - as well as the now almost iconic 'This Is Photography' (the Wilson-Brummitt tome from the 1940s) which taught me a lot of basics and, amazingly, can still be easily foundfor a few dollars from Amazon or Ebay.
Then I also must praise those authors (many still with us, others now passed) who have written the books I have on the four shelves of my largest bookcase at home, titles too numerous to list, but each having influenced me in some way or other in the basically just passably good photography I've done over the past six decades and hope to go on doing for a few more years.
As most of us do, I go on buying photo books as and when I find them, now and then from good discount book shops but often from charity shops. My latest find, a near mint copy of 'David Bailey's Book of Photography' from the 1980s, cost me A$3 last week and i'm happily perusing the many informative chapters in it and admiring the lovely ladies this talented English photographer seemed to so easily immortalise in their greatest glory on mostly black-and-white film.
So yes, my list of 'heroes' would be endless. Enough said. Que sera sera.
dourbalistar
Buy more film
A portrait of my good friend, who got me into photography. When I was a total beginner, he taught me the basics, and recommended a (digital) camera for me to start learning on. I've borrowed lenses and equipment from him, and we still geek out on the latest and greatest gear even though I've transitioned to primarily shooting film. And generally, we are very, very bad influences on each other when it comes to G.A.S. 
Nikon FM2n, Nikkor-S Auto 55mm f/1.2, ORWO N74+, developed in LegacyPro L110 at 1:31 for 6.5 minutes.
2019.06.08 Roll #207--57.jpg by dourbalistar, on Flickr
Nikon FM2n, Nikkor-S Auto 55mm f/1.2, ORWO N74+, developed in LegacyPro L110 at 1:31 for 6.5 minutes.
2019.06.08 Roll #207--57.jpg by dourbalistar, on Flickr
Darthfeeble
But you can call me Steve
Ansel Adams of course, Edward Weston, the whole f64 crowd. More recently Galen Rowell, and my mentor and good friend Duane Shoffner.
Bill Clark
Veteran
The gentleman that became my coach and mentor was Monte Zucker. A true artist with his photography and a successful businessman. He was always willing to help me. Couple of times I called him at night with a question on my mind and got him out of bed and he still talked with me, giving me advice.
Shortly after I first met him, I asked Monte if I will ever be a success with the photography business. He said, “you will be successful.”
And he was correct as I was successful because Monte helped me along the way.
Shortly after I first met him, I asked Monte if I will ever be a success with the photography business. He said, “you will be successful.”
And he was correct as I was successful because Monte helped me along the way.