"Automaticity" is key.
Jules of Nature
KIROKAZE

⁂

No title available
Misplaced Lens Cap

if i look back, i am lost

tannertan36
d e v o n
wallacepolsom
No title available
YOU ARE THE REASON
Stranger Things
Peter Solarz
AnasAbdin
styofa doing anything

Discoholic 🪩
Three Goblin Art
Aqua Utopia|海の底で記憶を紡ぐ
tumblr dot com
Keni
seen from France

seen from Ukraine
seen from Italy

seen from Türkiye
seen from Türkiye
seen from United Kingdom
seen from Switzerland
seen from United States
seen from Ukraine

seen from United Kingdom
seen from Brazil
seen from Brazil

seen from Saudi Arabia
seen from United States
seen from United States
seen from United States

seen from United States

seen from France
seen from France
seen from Switzerland
@sarath-chandar
"Automaticity" is key.
Technology is commanding our attention in infinite, insurmountable loops. A country trip off-grid helped me escape.
Between fake news, real news, and everything in between, we’re losing sight of what truly matters.
b r û l é e | marin county, california
© Lorenzo Montezemolo // instagram | flickr | tumblr | web
Marina Beach, Chennai, India - Shot with Mamiya C330 Professional F and 80mm f/2.8 on Ilford HP5+ pushed to ISO800 in D76
Developing Film at Home: An Illustrated Guide by Matt Diamond
Matt Diamond of the cantstopliving.life shares an illustrated guide on developing black and white negatives.
Celebrating Photography’s Milestones in the Last 177 Years
From the simple pinhole to the digital camera, photography manages to maintain its progressive status as an invention for art and science. Since the flourishing of the camera when Louis Daguerre created the daguerreotype on 1839, camera after camera keeps toppling and competing on each other; hence making the photographic world as one of the liveliest places of art today.
How to Push and Pull Film
Since the birth of digital photography and sub-sequential near death of the printed photograph, there are quite a few darkroom techniques which often get overlooked by even the most seasoned film photographers. One prime example of this is the push/pull process, which is essentially shooting your film at the wrong speed and then developing it at that same wrong speed. To “push” your film is to shoot and develop at a faster film speed, while to “pull” film is to shoot and develop at a slower film speed. This process will change elements of your photograph such as grain size and contrast, but can also be a life saver in more than one tricky situation.
Looking at the History
Back in the day, the way you shot, developed and printed your film in the darkroom clearly defined your overall style as a photographer. That includes variations in agitation, dilution, time, chemical composition, and temperature - which can be minutely adjusted for producing black and white negatives exactly as you’d like them to be. One photographer may agitate side to side while another does it up and down, and both may claim that it produces a specific result. The reality is many factors are at play here and it often comes down to personal preference.
When it comes to color, however, it’s not so open. Although black and white photography provides a wide variety of processing options, our perception of color just isn’t that flexible. For instance, we assume the sky to be a specific shade of blue, grass should be green, and so on and so forth; skin tone is even more specific and should only be within a certain color range that we consider “normal.” For example if you took a photograph where your subject had orange or purple skin, you’d assume there was a mistake in developing somewhere along the line. In order to avoid unnatural color outputs due to color misperceptions, old-school photographers were always looking for a better way process film than the patchwork of approaches previously utilized for black and white.
Eventually, this led to Kodak producing the transparency film and E-6 process, which are still in use today - although in limited quantity and usually in the hands of seasoned professionals. We’ve previously done an intro to understanding slide film that you can check out for more info on that. The E-6 process became standard and has been followed by all manufacturers ever since. Side note - “E-6” stands for ‘E’ for Kodak Ektachrome and ‘6’ for the number of chemical stages in development.
‘Normal’ Process
Normal process means that you do what you’re supposed to. No seriously, if you bought Kodak Portra 100, you’d shoot it at 100 and have it developed (or develop it yourself if you’re so inclined!) at 100. If you have Ilford HP5 400, you’d shoot it at 400 and develop it at 400. Simple. NORMAL. But hey, push/pull process lets you get more out of what you’ve got, or in some cases rectify a horrible mistake.
{The Peak, Hong Kong by Suhaimi Salleh, Fuji Neopan 400 pushed to 800}
So What Are the Benefits?
Let’s say you only have Ilford Delta ISO 100 and the sun is going down fast, you can shoot that roll at ISO 400, develop it at ISO 400 and boom you just got yourself two extra stops. You also just got yourself some extra contrast but more on that later. Let’s also say you didn’t change the speed on your camera and metered everything at ISO 100 when in fact you were shooting 400. That’s ok! Develop at 400 and your shots should still come out fine. Simply put, you either accidentally or intentionally set your cameras ISO setting to the wrong value to get the shot. The light sensitivity of the film will not be affected by this, as what you did was to overexpose or underexpose the film. In other words, pushing and pulling will either over-process or under-process the result, thus helping you correct it as you develop the film in the darkroom. Push/pull process can be used on black and white, color and slide film.
It’s important to note that pushing film can:
Increase the contrast to a certain extent
Increase the apparent grain to a certain extent
Lighten the image
And pulling film can:
Decrease contrast
Create a flat and overall dull negative
Darken the image
Keep reading
Digital cameras are notoriously difficult to design and get right. Where do you start? Who is the customer? What features do you include on the camera? The
6 Best 35mm Film Cameras For Beginners
When you’re ready to take the dive into film photography, or perfect the skills you’ve been working on, a solid 35mm SLR with interchangeable lenses is absolutely imperative. An SLR, or Single Lens Reflex, means that a mirror and prism system lets you see exactly what you are shooting. Interchangeable lenses mean just that - you can take the lenses on and off. Most SLRs are sold as “kits,” meaning you get at least one lens with the body; however sometimes you may come across an amazing body on its own which means you’ll have to find a lens yourself.
So what exactly makes a good SLR for beginners? First, it should be fully manual! You’ll never learn shooting automatic, so let that one go. Second, it should be easy to repair and easy to find extra lenses and accessories. Go with a well-known brand versus something obscure (no matter how gorgeous it is!) to make sure you won’t be struggling.
Quite a few major brands manufactured 35mm SLRs, but we’ve put together a list of solid, reliable models that are a perfect fit for any beginner looking to invest in a camera that will last a lifetime. You cannot go wrong with one of these classics:
1. Canon AE-1
The Canon AE-1 is one of the most well-known 35mm SLRs of all time and has a hugely loyal fan base - people literally swear by this camera. It was manufactured in Japan from 1976 to 1984, and in those 8 years enough were produced that you will not have a hard time getting your hands on one for a reasonable price. This camera was not designed for professionals, but instead featured straightforward and easy-to-understand controls intended for beginners or hobbyists. It has an automatic aperture feature, but you won’t be using that if you actually want to learn something. It uses a Canon FD lens mount, making it compatible with any FD or FDn lens. It’s not technically compatible with Canon EF lenses, but plenty of adapters are available to solve that problem.
A couple of fun facts: this camera sold an unprecedented one million units - a first for any SLR. It was also the first SLR on the market to be equipped with a microprocessor. The microprocessor is essential to the electromagnetic focal plane shutter system - which brings us to the one downfall of this camera: if the battery dies the shutter won’t pop. Batteries for most 35mm SLRs are specifically for the light meter, but this is not so in the case of the Canon AE-1. Basically, buy extra batteries if you go for this camera and you’ll be fine. The follow up model to the Canon AE-1 is the Canon AE-1 Program, and is also a good option. If you have a look at the top selling film cameras , you’ll notice the Canon AE-1 is #1 on the list.
We have previously reviewed the Canon AE-1 here.
2. Pentax K1000
The Pentax K1000 is often referred to as a “beast” or “workhorse” because of it’s insane durability. It was manufactured from 1976 to 1997, making it one of the longest produced 35mm SLR models of all time. It’s inexpensive, simple and loved by photographers worldwide. Because of its reasonable price tag and long-standing production, over 3 million Pentax K1000s units were sold over time and today you can easily find them in great condition without looking very far.
It’s all metal, all manual and accepts ALL Pentax K bayonet lenses. On top of that, almost all Pentax K-AF and K-AF2 autofocus lenses also work with it - you just have to focus manually. With the help of an adapter, it also accepts screw mount lenses and will even work with new autofocus lenses that lack an aperture ring - albeit with limited functionality. Essentially, Pentax claims that any Pentax lens will have some functionality on a K1000 so it’s a camera that will give you lots of options. Plus on this body, if the battery dies no biggie - it’s only for the light meter and you can always Sunny 16.
We have previously reviewed the Pentax K1000 here.
Keep reading
Great start film cameras.
hasselblad ad [modern photography, july 1970]
This is one of the Hasselblads that went to the moon.
Moon.
“The best thing to do is go as far out as you can get…what you regard as ‘too far’ - and when others follow, as they will, move on.”
Frank Lloyd Wright.
Can the scientific approach create soul and emotion?
The relentless search for efficiency has led us to apply rigourous scientific methods to improve the quality of life. I have no problems with it, and I usually advocate such an approach for improvement of society. But, somehow I've come to feel that we have lost something in terms of differentiation and bringing feeling and emotion to life.
The Last Hands to Touch the Declaration of Independence
When Chief of Conservation Mary Lynn Ritzenthaler retires in July, the last hands to have touched the Declaration of Independence will leave the National Archives. She has been with the agency since 1985.
The Declaration of Independence was sealed in a glass and metal case in the early 1950s when it was still in the custody of the Library of Congress. It wasn’t until the Rotunda’s renovation in 2001 that conservators had the opportunity to take the Charters of Freedom (the Declaration, the Constitution, and the Bill of Rights) off of exhibit and think about next steps.
“There was the opportunity to think about whether or not the original encasement was still suitable in terms of long-term preservation needs,” Ritzenthaler recalled. “There was a piece of free-floating glass directly on top of the parchment to help keep it flat, so there was some worry about that.”
Along with now-retired conservator Kitty Nicholson, Ritzenthaler removed the Charters of Freedom from their earlier encasements to perform examinations and treatments.
“Over the course of its history, the Declaration of Independence was handled a great deal,” Ritzenthaler said. “From 1776 on, it’s traveled a great deal. It was on exhibit. In many cases, it was stored at the Department of State and brought up for people to see and to handle. And it kind of showed the effects of all of that over the years.”
Understandably, Ritzenthaler and Nicholson were a little nervous to unseal the encasements, given the status of the documents. They decided to examine the Constitution and the Bill of Rights first before taking on the Declaration of Independence.
“We left the Declaration until the very end because we wanted to build our knowledge and experience,” she said. “It was with a great deal of awe and kind of amazement that we were the privileged people to have this task. We were very fortunate. Not that many conservators or archivists in their lifetimes will get to handle such an amazing document.”
The conservators faced a number of challenges. Parchment is made of animal skin, which makes it very different from paper. Given its age and history of extensive travel, exhibition, and handling, the Declaration of Independence was not in good condition. There was also the challenge of opening the encasements.
“There were always some uncertainties in opening those older encasements because they didn’t come with an instruction book, so we had to figure out our way,” Ritzenthaler said. “There was a piece of glass sitting directly on top of the parchment, so the worry was that, even though we did not have any problem opening the six previous charters encasements, would the glass stick to the surface of the skin? Or would there be any ink flakes that would have attached to the glass? Neither of those things happened, so we were very fortunate.”
The conservators did not wear gloves when handling the parchment. “That surprises a lot of people because wearing gloves for certain kinds of artwork and photographs is a very good thing to do because you avoid fingerprinting,” Ritzenthaler said. “But with the parchment, we wanted to make sure that we were handling it as carefully as we could, and, sometimes, when you’re wearing gloves, you don’t have the same manual dexterity. So care was our big concern—and our hands were always clean!”
As Ritzenthaler prepares for retirement, she takes with her the experience of being one of very few people on the planet to have physically held the Declaration of Independence.
Keep reading at The Last Hands to Touch the Declaration of Independence | Prologue: Pieces of History »
The opposite of love is not hate. The opposite of love is indifference.
Italians know their deserts
Colourful symmetry at Burano