Monday, May 29, 2017

Analog Diary: Images On Expired Film #4

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Reminiscing
The most telling effects from using expired film are decreased sensitivity and contrast, increased grain, and color shifts. Color shifts may be subtle or extreme, depending on both the age and the storage conditions. Different emulsions may shift different ways, some moving toward the blue and others toward the magenta or the yellow, because different dyes age differently. In many cases, with or without color shifts, saturation will be reduced. This can range from slightly muted colors to extreme desaturation bordering on selective color. With all films, you can get a variety of unevenness - mottling or spotting, streaking, inconsistent grain, and so on.

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The older you go in terms of the expiration date, the more factors you need to consider. In addition to expecting fogging, you’ll want to be aware of the required developing processes. Currently, it’s no longer possible to develop Kodachrome (K-12 or K-14 processes), and may not be possible to develop color films designed for other defunct methods, such as the C-22 negative and the E-2, E-3, or E-4 transparency processes, since the chemicals no longer exist.



Resource Links:
Lomography - Tips on Shooting Expired Film: Taking Note of Expiry Dates
5 Tips For Shooting With Expired Film

Monday, May 22, 2017

Found Slides: Minimalism

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Canoscan 9000F Mark II
Minimalism
Minimalism, in visual arts, music, and other mediums, is a style that uses the minimum of design elements. The movement emerged in New York in the early 1960s as artists moved toward geometric abstraction in painting and sculpture. While some appreciate the openness of this idea, embracing the freedom of interpretation, others took the opposite stance, despising the lack of direction or subject matter. In photography, however, where a photo is a representation of a moment in time, and place, minimalism is instead used to enhance the impact of the image.

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The rule? Keep it simple. Pick the strongest element of the shot, focus on what catches and engages the eye, use leading line and negative space to accentuate its prominence. Use the rule-of-thirds to help you compose. Work on a good depth of field to draw the eye to the focus of the composition. Go for distinct texture and colors, get the light just right, and work from a vantage point that will put all these in perspective.

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Tell a story, bring people and figures into the context of your composition, convey a scene or event using the reduced subject matter, colors and shapes. Post-processing your shots should be reasonably straightforward as you should already have a good notion of what you want with simple but dramatic images. Consider something surreal, use the artist in you to create a piece of art instead, or just stay true to life and process in its utmost simplicity.

This batch of found slides are about 30+ years old, shot on an Olympus OM-2n and a Sigma-XQ Filtermatic 24mm f/2.8 with the O56 (Orange) filter on. The slides were scanned on the Canoscan 9000F Mark II and the images post-processed on Olympus Viewer 3 (OV3). Tweaks include cropping and tilt adjustment, Brightness & Contrast, Gamma, Color Balance, Hue & Saturation, Sharpness & Blur, and Noise Reduction. Color balance was mainly used to remove the extensive color cast of the original shot.



Resource Links:
Keep it Simple - A Guide to Minimalist Photography | Contrastly
A 10 Step Guide to Superb Minimalist Photography

Sunday, May 14, 2017

Mobile Photography: Huffy Is A Red Bicycle

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Mobile Photography: Huffy Is A Red Bicycle
Huffy Is A Red Bicycle
If you shoot in JPEG and wanted to create images in black-and-white, the advice is still to shoot in color and do the conversion to black-and-white in post-processing. By doing so you are preserving all the color information of the image, and when you do the conversion on a non-destructive image editor, you can always go back to the original image any time you want to or you can re-edit the images to suit the presentation or set it to post-processed to the model you are after.

Black-and-white images taken off the camera setting or converted in-camera tends to be rather flat and may look lifeless. This is where the advantage of editing images in post-processing is. I use Olympus Viewer 3 (OV3) as my image management and editing software which I find is adequate enough for all my editing and black-and-white post-processing needs. Huffy, the bicycle in the masthead image above, does look rather splendid when converted to black-and-white. Same with rest of the images, which was shot on the Nokia Lumia 720, the conversion was done on OV3 with Monochrome & Sepia tool with the red color filter added and the contrast slider set to 60%. The image was further tweaked with Brightness & Contrast, Hue & Saturation, Unsharp Mask, and Noise Reduction edits.

If you have yet to go into post-processing, learn more about you camera's setting for black-and-white conversion, and you still might end up with a few good black and white images, but that's all that you can do with it. Soon enough you will have the urge to do the conversion yourself on installed image editors and this is where you will have all the look and fell of your final images.



Resource Links: Why It's Still Important to Shoot In Black And White
15 Reasons The World Looks Better In Black And White

Sunday, May 7, 2017

Analog Diary: Trying To Get It Right

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Holga 120-Pan, Optical f/8 80mm

Holga 120-Pan
Trying To Get It Right
The Holga 120-Pan, similar to its sibling Holga 120-GN, is a very light-weight simplistic camera that comes in a plastic body that is susceptible to light leaks, a 90mm optical lens, a single shutter speed of 1/100th second, and two aperture settings, f/8 and f/11. The Holga 120 Pan, however, takes 60x120mm panoramic images on 120 format color or B&W film, which is twice as wide when compared to the square 6x6 format. Focusing is adjustable to 4 zones - portrait, small group, big group, infinity. Interestingly too, the camera comes fitted with a clear-line viewfinder fixed to the top plate, and a spirit-level embedded within the top plate towards the left of the top plate. The film back, with the red film frame count window set for 12 and 16 (glued fixed) frames is clearly from the GN model, the 120-Pan can only take up to 6 shots per 120 film roll.

With nothing much by way of manual control or other adjustments, all you have to do is to set the camera level and steady before pressing the shutter.

Had my fun with the uncertainty and excitement of the setup. The first outing with the 120-Pan but ended up with only one manageable shot with the roll of expired Fujifilm Pro160S, the banner head image above. The second outing was nearly as bad, ending up as a comedy of errors - the film advance was as miscalculated, leaving overlapped images, while exposure on the expired roll of Fujifilm Pro160 S was not properly determined either. The resulting images, however, with its overlaps and excitingly unexpected under- and overexposed images, gives way to the opportunity of re-editing the images, which was scanned, tweaked and cropped on Olympus Viewer 3 (OV3), to what they are here. Looking forward to another shoot soon.



Resource Links:
Lomography - Holga 120 Pan: The Lightweight Panoramic Miracle
Analog Diary: Catching The Golden Hour

Wednesday, May 3, 2017

Analog Diaty: Images On Expired Film #3

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Olympus Pen EE-S, D.Zuiko 28mm f/3.5
Catching The Light
How do you set up expired film to catch the light? Plenty of theories here, nothing hard and fast, and a warning not to get taken in by all and what you read, everybody has their own opinion. It boils down to the fact that each individual roll of film will degrade differently from others even if they are from the same production batch. A lot will depend on how these films have been stored. Film stored cold, especially frozen, tends to degrade much more slowly. Color films stored like this will keep its dyes from deteriorating, and are often just as good, or almost as good, as fresh film. Heat, of course, is film’s worst enemy. If you buy in bulk, you might want to sacrifice one roll for testing. If you buy loose or single items and cannot determine how the film was stored, you really won’t know until you put it in your camera and shoot it. Generally though, you may just want to set the film ASA speed a stop or two slower than specified, and bracket your shots with exposure compensation.


Resource Links:
I Shot Expired Film at the Daytona 500
Shoot Expired Color Negative Film With Confidence

Tuesday, May 2, 2017

ImagingPixel is the new FilmCamerasAndMore

ImagingPixel is the new name for FilmCamerasAndMore.
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Hi all,

Welcome to ImagingPixel

ImagingPixel is the new name for FilmCamerasAndMore.
It is the same site, with the same contents, same goals.

Thank you.

Monday, May 1, 2017

Square Format Photography: No Reason Not To Like It

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1:1 Image Aspect Ratio
No Reason Not To Like It
Have you tried taking photographs with the square format (1:1 image aspect ratio), an option setting available on many current digital cameras today? I did and was rather taken with the simplicity of the format. I also went further and crop a few images to the square format in post-processing, and that turned out as well too. Square format photography is actually easy on the eyes as the composition of the image is very much simplified and you are left with only the object itself as the focus of the composition, sans all the superfluous surrounding bits. You can also do away the theory of thirds as it does not really apply to square format images. Look instead at placing the object right in the middle of the composition, use leading lines, and shapes that will become the dominant part of the image. While you might notice that the composition in a square format photography is always in balance, the use of a dominant color in color photographs may also add to the centrality or the dominance of the composition.

The square format is historically a product associated with the medium and large format cameras, used mainly for landscape and portrait photography, the two subjects which have shown to be quite difficult to compose on a 35mm rectangle. The format has been with us since the days of the Rolleiflex, a medium format twin lens reflex (TLR) cameras introduced in 1929, and was followed by Hasselblad, Holga, Polaroid, Kodak and other makes, all using the 6x6cm negative film format on 120 or 220 film rolls. Its resurgence in digital photography is made possible with image aspect ratio options that you can set your camera to, or by having images cropped to the ratio in post-processing.

While many photographers recommend the square format be in black and white, images in color or other post-process creatives can equally stand out.



Resource Links:
A Guide to Producing Beautiful Square Format Images
Square Format: not so weird

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