I am in the middle of doing a review on Replichrome ll Lightroom Presets by Totally Rad! Inc. A few months ago Kodak announced it would be stopping production of Kodak BW 400CN, one of its fantastic black & white film stocks. Both VSCO Film 05 & Silver Efex Pro have these stocks as presets, and I was happy to discover that Totally Rad's 'REPLICHROME I: ICON' pack contains a few variations of a Kodak BW 400CN preset. I quickly put together the 3 images below for you to look at.
- Kodak BW 400CN
- Kodak BW 400CN +
- Kodak BW 400CN -
Each image is applied without any adjustments to the original file in Adobe Lightroom.
Kodak BW 400CN
It's always interesting to look at comparisons with presets from other companies. The important thing is to remember that presets really are just an approximation of the original film stock and vary based on each company's preset development process. Not only that, the original file and its support by the preset can change the results based on camera profiles.
Some of the variations are subtle but worth the comparison
I really am liking what they have to bring to the table. I will concentrate solely on Replichrome for the upcoming review as they have so much to offer in the pack .... more to come
A friend told me I should visit Hampi, a town of goat herders located smack dab in the middle of India, about 125km inland from Goa. The narrow roads leading the way there were winding and the landscape was like none I had ever seen before; big boulders shot up out of the earth in strange formations, this place looked like a real life version of the Flintstones. Old Hindu temples look out over the Tungabhadra River and sounds of chanting and drums fill the air. Rock climbers frequent the place for its world class bouldering, I went there for the goat herders.
An inspiring collection of artwork and photographs submitted by their creators who live and work around the world. All of them had complete freedom as to what they wanted to share and all of them are unknown or previously unpublished.
Using their own words to describe their pieces, each artwork is presented on a two-page layout. Variations within the artistic freedom in the book offer the opportunity for a wide range of experiences and emotions to be portrayed.
The book offers an innovative way of publishing as the perforated pages are of an optimal size to be viewed in the book, but also to tear out meaning you can choose your favorites and instantly have a beautiful pictures ready to frame and hang on a wall.
So, these artworks can end up on you bookshelf, or on your wall, but what we really want is for them to be shared in the hope they can be presented as gifts and perhaps end up in someone else’s home. The notion of participation and involvement of both the artists and the readers is the key element to SHARE.
The following excerpt comes from a conversation published in Aperture magazine in 2007 (#186) between writer Luc Sante and Stephen Shore, on Shore’s The Nature of Photographs (1998). Today the book is considered a primer for those who wish to read the visual language of a photograph, from negatives to found Polaroids to images on a screen. Their conversation provides an insight into Shore’s thinking behind the original publication with Sante, one of photography’s foremost critics. The photographs that accompany this interview appear in Stephen Shore: Survey, published by Aperture in 2014, which features more than 250 images from Shore’s six-decade-long career, one that serves as an important reference point in the story of photography. This article also appears in Issue 1 of the Aperture Photography App: click here to read more and download the app.
Luc Sante: I want to ask you about a particular sentence on the first page of the book: “The print has a physical dimension; it is not a true plane.”
Stephen Shore: What I mean is that it’s a piece of paper. The image has a picture plane—but a true plane exists in only two dimensions, and a piece of paper has three dimensions. I wanted to emphasize that it is an object, and that on the object there is an image. The image is an illusion that’s embedded in a physical object.
Nick decided to put a few of his images into book format with Blurb. He has recently purchased a Leica M 240 and 35mm lens and basically is going ape crap every spare second he has. I was really interested to see how things turned out, so when today the book turned up I had to have a look. I asked Nick if he minded doing a quick post for our blog. As always he said yes, and then I let his arm go.
I've been doing street photography for about a year now, and I love the idea of producing a book to view my favourite photographs. There's nothing like looking at real prints!
This is actually a book test to see how the quality is and to get an idea of the page style that works. I want to spend another year taking street photographs before I consider a more realised book.
Blurb in Lightroom
I'd printed a book through Blurb a while ago, and with the Lightroom Books module I was able to build the book and get it printed through them directly.
As for the book itself, I opted for the 10x8" book with my photographs ending up at around 5x7 size. This gives you a nice margin and a viewing space like a gallery. In hindsight, I might opt for the hard cover next time as it would be easier to handle when looking at the pages.
I chose the Premium Matte paper option and this looks to be the best option as it still has a smooth and slightly glossy feel, but isn't "shiny".
The first thing I noticed is that the front and back glossy covers were not entirely B&W and were slightly blue toned. This is something I would much prefer to be truly B&W since there is actually no colour in these images...
The prints inside the book are however quite good and I can't seem to see any colour toning issues. They're both detailed and as rich and contrasty as the digital files.
I'm really happy with how this turned out. The price of these smaller books is only about $25-30 excluding postage for 22x 10x8" pages so it's great value, especially if you are only printing one or two for yourself.
The cover pages weren't perfect and I will definitely contact Blurb to see how I can rectify this next time around, but the prints inside the book are great.
I've made the book available for print at cost price for those interested grab one here
By Brad Feuerhelm
This is where our shared habits meet concrete. All the possessions accumulated, obsessions sought and tendered in the infernal light of my psychic affairs have led me into the unforeseen garden of these earthly delights. I sit with primordial kith and kin between alabaster pillars of flesh, inscribing my DNA in the reckless ash gathering on my trousers or ground under my heel. A soft haze fills the room and in the background I count the clucking sounds from various aviary offspring and also that of obtuse primate shrieking in the menagerie of my mind.
Discover what happens when Oscar nominated actor Benedict Cumberbatch and photographer Jason Bell collaborated on this one-of-a-kind photo shoot for the March 2015 edition of Vanity Fair magazine.
The shoot took place in London’s Wimbledon Common and involved capturing the actor in several shooting scenarios including dog handling, a leap from a tree and a backwards dive into a lake. Jason Bell used his Phase One camera system to shoot all the action.
Phase One - http://www.phaseone.com
Try Phase One: http://www.phaseone.com/demo
Download Capture One: http://www.phaseone.com/download
Jason Bell http://www.jasonbellphoto.com
Vanity Fair http://www.vanityfair.com/hollywood/2...
What is it about zines and tangible print you feel is important in an ever-growing digital world?
Making a zine is different from the digital world because we usually make 100 – 400 copies and when they are gone they are gone. Whoever ends up with them are the lucky few and they are limited and collectable. If I put the group of images up on my website they will reach more people and that is great and well but they are not as precious.
I find zines to be like music records, you’re just so stoked to have something in your hands and it’s real. What does zines mean to you?
I like to find new zines and go to shops that sell zines.
by Frank McKenna
After two years of testing, renting, buying and selling just about every level of Nikon and Canon lenses and cameras, I have learned quite a bit about what works and what doesn’t. Pretty much you can’t go wrong with Canon or Nikon, and just about everything they make is top notch.
You can buy one or the other and in the end you’ll have a great product (though, I do give Nikon a slight advantage in most categories). One thing I have learned is that the more you spend the better the quality of the lens, the camera and the final pictures you take.
Well, that is until this week. This week I discovered the Nikkor 35mm manual focus lens.
This lens has been around so long that it has reached legendary status (I believe it has been around since 1982 which is amazing considering how much technology and cameras have evolved from that point).
It was the late 80’s when a new sound started to emerge; 60’s garage and 70’s punk had awakened the gritty spirit of rock n’ roll and a rebellion was bubbling in underground Seattle. Kurt Cobain would become the unofficial spokesman for the movement, and of a generation, and Peterson would become its photographer.
“Amidst the chaos of a live show, I wanted to find that sense of grace. I wanted people to experience what it was like being there; the sweat, the noise, being pushed against each other”- Charles Peterson
20 years after Kurt Cobain’s untimely passing, Peterson opens his archives and presents four of his iconic images in an exclusive capsule collection with KREW. Appearing across tees, woven and cut & sew, the curated selection of images each tell their own story of a moment in time that changed the face of music forever.
We are proud to present the Charles Peterson x KREW RIGHTS REFUSED collaboration for Spring 2015, available in select retailers globally in February.
Director/Cinematographer/Editor: Riley Blakeway rileyblakeway.com/
Art Direction: Deke Angel
Music by: Rome Pays Off tracerecordings.com/index.html
Audio Mix: Nick Benik
Interview Location: The Crocodile thecrocodile.com
Special Thanks: Mark Beazley and Adam Wakeling
Ask pretty much any digital photographer what "full frame" is and they'll tell you it's sensor based on a full 35mm frame's dimensions, which measures 24x36mm. Back in the heyday of film, there were fewer options... Especially when the 35mm format came about 101+ years ago in 1913 - though it wasn't really popularized until a dozen years later, in 1925 when Oskar Barnack used this format for his Ur Leica. But in today's digital cameras it seems like there are countless variations of sensors sizes (e.g. APS-C, APS-H, m4/3, etc.).
So what is it about full frame(link is external) that fascinates so many shooters? Does the sensor size really matter? Who cares if the sensor is smaller, if it has more megapixels in resolution? Surely that means it's better. Well, yes and no. In this article we'll take a look at some of the considerations of sensor size and why full frame seems to be the Holy Grail of digital photography. It's not meant to be a lengthy, in-depth explanation. Quite frankly, it's just not that exciting.
Full Frame Sensors
It's important to point out that full frame has, until recently, been solely the realm of DSLRs. Why is that? For the most part, camera body size and the fact that most lenses on the market at the beginning of digital photography were designed for 35mm film cameras. You needed a camera that was large enough to hold such a sensor (which is physically larger) and more importantly, work with the existing lenses. Lenses designed for 35mm SLRs have particular dimensions that demand a larger body - because of the flange focal distance(link is external) (the depth from the lens mount to the film/sensor plane). SLRs required this extra depth because of the mirror, and lenses had to stay clear of it. As a point of contrast, the Leica M rangefinder lacks a mirror (relying on the optical rangefinder instead) which makes the overall camera depth much thinner. Of course, this presented a unique conundrum for Leica which we'll get into below.
In this session Tim Grey shares his top ten tips for making the most of your photos using Lightroom. You’ll gain insights into an approach that can help improve your image-optimization workflow, and how to make use of tools beyond what Lightroom’s Develop module offers. You’ll learn how to optimize the quality of your photos through adjustments that remove noise, chromatic aberration, and perspective distortions. And you’ll learn some techniques for exploring creative interpretations of your photos as well.
There are many possibilities when it comes to any photographic image. So join Tim for an entertaining and educational presentation that will help you gain confidence in your own ability to make the most of your photos.
Tim Grey's Site:
Source (http://lavidaleica.com)(B and H Youtube)
Many photographers prefer film, many prefer digital, and some like me prefer digital cameras with film like image qualities. VSCO Film has been a godsend for this very purpose, giving most major camera brands and models a level playing field in transforming their high quality raw files into images reminiscent of the film stocks we love.Read More
It's no secret that we love rangefinder cameras around here. But we have to be honest. Like any tool, there are things it does well - and things it does not so well. You wouldn't use a screwdriver for driving nails, right? If you like to shoot macro or hunt big game with lenses that frighten small children, perhaps rangefinders aren't for you. That's not to say it's not possible, but let's be realistic here. So then, what exactly, is the rangefinder's "sweet spot" as far as focal lengths go?
The Bread-and-Butter Lenses
Rangefinders work best with focal lengths centering on - or perhaps up to the "standard" 50mm lens. Let's see why that is.
When shooting the 35mm format, be it film or full frame digital, the 50mm lens is considered to be the standard. The most common reason is that the lens sees more or less what the eye sees. On a more technical level, it's the focal length about equal to the diagonal size of the film or sensor format. With a medium of 24x36mm, the diagonal being 43.3 mm - makes the closest match either a 40mm or 50mm lens. On the M8 with its roughly 17×25 mm sensor and a diagonal of 30.1mm - this means either a 28mm or 35mm lens. This makes sense as once you apply a crop factor of 1.33x, these become roughly 37mm and 47mm lenses, respectively. This is why you'll see an absolutely bewildering array of lenses in these focal lengths, and less so towards the extremes.
Most people don't realize that I take a photo of them on the street. Even If they look to the camera, they often don't think it was their photo or just don't bother. Rarely anyone asks and if they do, they usually don't ask because they are happy about it. Of the few that ask, half of them want me to delete that photo right away. I mostly answer and tell them that I can't because it is film and hand over my card and tell them what I am doing, in a straight and honest way, remaining friendly. Sometimes it happens that they change their mind because I managed to explain myself in a way that they understand.
Only a handful of times in the last 10 years, I had some more serious troubles and only once in my life I had to call the police to avoid a real fight or damage of my camera. When someone tells me that I can't take a photo without asking or having permission.. I usually say that they're wrong about it, because a photo on negative doesn't even exist until it was developed, fixed, washed, scanned.. and even then, it is still not published in a harmful or used in a commercial way. As a street photographer who shoots people (and not just abstract, urban scenes..etc) you have to live with the idea that someday, someone will sue you for taking and publishing their photo - especially if you work and publish outside the US.
So the conclusion is that if you take these kind of photos, you have to risk that some people will not agree with what you're doing and if you fear too much, your work might suffer from you holding yourself back. Just keep in mind to always respect your subjects and keep a sense of humor and sensitivity. If it happens that you take a photo that is obviously disturbing someones dignity, you don't have to publish it. Also it will always be up to you, when this happens. You will never be able to decide for those that are being pictured. I guess, if I had the chance to ask everyone I've portrayed or snapped on the street, not many will be too happy about it. On the other hand, I had people writing me emails, that they discovered themselves on my blog and it was always a positive reaction. I believe in the quality of good street photography. I think that if people see the result and like it because they're part of something bigger, almost like playing a small role in a classic movie.. they would agree much more than when they end up in some peeping toms creepy facebook album. In the end, it is a matter of style.
Source (severinkoller Facebook)