I have never processed a single roll of film, never. My last attempt at film, the snaps I shot on a roll is still stuck in the camera and have been for a while, I have no intention of doing jack with it, if I recall the film stock is Tri-X.
I do however like the look of film as an artistic effect on digital images, simulating the look of old film stock using Plug-Ins such as AlienSkin can be a lot of fun. Every once in a while if the mood or image permits, I burn these looks to my photos. I have been an AlienSkin user for a while, it does what it does and quite well for that matter at least to my eyes and in comparison to other Plug-Ins out there such as VSCO which for some reason or another I never used, perhaps it is just the fact that I felt like in many cases I could achieve the same look with AlienSkin so I never bothered trying it, not to mention I don’t use these Plug-Ins that much to justify splurging on every Film Simulation Plug-In that touts being the closet to the real thing, like I said I use AlienSkin for the look I get not to actually replicate film stock exactly - in my opinion there is no such thing, sure these Plug-Ins are good or fantastic for getting close and that’s enough for me. Haven’t never shot film as already stated, who am I to say which or what is what in terms of how close to actual film? Just have fun with whichever you choose to use…
Before I bought my Sony NEX-6 I examined many, many other options. I watched YouTube reviews, I read posts, I joined communities and forums to see what people could do with their gear. Because I live in Crete -which is kind of remote- I couldn’t actually test any camera I was interested in, so I had to develop a methodology that would help me narrow down my choices until I decided upon the camera I wanted.
Suncream was the last thing anyone expected to need on the 5th of October but as we made our way from Ballycastle and over Fair Head (Bhinn Mhór) the weather displayed an uncharacteristically summer feel. In an aim to travel light I packed the Fujifilm X-M1, Fujinon 14mm and 27mm lenses into my Millican bag and ventured out. - See more at: http://www.flixelpix.com/landscapes/fair-head/#sthash.MG7mRiVj.dpuf
Conventional wisdom says that compact cameras are dead. For the most part, they are. In an age of 20-megapixel cameraphones, it is very difficult to see much room for basic €149 snapper
To me, street photography is like an urban legend, a myth that can be changed from person to person.
There are people who will disagree. They will say that street photography is about capturing your subject’s current situation, their emotion and feelings. May be that is true and people can actually do this but for me I have to have the same emotion to see it in people. If I am tired, I see tired people more often and I know how they feel so my job to document it will be much easier. To me, priority is not that the subject is actually feeling a particular emotion but that I can make an image that shows what I feel through other people. Don’t take me wrong, a lot of the time my subjects actually feel the same as I do so it will be their natural state but feeling the same emotion gives you a bonus to make something special.
Armed with my trustyFuji X100, WCL-X100 wide angle converter, ND grad filter and a tipod we headed down to White Sands for yesterday evening's sunset. Long exposures have added movement in the surf and also in the clouds.
Earlier this year, my friend Rupert Abbott asked me if I wanted to mount an exhibition of my photos at Baitong, his restaurant and meeting space in Phnom Penh. I was a bit hesitant at first, because although I quite like my own photos, I don’t necessarily expect anyone else to like them, let alone buy them. However, he put me in touch with Matt Cuenca, an artist who runs the exhibition space at Baitong, and he inspired me to show some of my Phnom Penh street photography.
Berlin-based artist/photographer Sebastian Bieniek created photo series, "Doublefaced", depicting the routines of a two-faced girl as she goes about her daily life. Sebastian's visual effect is sur...
"French Kiss - A Love Letter to Paris", is a tribute to many of the wonderful moments of romance, beauty, hope, and love that I have witnessed and been inspired by in Paris, my adopted home, over the past 40 years. I believe that photography is ultimately about sharing. I am excited to share, with the world, these moments of the heart that have touched my own, in this most beautiful city, Paris."
I have a LEE filter system for my Nikon D700 system which I love, but I didn’t want to haul 2.25lbs for the D700 body only. So first step was to get a smaller camera system. I sold my Olympus OM-D E-M5 when I got back from Italy because I wasn’t in love with the aspect ratio. I felt like 14mm wasn’t all that wide and cropping from 4:3 to 3:2 made it even worse. I heard great things about the Fuji X system so I decide to give it a try and bought a gently usedFuji X-E1 and 18-55mm f/2.8-4 off of Craigslist. I also got a Fuji 35mm 1.4 for casual shooting, but that’s for another post.
A few years ago, I had the pleasure of spending some time with Pablo Inirio, master darkroom printer at Magnum Photos in New York. I was thinking about that interview recently as I heard the news ...
One day we are all going to die–whether we like it or not. I have been thinking a lot about death lately– which I know might not necessarily be healthy for a 25-year-old, but still feel that it is something important to consider.
I’m probably not your typical wedding photographer and I only shoot a maximum of ten weddings a year. Wedding photography jobs used to be a substantial part of my paid work when I started out.
hpc's insight:
part 1 – my gear part 2 – my lighting bag part 3 – bridal prep part 4 – civil ceremony part 5 – church part 6 – formals (coming soon) part 7 – reception and dinner (coming soon) part 8 – let’s dance (coming soon)
On the 12th anniversary of the start of the war in Afghanistan, TIME asks 40 renowned photographers to reflect on their harrowing experiences covering the conflict—and to describe which of their own photographs moved them most.
"We were on a night mission and these American soldiers went door to door pulling men from their beds in front of their screaming children, putting them on the ground in the freezing cold, then marching them off under arrest. Maybe some of the men were insurgents, you almost never know when you're out there. But they were all released the next morning. As we hiked back to base around 5 a.m., the First Sergeant was sort of thinking out loud. 'Boy, we sure didn't make any friends out there tonight,' he said." - Michael Kamber
Mark Cohen, a self-described "surrealistic action photographer," is profiled in this episode of "Profiles in Excellence." Cohen pioneered street photography, capturing the real, spontaneous moments in the public life of a city. He continues working today.
Has the same portrait ever appeared on the cover of a major US magazine even twice, not to mention three times? Still, it's not exactly clear to me why she's on the anniversary cover.
What are we to make of the Afghan Girl’s second encore?
One of two things, I imagine. The first would be an affirmation of her iconic status and incandescence: the culture magazine’s premier cover girl; the Mona Lisa of photojournalism, as some people have analogized. Then, the other is that the return of the ageless and hypnotically entrancing Sharbat Gula, the West’s lionized and exoticized Asian everywoman, is sort of milking it. Still, if they could offer up the Afghan Girl on the cover every week — the same way the porterhouse at Peter Luger or the lobster at the Palm are so enshrined — why wouldn’t they? I mean, only three times in 28 years? I’m sure plenty of people return to the Louvre to see the other Mona Lisa more often than that. Or, would if they could.
I recently had the pleasure of shooting on the streets of San Francisco with Jack Simon, a well-known street photographer in the community for this month's fiestamovement mission. I followed Jack around the streets of San Francisco, seeing how he ...
Crazy Comparison Part 2: Fuji X-M1, Leica M 240, Olympus E-M1 and Panasonic GX7 Woooooooo! It never fails, ever! Every time I have done a crazy comparison (and I have done many over the years) peop...
Josef Koudelka / CZECHOSLOVAKIA. Slovakia. Zehra. 1967. Gypsies. All photos in this article copyrighted by their respective photographers. One of the things I don't talk much about is composition on my blog when it comes to street photography.
World Press Photo, who has selected VII Photo co-founder Gary Knight as chair of its 2014 contest, has announced a change of rules regarding "the permissible levels in post-processing of image files" submitted following this year's intense debate about manipulation in photojournalism.
You've not mastered your DSLR until you can shoot in manual mode. Here we answer the common questions about shooting in manual mode, as well as the advantages it can give you.
hpc's insight:
PAGE 1: Common questions about shooting in manual mode PAGE 2: How to set manual exposure PAGE 3: Why metering matters in manual mode PAGE 4: Working in stops PAGE 5: The real advantage of using manual mode
Vous avez du mal avec Photoshop ? Découvrez l’éditeur de photographie Google+. Le réseau social Google Plus offre gratuitement une série d’outils d’édition de photos très efficaces. Nous allons vous faire découvrir ces fonctions.
"If everyone could be there just once, to see for themselves what white phosphorous does to the face of a child, or what unspeakable pain is caused by the impact of a single bullet or how a jagged ...
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