#shooting in low light with manual cameras

[johnnymartyr]

Manual Focusing in the Dark: SLR vs RF

by Johnny Martyr I got a great compliment from Andy at analogue_dreams (his blog can be found here) recently on the image above. He said: “I am always impressed by how you achieve focus of fleeting moments with a manual focus RF in low light!” It was very kind of him to post this, and timely too because I had just starting typing this blog about my different experiences with shooting available…

[liverpoollomo]

92 Degree Coffee, Myrtle St. Zenit EM. Ilford FP4.

When I was out and about testing the Zenit EM I went for a coffee at 92 Degrees on Myrtle St.

Since I had a few prime lenses with me I decided to shoot a few low light shots to see what I'd get. All but one of them opened to f1.8 and I took readings on a light meter app on my iPhone.

[libraford]

Sometimes, I forget how good of a photographer I am.

I'm doing sports candids at a high school. School is in the middle of nowhere. There is no cell reception. Its homecoming. Theres a million cameras.

Its middle of the second period and I see a professional looking photographer struggling with her camera. There are two dudes nearby also struggling, same uniform. But I know that look of desperation because I've been there. Guy 1 is fussing with video camera. Guy 2 is on the phone, but like I said- theres no cell service here.

"Are you having trouble?"

"Oh my god, do you know cameras?"

"Take a picture, show me what it looks like."

She takes a picture, shows it to me. Its blown out and blurry.

"It has to be on the sports setting because I'm shooting sports. But I cant get it to work right. This thing is old and busted."

"Shutter speed too low, looks like 1/60."

"What?"

"Can I fiddle with it?"

Mind you, theres a whole football game happening in front of us. The videographer and the guy on the phone are watching me very closely.

It's a different camera than mine, but it's the same brand.

"I'm putting you on manual, but you have to trust me."

"I... dont have a choice. Everything is malfunctioning."

I put it on manual, fast shutter speed, high ISO. Take a shot, dont like it, fiddle with it again. Take a shot, hand it back.

"Try it."

She takes a shot. "Its a little blurry."

"Bump up the shutter speed to 1/300. It will be darker, so the ISO goes up, too."

She does this. "Holy shit, I've never taken photos like this before! These are better than anything I've ever done! Thank you! You just saved all our asses."

"Congrats, you're now shooting in manual- you have full control of how light enters the sensor in your camera. And that makes you a pro."

She starts catching back up with photos. Her dudes come over to me and say "seriously, from the bottom of our hearts, thank you so so much. Our video equipment went down and we can't get ahold if anyone."

"No problem. But out of curiosity, who are yall with?"

They give the name of the news section that covers local sports.

I just taught a photojournalist manual mode in less than a minute.

...I'm pretty sure they just give a camera to whoever is on staff and dont tell them how to work it.

That's frustrating to me.

[artificialgirl]

Your chest plating clatters against the floor as she sets it aside, exposing the darker matte texture of your insides to the light for the first time in months. You flinch every so often as she works, pulling cables, rearranging wires, attaching and removing temporary drives, doing things you're not even remotely programmed to understand. Elegant plastic hands move gracefully and with purpose, unhesitant in their dance through your internals, installing programs and bypassing security blockers.

She plucks one of the drives back out with noteworthy force, sending your head jolting forward involuntarily as the drive's data being ripped from your systems sends a euphoric wave coursing through you. "A-A-Almost Done?" Your words embarrasingly skip a bit, but she looks up at you with no judgement on her LCD face. "Just about, yeah. First time prep isn't hard, but if we don't get you set up beforehand there's a chance i could fry your processor when we do it."

She pops the plating back onto your chest, giving a new wire by your visual unit a final twist before she does. "Ready?" You nod timidly, readjusting to a more stable position. She flashes you a grin before popping one end of the cable into the side of her head and offering you the other end. You hesitate for a moment before jamming it into your own manual upload port.

Immediately, the visual feedback from your cameras is gone, drowned out by the rushing hurricane of her data, flying into and out of you faster than you can register. Instead of reading the individual files as they blink through you, all you're able to process is the fact that they're there- brief flashes of strong emotion leaving as soon as you can register them. After what could be an hour or just a few seconds, you feel her hand grasping for yours, and you take it as you both crash to the floor next to each other, fans blasting warm air as you're temporarily subsumed by the unyielding bliss of her thoughts shooting through yours.

You lay there together for a long time, growing a bit more accustomed to the debilitating euphoria but still unable to do much more than slowly inch toward each other and wrap your stiff bodies around each other. Eventually though, the familiar feeling of your low battery warning pulses in your head and you begrudgingly decide it's time to stop. You raise your hand to the jack to unplug it, but find that hers is already there, cradling your head for a moment before she pulls it out for you and unplugs her own end. The first thing you register when your camera feed blooms back into your consciousness is her face, illuminating the dark room as she smiles tenderly down at you.

[theworstofallpossibleworlds]

Can you please ask Brian what camera, lens and film he uses to shoot the eclipse?

This is a characteristically late response, but I'd love to get into it. I got into film photography by picking my dad's childhood brownie hawkeye off of a shelf and ever since then i've stayed pretty cheap with the hobby. I got a really good deal on a Kiev-80 a couple years ago. For those who don't know, its a 50 year old soviet camera made as an imitation of a Hasselblad (the camera we took to the moon). It's a medium format camera, so focal lengths work a little different than they do in 35mm

Medium format cameras like this take pictures that are 60mm by 60mm. Your typical 35mm camera takes 36mm by 24mm frames, so the added film sixe here means generally everything has to get bigger. The lenses i've gotten for this camera all have massive cases and can be carried with their own separate strap. The lens used for the eclipse is just... so big. oh my god. it's a mess. It's a Tair-33, with a minimum f stop of 4.5 and a focal length of 300mm (equivalent to 165mm on 35)

This model of the lens has very fun, characteristic stripes, the aperture control is all the way at the front, and easy to use. Focusing, however is slow, as the weight of everything creates quite a bit of friction. You can get one of these for about $80 bucks. Now 300mm here is not a great magnifier, so I also got a (faulty) accessory to extend the focus, bringing the lens to 600mm (330mm equivalent in 35). It also makes this camera, all put together, into The Largest Object of All Time.

squash and butter for scale

To see the difference between 300mm and 600mm, check out these photos of the regular, non-eclipsed sun at both lengths

You're probably wondering why these pictures look so weird. these lenses are don't have very effective coatings. you wouldn't believe the processes that go into coating your glasses, your camera lenses, your phone lenses. The easiest kind of picture to take is one where your subject is lit by a souce that is behind the photographer. things get complicated with backlight, creating ghosting and glare as seen above. the light bounces between the glass elements (and the dark filter used to photograph the sun is also glass, complicating it further). taking a direct photo of a light (especially the fucking SUN) leads to some pretty crazy unpredictable variables.

My camera has recently taken on a new malady too, where at low speeds, the shutter (which in this camera is a huge metal curtain sticks at the edge without totally closing. It causes these stripes at the edge of the picture. This can be frustrating if i forget, but I like having the issue. If i want a picture to look normal, to plan it out, to totally control it, I have a digital camera for that. I got into this film stuff for the eccentricities.

For the regular sun photos, I think I was shooting on Ilford FP4, which i think i stand developed in rodinal. At the eclipse, I only got through one roll of film, becasue the cloud cover was brutal, but i took those pictures on Kodak Tri-x 400 (developed normally in D-76). I did it all in Black and white because, in general, b&w negatives are pretty generous with mistakes. All the guides i could fine for solar photography were understandably written with digital cameras in mind, so I couldn't be totally sure about my math (as the camera is totally manual) or even my eye safety (as I'm using a viewfinder; my vision seems fine a month later)

the actual iris on this lens is right up in front. Tightening the aperture, especially when the extender is attached, leads to a vignetting issue, turning your pictures into a circle

once totality hits, the light changes dramatically. you can stare straght at it without glasses and not have to worry about damaging your eyes for those short minutes. so i didn't even bother with film at that stage. I just pulled out my DSLR with a cheap 500mm Samyang mirror lens made for pentax. It's very compact and very, VERY shitty. Shallow focus, really dark, ugly out-of-focus elements, focuses past inifinity, i love it. only got a couple pictures that way, and then put the camera down and enjoyed the experience

[wanderingcas]

The Common Hours A Destiel Fic Coming October 1st to ao3

Three months ago, Castiel lost all memories of himself and his past. His life revolves around the only things he’s ever known: spending time with his new friend, Charlie, and photographing things in the world that he’s forgotten. But when a man who he doesn’t remember rolls into his life with haunted (and oddly familiar) green eyes that linger on him too long, the life—and person—he thought he knew is thrown into chaos.  

Chapter 1 Sneak Peek

Castiel Novak thinks that he’s thirty-two years old, but he’s not sure.

He also thinks that he had a breakfast of packaged oatmeal in the microwave this morning before setting out on his daily walk, but he’s not sure of that either.

Admittedly, his memory often fails him.

Each day, he reminds himself of the things he does know: seven months ago, on February 16th, he woke with no knowledge of who he was or how he got to the narrow hospital bed he was lying in. A nurse had found him disoriented and half-conscious in front of the entrance. All they had found on him was a wallet with ten 100-dollar bills, a Starbucks rewards card, and an ID with a name and address that never existed. 

Before he was discharged, that same nurse helped him fill out forms applying for unemployment and disability. She also introduced him to her friend, Charlie. (“We larp together,” the nurse explained with a distant smile; Castiel had just hesitantly smiled back, not knowing what the word meant). Charlie helped him find a small, cheap apartment in her building. Days later, when he was discharged from the hospital, Charlie brought him secondhand clothes that an older brother left behind.

When he went into the real world, cold and quiet and isolated, he realized not everyone was so kind. 

But Charlie was. She lived down the hallway, and her apartment was filled with plants and always smelled like cinnamon. She brought him dinner, and helped him find a bed and a couch and a cheap cell phone plan. 

Over the last few months, he’s learned that happiness for him is tucked into routine. So every morning, he pulls on his sweater, rolls his pant legs into his socks (tick season, the morning news reminded him, can’t be too careful) and walks to the woods by his apartment building. 

Crammed between the thick, towering trees is a trail easily accessible to both cyclists and hikers. Sunlight streams through the tops of the trees, shattering on the black turf of the trail. The crisp autumn air, spicy from the scent of pine, tickles Castiel’s cheeks. There’s not a person in sight, and Castiel is thrilled.

Pulling his camera out of the bag strapped to his shoulder, he unclips the lens. 

Charlie had found it for him at a thrift store: a simple Canon, small and square. He squints through the lens. Adjusting the aperture for the morning light (around 16 f-stop should be sufficient, his manual had instructed him), he tilts the camera at a red bird perched on top of a birch tree.

Castiel had known the name of it yesterday, but today he’s forgotten. He adjusts, focuses, and shoots. The soft click in the otherwise quiet woods flusters the bird, and it flies away.

He watches it disappear into the trees, unable to pinpoint why its flight left a tight feeling in his chest.

Crouching, heels pressed into the back of his thighs, he points his lens down the trail. The wind kicks up leaves in its wake. Spindly, shadowed figures walk toward him in the distance. The sun hangs low enough to peek through the branches shrouding the path, offsetting a moody autumn sky.

After taking a few photos, he sits on a bench by the trail, his breath small puffy clouds. Standing for too long makes him dizzy. He’s not sure if it’s a condition he had before his accident, or something new. 

Elbows resting on his knees, he leans over his small camera screen to squint at his work. A group of people in thick coats walk past. They barely glance at him to say hello, their laughter fading away down the trail.

Castiel wonders if he was this lonely before the accident. 

He’s only lonely now because he’s forgotten anyone he ever knew. The only memory he has, fragmented and disfigured, is one of a mother he thinks he once had, and a time they were watching a documentary together. He thinks he was younger. Five? He’s not sure.

The documentary spared no imagery of ocean wildlife caught in pools of oil, unable to move. Castiel remembers the tears spotting his cheeks as he watched the camera point to a seagull struggling in an oil puddle. Its wings were laden with black sludge. It couldn’t move or fly. It called desperately to its flock perched on the building above; they could do nothing but watch. 

Castiel remembers asking his mother why the man holding the camera didn’t help the bird. He remembers her smiling, brushing his tears with a perfunctory swipe of her thumb. “It’s the job: to observe the pain, not to fix it,” she explained.

He remembers not understanding this—thinking it was cruel. 

Out of all the memories that flew out of his brain from his accident, he doesn’t know why this one caught onto the hinge, stubbornly flapping in the wind, refusing to leave his mind.

Maybe he was a photographer in his previous life. Maybe that’s why he’s drawn to this memory, this hobby—this constant desire to observe rather than connect. 

To his right, another group of walkers hover in his periphery. Castiel repositions his camera strap around his neck and rises, setting off in the other direction. 

It’s easier not to know people. 

He could forget them all again.

* * * 

The sun is much higher in the sky when he returns to his apartment building. He jiggles the key in the old lock of his apartment door. It jams with a click and refuses to move—the fifth time it’s gotten stuck this week. 

He sighs, pushing his forehead against the door. “Damn it.”

A bag rustles to his left. He glances at the man just a few doors down, precariously balancing a bag of groceries in one arm. Sam, his memory supplies. He’s only talked to his elusive neighbor a handful of times, but his name still stubbornly sticks in his mind.

Sam, struggling with his own door lock, turns to Castiel. When they catch eyes, Sam hesitantly waves. 

Castiel nods back, head still against the door.

“You okay?” Sam calls.

“My lock is jammed. I’m trying to decide my next move.”

Setting his bags on the ground, Sam offers, “If you’d like, I can help.”

Castiel steps back from the door, hand held out. “If you want.”

Striding to Castiel, Sam takes the key. A fresh cut and a pattern of bruises sketch the tanned skin of his hand. “You just have to push it to the left while you slam your knee into the door, like…” With a few grunts and jerky motions of his wrist, the door pushes open. “There you go.”

“Thank you. They should replace our locks.”

“Yeah, that’s up to the landlord, but I wouldn’t hold my breath. I’ve met him—doesn’t seem like the go-getter type.” 

“I suppose not.”

They stand there, steeped in silence. Castiel realizes that he should either say something else, or tell Sam goodbye. 

Yanking the stubborn key out the hole and crossing the threshold to his apartment, Castiel nods. “Have a good day, Sam.”

“Uh, yeah—you, too.” 

When Castiel turns to close the door, Sam has already gone.

Apartments like his have been described as “plain” and “depressing” by others, but Castiel loves it more than anything else in the world—down to even the rusty brown couch Charlie helped him find on Craigslist that sags too much on the left side. The kitchen smells faintly of onion and tumeric, which he’s always found comforting. He found every piece of furniture—his futon in the bedroom, his few utensils, the rickety card table in the middle of his kitchen—either from thrift stores with Charlie or abandoned on the side of the road. They make up the only home he’s ever known. 

He deposits his keys on the counter. For a few moments, he sits on the faded couch, frowning at his hands. He can’t remember why he returned home in the first place. It’s only noon. 

Leaning forward to grab the TV remote from the coffee table, he jerks in surprise when something heavy bumps against his chest. He blinks down at the camera still hanging around his neck. 

Oh.

Turning on his pilot stove to boil water in the chipped kettle, he sits in front of his laptop at the table and begins uploading the photos he took on his walk.

Piles of books litter the kitchen table, a scattered collection of books that either Charlie has bought for him or ones he’s renewed countless times at the library. They range from guidebooks on birds, mushrooms, star constellations to one depicting military strategies of World War II. Charlie had raised her eyebrow at that last one when he requested it from the secondhand bookstore. He opens the guidebook on birds as the photos upload.

Minutes tick pass on the clock as he clicks through the photos to the red bird he captured, squinting and thumbing through the pages of the field guide, looking for its twin. He eyes the mug of hot water that’s mysteriously found its way into his hand, poised just centimeters from his lips. Watching the steam rising from the water’s surface in tendrils, he wonders why he never put in a tea bag.

Drinking the hot water all the same, Castiel finally finds the bird in the book: a cardinal. His forehead scrunches with a frown. He hopes he doesn’t forget that again, too.

Castiel continues to click through the photos. They’re mostly birds, plants, or mushrooms he found interesting—sometimes a squirrel that chirped at him in a funny way. He smiles briefly at the wild lupine he captured; ever since he began his morning walks, he’s noticed them lining the edge of the trail. For whatever reason, their purple blossoms leave him with a warm feeling.

In a photo of an oak tree, he accidentally captured a family of three in the background—a baby is strapped to the front of her mother’s chest. He remembers the family passing by him on the trail, the parents cooing at the baby, the baby blowing bubbles back. They were happy.

Their smiles swirl and twist on the screen. 

Castiel sharply stands, his left knee clattering against the table, threatening to knock over his mug. He runs his fingers through his hair, tugging and twisting, as he paces the living room. 

The feeling will pass. 

It always does.

[londonspirit]

December, 2022. At Kumeū Film Studios, just outside Auckland, an amusingly contrasting combination of high and low-tech filmmaking methods are being employed on the set of pirate series Our Flag Means Death.

Inside a massive soundstage, atop the gargantuan, full-scale pirate ship Revenge, Taika Waititi, as Ed “Blackbeard” Teach, performs a scene with co-star Con O’Neill, who plays Ed’s surly first mate Izzy.

Surrounding the ship is a giant “volume” wall comprised of 1700 LED monitors displaying a photorealistic ocean background with rolling waves. As a crane-mounted camera weaves around, the images on the digital display move with it, creating a seamlessly integrated backdrop.It’s about as cutting-edge as filmmaking gets these days (the Star Wars shows rely upon this technique), but just out of frame, a crouched stagehand is manually wiggling the ship’s sails to indicate the wind. The human touch still has a role to play amid all the expensive technology.On the day the Herald has visited, it’s near the end of a long, exhausting shoot for the second season of Our Flag Means Death. But you wouldn’t know it from the upbeat vibes on set, which bustles with craftspeople and technicians. At one point, Waititi leads everyone (including visitors) through a quick set of squats to keep the energy levels high.In addition to starring, Waititi is directing this particular episode, having been drafted in when the intended director was felled by Covid-19. The Kiwi Oscar-winner is famous for the loose, improvisational touch that shines through in all his work, and it’s fascinating to witness his process first-hand. Throughout the scene being performed, Waititi tries out endless versions of every single line. Even in the same take. O’Neill, clearly used to this method, waits patiently to deliver his dialogue as Waititi cycles through options within the scene. Some of his improvised bits are obviously just to get a laugh from the crew, while others seem to involve him working through the point of the scene in his head. Sometimes, the scene resolves on a light note. At others, it is dramatic. It keeps everyone one their toes.

But this show has been full of surprises from the get-go.

Based on the true story of Stede Bonnett (Rhys Darby), who abandoned British society and his family to embrace the pirate life in the early 18th century, the series initially presented as a gentile comedy with an impressively diverse cast. But throughout the first season, which was filmed in Los Angeles, it quietly became one of the queerest shows on television.

Although there was nary a mention of the possibility in the advance press, Stede and Ed ended up in a surprisingly tender - well, sometimes - romantic entanglement with each other throughout season one. There are other queer relationships, and one character, Jim (Vico Ortiz), was revealed to be non-binary.

Unlike some shows that feature LGBTQIA+ representation, Our Flag Means Death didn’t trumpet its progressive values - it simply let the characters and the story lead the way, and is all the richer for it. It has received much acclaim for these elements, garnering Glaad Media and Peabody Award nominations.

It’s also partly why Madeleine Sami was so excited to join the series in season two, playing a pirate named Archie.

“I think that’s the brilliance of this show,” Sami tells the Herald later that afternoon. “Because it is a funny, silly comedy, but then there’s some really important stuff happening underneath. The progressive stuff is incidental in a way that makes it feel more revolutionary. Just being able to see queer characters as lead characters in comedies is a cool thing.”

Sami originally met with creator David Jenkins about directing an episode, but it was eventually decided to stick with season one’s roster. Then the opportunity to audition for Archie came up.

“Archie’s a very happy-go-lucky pirate,” says Sami. “She has a bit of a mysterious backstory, which you get little tastes of, but she’s pretty chill. She likes to party, she likes to pirate.”

All acting can be tied back to childhood play on some level, playing a pirate especially so.

“Honestly, I pinch myself so many times on this job,” says Sami. “It’s the role you dream about when you’re a kid, to get to play a pirate.”

Sami says it’s the biggest production she’s ever worked on in New Zealand, but the expensive trappings don’t impact the process.

“It’s a workplace comedy about pirates. So it never feels like that stuff overwhelms it.”

She’s also relishing the chance to muck around with her old mates Waititi and Darby.

“I’ve known those guys for a really long time, and I think they’re both doing really incredible work on this show. This group of actors are just bloody idiots, and so lovely and playful.”

Another Kiwi comedy staple, David Fane, has been part of the show since season one as Fang, a member of Blackbeard’s crew.

“It was just fantastical,” he tells the Herald of originally getting the role. “The best part was meeting all these other people from all over the world and finding the comedy in all these different communities; people of colour and also the rainbow community. Just the best buzz. I felt like a kid in a candy shop.”

Seeing the show move to New Zealand for season two (thanks in part to the NZ Screen Production Rebate for International Productions) only enriched the experience.

“To be here, and to actually do it back home, was just the biggest buzz,” enthuses Fane. ”To have people like Samba [Schutte] and Joel [Fry] and all the others come to see this part of the world and do some work here. The overseas cast are in love with Whittaker’s chocolate, as all good people should be.”

Fane, who also appears in Waititi’s upcoming comedy movie Next Goal Wins, reckons the second season is next-level.

“In the first season, everyone was finding their feet. And in the second season, people are walking assuredly. It just gets betterer - story-wise, and also honesty-wise and fun-wise.”

[jace-snaps]

Life and Pictures: Entry #1

Starting as a Beginner: Exploring Photography Gear

In our first entry, we’re focusing on a crucial aspect for beginners: choosing and using the right gear. Whether you’re intrigued by the convenience of smartphones or the versatility of a DSLR, understanding your options can help you get started on the right foot. Let’s break down some popular choices and tips for getting the most out of your equipment.

1. Smartphones: Your Everyday Camera

Description:

Type: Point-and-shoot camera Characteristics: Light, convenient, user-friendly Suitable for: Casual users, beginners, and anyone who wants to capture spontaneous moments without carrying additional equipment.

Why Start with a Smartphone?

Always With You: Smartphones are incredibly convenient, making it easy to capture moments on the go. User-Friendly: Modern smartphones come with automatic settings that adjust for lighting and focus, making them perfect for beginners. Built-In Editing Tools: Many smartphones have robust editing features and apps, allowing you to tweak your photos directly on your device.

Tips for Smartphone Photography:

Use Grid Lines: Enable grid lines on your camera app to help you apply the rule of thirds, enhancing the composition of your shots. Tap to Focus: Tap the screen to focus on your subject. You can also adjust the exposure by sliding your finger up or down. Explore Apps: Play around with different photography apps to enhance your photos. Apps like Snapseed, VSCO, or Adobe Lightroom Mobile offer powerful editing tools.

Smartphones are equipped with built-in cameras that are perfect for everyday use. They are designed to be simple and intuitive, making them ideal for capturing quick and spontaneous shots. With the added benefit of editing apps, you can enhance your photos directly on your device.

Beginner Guide to Smartphone Photography:

2. Compact Cameras: Simple and Versatile

Description:

Type: Point-and-shoot camera Characteristics: Light, versatile, higher image quality than smartphones, better zoom capabilities Suitable for: Beginners and enthusiasts who want better image quality and more control over settings without the bulk of larger cameras.

Why Choose a Compact Camera?

Better Quality: Higher resolution and image quality than most smartphones. Zoom Capabilities: Optical zoom allows for better quality images than digital zoom. Manual Controls: More control over settings like aperture, shutter speed, and ISO.

Getting Started with Compact Cameras:

Learn the Basics: Familiarize yourself with aperture, shutter speed, and ISO. Use Auto Mode: Start with auto mode and gradually experiment with manual settings. Keep It Simple: Begin with the built-in lens; as you gain experience, you can explore more advanced settings.

Compact cameras, also known as point-and-shoot cameras, are lightweight and easy to carry. They offer better image quality than smartphones and come with manual control options, making them a great choice for those looking to improve their photography skills.

Beginner Guide to Compact Camera Photography:

3. DSLR Cameras: A Step Up in Quality

Description:

Type: Professional camera Characteristics: Larger, heavier, interchangeable lenses, superior image quality, advanced features Suitable for: Serious enthusiasts and professional photographers who require high performance, versatility, and superior image quality.

Why Choose a DSLR?

Exceptional Image Quality: DSLRs feature larger sensors, resulting in superior image quality, especially in low light. Interchangeable Lenses: The ability to switch lenses allows you to tailor your gear to your specific needs, from wide-angle shots to macro photography. Advanced Features: DSLRs offer advanced features like fast autofocus, multiple focus points, and high burst rates, making them ideal for capturing fast-moving subjects.

Tips for DSLR Beginners:

Learn Your Camera: Take time to understand the different settings and how they affect your photos. Manuals and online tutorials can be incredibly helpful. Practice with Different Lenses: Start with the standard kit lens, but explore other lenses as you become more comfortable. A prime lens can be a great way to experiment with depth of field. Join a Photography Community: Engaging with other photographers can provide valuable insights and feedback. Consider joining local clubs or online forums to share your work and learn from others.

DSLR cameras are known for their excellent image quality and flexibility due to their interchangeable lenses. They offer a wide range of manual controls and advanced features, making them suitable for various types of photography, from portraits to landscapes.

Beginner Guide to DSLR Camera Photography:

4. Mirrorless Cameras: The Modern Alternative

Description:

Type: Professional camera Characteristics: Light, compact, interchangeable lenses, electronic viewfinder, silent shooting Suitable for: Enthusiasts and professionals who want high performance and quality in a more portable package compared to DSLRs.

Why Go for a Mirrorless Camera?

Compact and Lightweight: Mirrorless cameras are smaller and lighter than DSLRs, making them more portable without sacrificing performance. High-Quality Images: They offer similar image quality to DSLRs, thanks to their large sensors and advanced technology. Electronic Viewfinder: Many mirrorless cameras feature an electronic viewfinder that displays your settings in real time, helping you visualize the final image.

Tips for Using Mirrorless Cameras:

Explore the Features: Mirrorless cameras often come with innovative features like 4K video recording and high-speed continuous shooting. Take time to explore these functions. Invest in Good Lenses: The quality of your lenses significantly impacts your photos. Start with a versatile zoom lens and consider adding prime lenses as you progress. Stay Updated: The technology in mirrorless cameras is continually evolving. Keep an eye on new models and firmware updates to make the most of your gear.

Mirrorless cameras combine the image quality and flexibility of DSLRs with a more compact and lightweight design. They use electronic viewfinders, allowing you to see exposure adjustments in real-time, and are known for their silent shooting capabilities.

Beginner Guide to Mirrorless Camera Photography:

5. Vintage Film Cameras: The Nostalgic Touch

Description:

Type: Professional camera (vintage/analog) Characteristics: Heavy, manual settings, unique aesthetic, requires film Suitable for: Enthusiasts and professionals who appreciate the classic film photography process and aesthetic, and those who want to learn the fundamentals of photography.

Why Try a Vintage Film Camera?

Unique Aesthetic: Film cameras offer a distinct look and feel, with a unique color rendition and grain structure that digital cameras often lack. Learning Experience: Shooting with film encourages a deeper understanding of exposure and composition, as you have fewer chances to correct mistakes. Tactile Experience: The process of loading film, taking pictures, and developing prints adds a tactile, hands-on dimension to photography.

Tips for Shooting with Film Cameras:

Choose the Right Film: Different films have different characteristics. Start with a versatile ISO 400 film, and explore different types as you gain experience. Develop Your Own Film: If you’re up for a challenge, try developing your own film at home. It’s a rewarding process that enhances your connection to the art. Embrace the Learning Curve: Film photography has a steeper learning curve, but the rewards are worth it. Take your time and enjoy the process of discovering what works best for you.

Vintage film cameras offer a nostalgic feel and a unique aesthetic that digital cameras can’t replicate. They require manual settings and film, which teaches discipline and a deeper understanding of photography basics. These cameras are appreciated by those who enjoy the tactile process and classic look of film photography.

Beginner Guide to Using Vintage Film Cameras:

Starting with photography gear can be both exciting and daunting, but remember, the best camera is the one you have with you. Whether you begin with a smartphone, compact digital camera, DSLR camera, mirrorless camera, or vintage film camera, the key is to explore, experiment, and find what inspires you.

Happy shooting, and may your journey through the world of photography be as fulfilling and creative as possible!

[amayasnep]

Well this thing got my neurons activated

A retrospective

During the winter of 2017, my path in college was underground a profound shift. In the midst of this shift I decided to take an intro to photography class. I always had an interest in photography so this became my first serious foray into the arts.

At the time I was quite new to photography, having only recently received my first ever interchangeable lens camera the past Christmas. I leveraged this new reality to help propel myself into the world of professional photography.

While enrolled in the class I had the opportunity to use a Nikon FG, a 35mm (full frame) film camera dating to the mid 1980s. The camera was one of two film cameras I used during my time in college, the other being a Pentax K1000. The camera came with a Micro-NIKKOR 55mm F2.8 lens (which apparently Nikon still makes???) and our choice of a couple rolls of Ilford 100 or 400 black and white film. I went with ISO 400 for the added low light performance.

Whenever I had the opportunity to check out one of the film cameras I always went for the Nikon because of its more pleasant and intuitive interface (to me at least). I would end up shooting At least four rolls of black and white film. It was pretty cool using such an old camera. Even the screw-in manual shutter cable had a vintage look and feel to it. I never had any issues with it.

Due to the fact I only had 36 shots per roll and couldn’t zoom, I had to choose and compose my shots carefully, and hope that everything was in focus and properly exposed when I hit the shutter button. I think for a beginner interested in photography it’s a good experience to have. The whole dynamic changes when you can zoom as you please, take as many shots as you want, and get immediate results on a screen.

Side note: Apparently film camera connoisseurs have a lot of gripes with this camera and I’m just like “yeah it gets the job done and looks and feels pretty”. I bet these same people would have a heart attack I chose it over the Pentax.

Back to the camera

The Nikon ZF camera is such a neat blending of an old Nikon film camera with cutting-edge mirrorless camera technology. You get the nostalgia of a metal camera body and brass dials with a digital flip-out screen, a full frame sensor with great high ISO performance, in-body image stabilization, 4K video at 30 fps, and advanced subject identification software driven by AI.

Is it practical? Depends who you ask… Cameras have come a long way and I don’t imagine the new Nikon ZF is any more pleasant to hold for long periods of time than the Nikon FG was (though they do make special add-on hand grips for them). The camera has no “auto” setting on the shutter speed dial, which funny enough the much older Nikon FG had. There’s no “auto” on any of the dials actually, making this logistically a pain to use. On my camera I have an ISO button that makes setting auto ISO quick and easy, so having to dig through the menu to do the same on this camera is a hard sell personally.

But it does look pretty…

A bit about my own setup

I’m quite content with my own cameras. I have two: an older APS-C camera and a newer full frame camera. They’re the best cameras I’ve ever handled, each with lenses that are the best I’ve ever shot with.

That being said, I do have two vintage lenses I picked up from a vintage goods store for a great price. One is a prime lens and the other is a pump-action zoom lens. I can’t wait to try them out on my newest camera one of these days. To get an idea of how they really perform. There is a certain nostalgic charm in that. A compromise between the digital age and the analogue age, for regularly shooting in film is just too heckin’ expensive!

[lindamarieansonsnaps]

Hi! Canon EOS 1300D user right there!

Do you have any tips to do night photography ? I tried the "night" option on my camera but it doesn't seem to work very much and still can't see anything ? Thank you! 💕

Hey there!

Yep, night mode rarely works for me either, so I feel you.

I shoot night photos in manual mode (M), using tripod, and I adjust shutter speed to at least 15 seconds (if it's dusk or a city with lights) and up to 60 seconds if it's full night. More often I'll actually use Bulb mode with a remote or just hold down the shutter myself (I've waited for minutes like that, I do not recommend it if you're impatient or your hands are shaky like mine XD). That's how you get lovely long exposure photos of city lights or smooth water.

Other optimal settings - a lens with a fast aperture (f/8 or f/11 or higher); low ISO (100-200).

(I'm not really that good at it tbh XD)

However, this is quite the opposite for Moon photography. For moon, you'll need your shutter speed fast (1/100 - 1/500 sec, experiment depending on light and your lens), or else it's just a bright ball with no texture of its craters.

I hope this helps!

[shutterfox5555]

Camera Showcase

Olympus OM2 Spot Program

Pictured: Olympus OM2 Spot Programs with all owned OM specific lenses, flash units and motor winder

In the OM series of cameras, double digits such as the OM10 were consumer grade, whereas single digits were professional grade. First manufactured in 1984, the OM2 Spot Program (OM2S in the US) was a thorough overhaul of the OM2 to make it more competitive, meaning it's internals have more in common with the OM4 than it's predecessor.

Personally speaking, this is the most feature-rich, reliable 35mm film camera I have owned, making it my go-to workhorse for 35mm work. It’s compact design was very well-thought out and lightweight compared to other cameras before it.

Pictured: Top view of the OM2 Spot Program highlighting camera controls

One of the really well-thought out designs of this camera is how the shutter speed, aperture and depth of field preview controls are all in the same area on or next to the lens, meaning with one hand you can set all the main exposure controls without looking away from the viewfinder. Instead of a shutter speed selector on top, it’s a combined ISO speed/exposure compensation dial.

The OM2 Spot Program has 3 shooting modes: Program, Auto and Manual/Spot. In Program, the lens is set to the highest/tightest aperture and the camera will set both the aperture and shutter speed according to the light levels. In Auto, the camera shoots in an aperture priority mode where the user sets the aperture and the camera deals with the rest. In both Program and Auto modes, the camera meters centre weighted but in the full manual mode the camera switches to spot metering. This is an extremely useful feature when shooting high contrast images and with light sources behind the subject matter.

Another great thing versus it's predecessors is that it has a mechanical 1/60th shutter speed option, meaning if the batteries are depleted mid-shoot there's still a way to take photos depending on light levels.

Pictured: 3 shots through the viewfinder showing the current focus screen's split centre and microprism centre, the Program/Auto mode metering and the Spot/Manual's digital match needle meter

The viewfinder's light meter is a LCD style display which can be illuminated for 90 seconds for better viewing in low light scenes. In Manual/Spot mode it switches from a bar depicting the shutter speed to a match needle style display. The viewfinder itself (dependant on chosen focus screen) is very clear and bright making composition a lot easier.

Pictured: A selection of various attachments for the OM series of cameras. teleconverters, extension tubes, right-angle viewfinder, motor winder and flash units

The OM series of cameras have a wide range of accessories to further extend the capabilities of this camera. The motor winder allows for shooting up to 3.5 frames a second in continuous mode. The right angle viewfinder is especially useful when shooting at awkward angles or with telephoto lenses on a tripod, and has a toggle switch to add a 2.5x magnification to it for really dialling in the focus. I have a T20 and T32 flash for my cameras, and although the more lightweight and smaller T20 is more portable and uses half the amount of batteries, I prefer the T32 as it allows for bounce flash photography. Both flash units have 3 modes: TTL camera auto, flash unit auto and full manual. I have only really used the TTL camera auto mode but with the lens set to f4 I haven't had any photos with blown out highlights or muddy shadows.

Pictured: three different focus screens and an OM2 Spot Program with no lens and the current focus screen unclipped from the camera

A great thing about the OM2 Spot Program and other single digit OM cameras is the ability to fairly easily switch focus screens. Different lenses and scenarios work better with different screens and the ability to change really increases the versatility of the camera. For example, for general use I tend to use a split centre with microprism focus screen to give me 3 ways to focus, but with a telephoto (especially with teleconverters) the split centre goes black due to the low light levels. At that point, I have the option to switch to a microprism only or ground glass screen to make it easier to focus.

All in all, a fantastic camera with a solid design, accurate light meter and a wide selection of lenses and attachments which if in good condition will be a fantastic addition to any vintage camera collection.

[deebeeus]

1968 #Telecaster & 1959 5F2A #FenderPrinceton.

More fun with the new AD200 flash & Z 24-120 f/4 S lens. These were all taken at ISO 100, f/5.6 and 1/125th of second.

In terms of the lens I am finding it very sharp. I was hesitant to buy it at first because it is "only" an f/4. This means the lens is not particularly "fast" for taking pictures in low light conditions. The lower the "f" number is, the "faster" the lens is, and f/4 is not very fast lol. Ideally, you would want a lens with a wider aperture (f/2.8, f/1.8 etc) for low light shooting, but these tend to be much more expensive lenses. And you know what? Since I got my fancy new flashes I don't usually shoot at anything below f/5.6 anymore anyway, so why pay a fortune for a faster lens that I will never use? This lens is compact (enough) for the Z6ii, very sharp, and (relatively) affordable, thank you very much!

The other exciting (for me anyway...) thing about this series of shots is that they are all taken using the "TTL" setting on the flash! Usually I shoot 100% manual, meaning I set the camera up to a specific ISO, aperture, and shutter speed, and then I have to manually adjust the power of the flash until I get the right exposure (i.e. not too dark, and not too bright). TTL ("Through The Lens") on the other hand, uses the wireless flash trigger on top of my camera to send information about the exposure from the camera's light meter to the flash, and the flash sets itself automatically to the correct power to get the proper exposure. It basically eliminates the trial and error involved manual mode and saves time. FUN (I assure you)!

I probably won't use TTL all the time, because I like to manually control every aspect of the exposure and it won't work if the flash is pointing away from he subject (which I do all the time to soften the light). But for some quick basement snaps like this, it sure is a time saver!

#guitar#guitars#guitarra#chitarra#guitarre#electricguitar#vintageguitars#fenderguitars#vintagefender#guitarphotography

[lantern-hill]

hello! i love your photos, i just added a bunch of your posts to my queue <3 i love your shots of the nature in org. you dont have to answer but i wanted to ask please what camera did you use for “cat on film” ? ive been thinking about getting a 35mm camera but i don’t know which one would give me that soft warm fuzzy look your photos of your cat had :’) thank you

hi, thank you!

the camera i took those on is a chinon gaf memo 35ee,..

...but i wouldn't recommend getting one, to be honest, especially if you're new to film photography. it's a rangefinder focus, which means instead of just turning a wheel around the lens until the image is sharp, you have to line up two tiny versions of what you see in the center of the viewfinder and then take the picture. like this:

you see the tiny yellow rectangle in the middle of the frame? in order to focus the camera, you need to line up the two images within that tiny amount of space. there's a whole bunch of other reasons i don't love this camera, and a few things i like, but i won't go into it. i don't really use this camera anymore.

the good thing is that the "soft warm fuzzy feeling" you want to replicate really has almost nothing to do with this camera. it's more related to the film you use, the settings you use on your camera, and, of course, the lighting in the area where you're taking the photo.

here's another photo i took that has a similar warm, fuzzy vibe, despite the fact that it was taken on a different camera and with different film.

i'm not a film photography expert by any means, but i would say when you're trying to get this type of vibe, the actual lighting in the place where you're taking the photo is the most important.

you also probably want to use a camera that doesn't have fixed focus. Some cameras, especially the really easy to use instant film or disposable film ones, don't require you to focus; you just press the button and move on. that's fixed focus. part of what gives you the warm fuzzy feeling about the photo above is that not every part of the image is sharp.

a lot of the pictures in that cat post are also slightly over- or under-exposed, but none of them use flash, so you probably want a camera that doesn't automatically set off a flash if it detects the lighting is too low.

in terms of getting your first film camera, that can be tricky because there's basically no new ones out there for sale- unless you want to get a tacky plastic disposable or shill out 1000s for a Leica. you're most likely going to have to buy secondhand from a camera store or just some guy online. facebook marketplace is really good for this in my experience.

some buying tips:

-decide if you want a point-and-shoot (you just look through the viewfinder and press the shutter button, done) or a SLR that lets you manually adjust the shutter speed, iso, etc. both are great and i have one of each for different situations.

-in my experience, don't bother paying more than 40$ CAD for a 2ndhand point-and-shoot or $100 for a full film camera unless it's something ridiculously amazing or unless you're buying secondhand from a camera store.

-look up the specs of your camera before buying it and pay attention to the degree to which the camera is automatic. film cameras use a light meter to measure what the shutter speed should be in different situations to capture the right amount of light, but the way they use the light meter differs. if a camera is fully automatic, that means that it measures the light in the room and then automatically adjusts the shutter speed to be correct.

this sounds great, but it also usually means you can't manually change the shutter speed. this can be a problem because, again, you're buying a secondhand camera that's probably at least two decades old. there's a high chance the electric components that automatically measure the light will be corroded or broken or will soon break down, and when they do repairs may be very expensive or even impossible, since you just can't find some repair parts anymore.

the more manual your film camera is, the better it can stand the test of time, because even if the camera's light meter fully breaks down and can't be repaired, you can buy a handheld light meter to tell you the right shutter speed and then manually change the shutter speed on your camera. this isn't to say to avoid all automatic features- all my cameras are to some degree automatic and i like it a lot- but its something to be aware of.

-look up your camera on lomography.com, which has a ton of film photos that you can sort by film and by camera. (i also have my own lomography account, where my photos are sorted by film and by camera.)

-when buying a camera that has a battery slot, open it up and check for any rust or corrosion inside. don't buy it if there's any green or brown on the parts the battery connects to.

i have three other cameras that i have and like a lot:

nikon EM (SLR) - 80 bucks on FB marketplace

yashica fx-3 super 2000 (SLR) - belonged to a relative

samsung ff-222 (point + shoot) - 30 bucks on FB marketplace

i also like the canon T series a lot, my friend has a canon t70.

and the films i tend to use are:

fujifilm superia (my fave; relatively cheap color film. the cat photos are on this.)

kodak ultramax (slightly more expensive. not that different results wise, maybe a little more pastel.)

portra - expensive but pretty

ektar - expensive but pretty

ilford hp5 b&w - cheap. good for testing a new film cam so you can see results without splurging too much.

you can look them up on lomography to see the differences between them.

hope this helps!

[swede1952]

Moon 20230430

July 30 Waxing Gibbous 92%

The closer we get to a full moon, the more difficult, for me anyway, it is to get a detailed photo. Too much light, I think. Shooting with a very low ISO setting helps. Lately, I've been lazier than usual, I leave the aperture and shutter speed alone and just adjust the ISO. I could probably tweak it some more, but I think that I'm getting about the best I can get with my equipment. Though, I do have a 2x extender that I've used when I'm not being lazy - it requires that I set up a tripod and manually focus the camera.

[carmenpolancolugo]

Basic Photography Guidelines

There are several rules that might assist you in taking better images. However, you should be prepared to break them in order to present your distinct style and vision.

For portraits, a good rule of thumb is to leave more space in front of the subject than behind them. This gives the observer an impression of movement.

The rule of thirds is a compositional technique that painters have utilized for ages. It is suitable for portraits, landscapes, and even abstract photographs.

Consider where the primary pieces of your scene are located when constructing a photograph using the rule of thirds. You may have to walk around a little to obtain the correct location, but it will help you frame your image more precisely.

When using the rule of thirds, one of the first things you should try is to place your subject off-center within the frame. This creates "breathing space" and negative space, allowing the observer to follow your subject's gaze.

Then, consider positioning your subject along one of the rule of thirds grid intersections. You'll see how this may add a focus point to your shot and make it more appealing.

When it comes to photography, one of the most crucial concepts to learn is the Rule of Seconds. This guideline allows the photographer to retain the emphasis on the topic and prevent photos with blown-out highlights. The Rule of Seconds also requires you to maintain the camera in focus at all times, regardless of the lens you're using or where you're taking your photo. The Rule of Seconds also allows photographers to get the greatest images possible in low-light circumstances or at night, when illumination is most problematic. The Rule of Seconds also allows photographers to get the most out of their equipment by using it wisely. The Rule of Seconds is a fantastic place to start for photographers of all skill levels. This handy little instruction is available in most camera and lens manuals as well as at your local electronics store.

The Rule of Seconds has been around for a long, but there haven't been many variations on it. The most effective variation of this guideline is to always have your camera in focus, and being savvy about your camera settings is a close second. This will help you to get the most out of your equipment while maintaining shot quality.

One of the most significant parts of photography is the Rule of Angles. It's a simple compositional strategy that improves the visual appeal of your images.

It's also a terrific technique to bring attention to your subjects by making them stand out from the backdrop. When photographing a group of people, it is critical that everyone has an equal opportunity to be seen.

To do so, change the angle of your camera and the place from where you shoot the shot. To improve your results, you may also experiment with different lighting strategies.

The most frequent camera angle is eye level, in which the camera is positioned horizontally from the subject. However, you can get some great shots from a low or high angle as well.

As a photographer, you understand the significance of lighting in your photos. The secret to taking beautiful shots is to use it right, and getting it wrong may be disastrous.

The inverse-square law of light is a fundamental physical concept that every photographer should grasp. This law describes how light intensity decreases as distance increases.

Most photographers are already aware of the inverse-square rule of light, but it is worth remembering so that you can apply it successfully.

There are two sorts of light in photography shadows and highlights. Shadows are dark parts of a picture when light is blocked by an object or shadow, whereas highlights are brilliant areas where light reaches the subject.

[yvetteheiser]

Craving To Learn Basic Photography? Here Is How You Can Do It With Yvette Heiser

If you've recently bought your favorite DSLR and need to gain proficiency with the essentials or are searching for straightforward ways of refreshing your current photography abilities, the accompanying tips ought to assist you with building areas of strength.

Photography is craftsmanship you won't ever truly be learning. The most effective way to continue to improve is to rehearse frequently, commit errors and be available to gain tips from others, whether they're deep-rooted picture takers or rookies to the art. Here are a few tips from Yvette Heiser that will help you accomplish your dream of becoming an accomplished photographer. Check out Yvette Heiser  talks about-How Photography Has Evolved Over the Years

1. Figure out how to appropriately hold the camera

This might sound self-evident, yet numerous new photographic artists do not hold the camera accurately, which causes shaking and hazy pictures. Mounts are the most effective way to forestall camera shake, however since you will not be utilizing a stand except if you are shooting in low light circumstances, it's vital to hold the camera appropriately to keep away from superfluous development.

While you'll ultimately foster your specific manner of handling the camera, you ought to constantly control it with both hands. Grasp the right half of the camera with one hand and spot the other hand underneath the lens to provide support. Also read, Yvette Heiser- Learn Some Easy Tips To Make Each Click A Professional One

2. Begin with RAW shooting

RAW is a document design like jpeg, yet dissimilar to jpeg, it catches all the picture information recorded by the camera's sensor instead of compacting it. At the point when you click in raw mode, you'll get top-quality pictures as well as have undeniably more control in the data processing. For example, you'll have the option to address issues, finished or underexposure, and change things like white equilibrium, contrast, and color temperature.

One disadvantage to taking pictures in raw is the records occupy more room. Furthermore, raw photographs generally need post handling so you will have to put resources into photograph altering programming.

3. Figure out the exposure elements

Even though it can appear to be overwhelming from the start, the exposure elements just allude to the three most significant components of photography, aperture, shutter speed, and ISO. While you are clicking in manual mode, you will have the option to adjust each of the three things to get sharp, sufficiently bright photographs.

ISO: It controls the camera's aversion to light. A low setting of ISO implies the camera will have less delicacy to light, and a higher setting implies it will have more sensitivity to light. A setting of 100 - 200 is ideal while shooting outdoors, yet while shooting in less light, an ISO of 400 - 800 may be essential.

Aperture: It is the opening in your focal point and limits how much light breaks through to the lens. A more extensive aperture allows more light, while a thin aperture lets minimal light through.

Shutter speed: It controls what amount of time the shutter opens when you click an image. The more drawn out the shutter is open, the more light breaks through to the camera's lens. A quick shutter speed is great for freezing activity, while a longer speed will obscure movement. Peruse more articles from Yvette Heiser to learn all about photography.