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Software review: Nik Silver Efex Pro 3 gives the look of black and white film without the fuss

18 Oct

Nik Silver Efex Pro 3
$ 149 as part of Nik Collection 4

A few months ago we found a lot to like in the latest iteration of the Nik Collection, a suite of eight image processing tools initially developed by Nik Software and these days owned by French software company DxO. At the time, we looked at the overall suite with a focus on what was new. For this review, though, we’d like to take a closer look at just one of the suite’s most useful components, Silver Efex Pro 3.

Introduction | What’s new | Interface | Conclusion

Introduction

Nik Silver Efex Pro 3 is a black-and-white conversion tool that goes far further than the grayscale or black-and-white tools built into Adobe Photoshop. It allows users to simulate the look of specific real-world film types, manually tuning their color sensitivity and grain with an incredible amount of flexibility and precision. For less experienced users, a generous selection of presets are provided to get you started with minimal effort.

Silver Efex allows you to make a wide range of adjustments to brightness, contrast, structure and tonality, either globally or locally using control points. You can also apply color filters, reduce haze and finish your creations with toning, vignetting, borders and more.

Even at its default ‘neutral’ setting, Silver Efex Pro’s rendering is noticeably different to that of a simple grayscale conversion in Photoshop.
Click here for the full-sized Silver Efex image, here for Photoshop grayscale or here for full color.

Available immediately as part of the Nik Collection 4 bundle, Silver Efex Pro 3 can function either standalone or as a plugin for Photoshop, Lightroom and other compatible apps on both Windows 8.1+ or macOS 10.14+. (And as of the recently-released Nik Collection 4 version 4.2, this includes support for Adobe Photoshop running natively on Apple M1 devices.)

The overall Nik Collection 4 is priced at $ 149 for new customers, with upgrades available to existing customers for $ 79. That actually makes it around $ 50 less for the full suite than Silver Efex Pro 1 or 2 used to cost standalone.

What’s New?

Let’s take a quick look at what’s new in Silver Efex Pro 3. The biggest change is to the user interface, which has been completely redesigned with a far more modern look. Gone are the busy 3D-effect buttons, bevels and drop shadows of the Silver Efex Pro 2 UI, with the new version aiming to reduce distraction with a flatter, cleaner and more modern interface.

Compared to that of version 2, Silver Efex Pro 3’s interface is much cleaner and more modern.

DxO has also updated its U-Point control point technology to reduce visual clutter, significantly increase versatility and in the latest v4.2 release, bring a modest boost to performance as well. Control points can be grouped or renamed, saved for reuse in presets, and in Lightroom Classic can also be copied and pasted between images. Their individual sliders now appear in the right panel rather than directly on the image, and the luminance/chrominance values to which they respond can be tuned.

The company has also borrowed two features from its other apps to further extend Silver Efex Pro. It now boasts both the haze-busting ClearView slider from DxO PhotoLab, as well as the ability to add one of 39 black and white film grain types from DxO FilmPack. Both of these additions can only be applied globally, rather than via U-Point controls.

User interface and controls

Just like the other apps in the Nik Collection, Silver Efex Pro 3 can be used completely standalone and without the need for third-party applications.

Works standalone but it’s best used as a plugin

As a standalone app, Silver Efex can only open images in JPEG or TIFF formats, which rather limits its utility. Since it doesn’t support Raw files standalone, many photographers will instead want to pair it with other apps.

Standalone mode is very similar to plugin mode but without the bottom-of-screen status bar you’d use to apply changes as a plugin. Instead, you must use save command in the file menu.

As well as DxO’s own PhotoLab series, it can officially be used only with Adobe Photoshop and Photoshop Elements 2020+, Lightroom Classic 2019+, Affinity Photo 1.8+ or, as of its v4.2 release, Capture One 21. Other applications may work to varying degrees, but aren’t officially supported.

For example, Exposure X6 works even for Raw files, first converting them to TIFF format, but functions as if Silver Efex had been opened standalone. You aren’t shown the status bar at the bottom of the screen, and instead must use the file menu to save your results. And prior to v4.2, Capture One didn’t work at all, appearing fine but failing to apply its adjustments in the final step.

The good news is that a free 30-day unlimited trial is available, so if you’re using an application that’s not officially supported with the Nik Collection, you can try them together first to see if everything works before paying.

A fair few presets keep things simple for beginners

The quickest way to get results from Silver Efex Pro 3 is to use one of its presets, of which there are a reasonably generous 58 in all. They’re separated somewhat haphazardly into five groups with not-so-informative names: Classic, En Vogue, Modern, Vintage and 25th Anniversary. You can also view all five groups together, filtering them to show only your favorites or the ten most recently-used presets.

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The presets are all shown atop the left-hand pane, along with your editing history for the current image. For each preset you’re shown a small preview based upon the image you’re currently editing. These are rendered very quickly, making it easy to simply scroll through the list and find the look you’re after, or a preset that will make a good jumping off point for your own creation.

You can’t permanently modify the 58 base presets, but you can create new custom presets which can be exported and imported to allow sharing with other photographers or across multiple workstations. Your custom and imported presets are each grouped separately from the base presets, so there’s no way to quickly access favorites from all three categories or to see them all as one scrollable list.

A vast selection of controls to tune results to your tastes

Of course, while presets are great for beginners who want quick results, more experienced photographers will prefer to capture their own artistic vision, not simply borrow someone else’s.

Silver Efex Pro 3’s control list is so vast that, even with just one control point active and on a 1080p display, the right pane is still almost 3500 pixels tall. The cropped screenshots above link to the top and bottom halves of the right pane, respectively.

Thankfully, Silver Efex Pro 3 offers a huge amount of control over your images courtesy of a whopping 50+ controls in its right-hand pane. And that’s just counting the controls which affect the entire image globally. If you add one or more of DxO’s U-Point control points to the image, you’ll unlock another dozen-plus sliders per point or group of points.

Not only global adjustments, but local ones too

Each control point you add to the image is indicated with a small donut-shaped mark at its center, and while it is selected, an outer circle appears showing the extent beyond which the effect will gradually be feathered away to nothing. This outer limit can be resized to cover the portion of the image you need.

For each point, there are also both luminance and chrominance sliders, and these help you to target specific areas of the image based on their brightness and color before the black and white conversion. If you dial both sliders down to zero, the control point will effectively become a graduated radial selection, instead.

The ability to group and rename control points is very handy. In this mask view, I’ve selected the taxi’s body with one group of control points, and the road markings with another group.

Once placed, multiple control points can be grouped together. You can also rename both individual points and groups of them, and when saving new presets you can choose whether or not control points should be included. Of course, once the preset is subsequently applied to a different image, you can adjust the point positions if they don’t quite match what’s needed from shot to shot.

A closer look at the global controls

The bulk of Silver Efex Pro 3’s controls are grouped under its global adjustments header, with subgroups including brightness, contrast or structure adjustment headers, as well as tonality protection.

Click here for the full-sized Silver Efex image or here for the original color image.

Brightness can be adjusted globally, or for the highlights, midtones and shadows. There’s also a dynamic brightness slider which tries to hold onto local contrast in the highlights and shadows will brightening or darkening the image globally.

For contrast, you have a choice of either the basic contrast slider or a soft contrast slider which aims for a less harsh effect with more diffuse transitions. There are also sliders to amplify whites or blacks alone.

Under the structure header, you get both the basic structure control and one for fine structure, as well as individual controls for structure in the highlight, midtone and shadow areas. And finally, the tonality protection section contains sliders to recover lost detail in just the highlight and shadow areas of the image.

Local adjustments get a subset of these global controls

The selective colorization slider lets you bring back a specific color range to your otherwise-black and white image using U-Point selections. Image uses Full Dynamic (Smooth) preset.
Click here for the Silver Efex image or here for the original color image.

Each individual control point or group of them also offers a subset of the controls from the previous section. Confusingly, they’re grouped rather differently to those for global adjustments, though. All but the dynamic brightness, soft contrast, tonality protection and high/mid/shadow/black structure sliders have equivalents for control points.

There’s also one extra control which is specific to the control points – selective colorization. This allows you to bring some of the color back into specific parts of your otherwise black and white image, and since you can have multiple control points, you can also bring back multiple colors if you wish.

Vanquish haze with the ClearView slider

The ClearView filter in Silver Efex Pro is quite effective, but can’t be targeted only at specific areas of the image, so can cause overly-contrasty foregrounds if pushed too far.
Click here for the full-sized default image, here for the ClearView image or here for full color.

One of the new features in Silver Efex Pro 3, inherited from DxO’s flagship PhotoLab application, is its new ClearView slider. Just like its PhotoLab equivalent, it’s very effective at recovering detail and increasing contrast in hazy backgrounds and other lower-contrast areas of your image.

I sometimes found it hard to push far enough though, simply because the areas of moderate contrast in my images would start to show too much contrast before the hazy background was fully recovered. I’d really like to see DxO allow ClearView to be paired with U-Point or some other form of localized selection in a future release to help in these situations.

Color filtering without the physical filters

With traditional black and white film, if you wanted to tune the response to individual colors of light you’d do so with filters attached to the front of the lens. For example, you might attach a yellow, orange or perhaps even a red filter to make a blue sky more dramatic, or a green filter to lighten foliage.

With Silver Efex Pro, that’s all achieved post-capture with no need to fumble for physical filters, however. Red, orange, yellow, green and blue filter presets are all provided, but if you prefer you can also dial in a specific hue in one-degree increments, and you can also control the strength of the filter from 0 to 200%.

Color filters can be simulated after the fact in Silver Efex Pro 3, so you can do things like darkening a blue sky with a yellow filter to help give the clouds more definition.
Click here for the full-sized unfiltered image, here for the filtered image or here for full color.

Simulate the look of real B&W film in two somewhat-contradictory ways

Silver Efex Pro 3 now offers two different tools to simulate the look of black and white film grain. The two can be used in concert together, but the division between the two tools is unnecessarily confusing.

Firstly, the film types tool lets you select one of 28 different film types and dial in your desired level of grain size and hardness. You can also control the film’s sensitivity in red, yellow, green, cyan, blue and violet channels, and adjust levels/curves. All of this is carried over from earlier version and is based on code from Nik Software, the original creator of the Nik Collection.

Through the new film grain tool, DxO now also lets you simulate the look of specific, real film grains based on the same algorithms it used to create its FilmPack plugin. In all, there are 38 film grain types on offer, including almost every black and white film type from FilmPack. For each you can adjust the intensity from 0 to 200%, and the grain size from 1.0 to 10.0.

The new film grain tool’s grain patterns have a very authentic feel, but unlike the earlier film types tool, it only handles grain simulation and forgoes any attempt to tune the film’s responsiveness to different wavelengths of light. You can, however, use both tools at once, in which case the new tool overrides only the grain pattern of the earlier one. (And you can, if you want, choose different film types in each section to, say, create a fictitious film with the light response of one film but the grain of another.)

Full-size, no-grain-added image.

A wide range of authentic-looking film grains are available in Silver Efex Pro 3. In order, these are 100% crops of the above image with no added grain, Fuji Neopan 1600, Kodak T-Max 3200, Ilford Delta 3200 and filtered Kodak HIE. All share the same Neutral profile and differ only in their grain selections.

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Finish your images with toning, vignetting, burnt edges and borders

Finally, Silver Efex provides four different categories of finishing adjustments: Toning, vignetting, burnt edges and borders. By default, these are one-click adjustments involving no more than making a selection from a list, but far more control is available if you want it.

For toning, you can not only select a color but also control strength, hue and toning for both silver and paper, and the balance between the two. For vignetting, you can adjust the strength of the vignette (which can either darken or lighten), as well as its size, roundness and center point.

For burnt edges, you control the size, transition softness and strength of the effect on all four edges individually. And finally, image borders allows you not only to choose one of 14 predefined border types, but also how thick the border is and how far it extends into the image. You can also adjust the roughness of the border, and provide a ‘seed’ number that the program should use when generating the random details in border textures.

The compare tools allow you to quickly toggle between before and after views, view the image with an adjustable side-by-side or under/over split, or see both before and after images together.

Before-and-after comparisons are quick and easy

View controls can be found at the top of the screen, and I found the comparison controls in particular to be rather handy. The leftmost of these toggles between the results of your current settings or the default black and white conversion, and holding the P key down achieves the same thing.

The central button splits the image in two either vertically or horizontally, and allows you to move the dividing line across the image to allow a careful before-and-after comparison anywhere within the image. And finally, the rightmost button gives you either side-by-side or under/over views of the full image.

The histogram tool allows you to highlight which image areas are within ten different luminance levels at your current settings, even in the loupe view. Note also the history panel at screen left.

The histogram tool is surprisingly handy, too

One last function I found to be particularly handy was Silver Efex Pro 3’s histogram tool, which sits beneath the loupe at the top of the right pane. It not only gives you access to RGB, red, green, blue or luminance graphs of your image, but also splits it into ten different luminance ranges.

For any of the ten, you can enable an overlaid pattern on the image, with the pattern color varying by the range selected. This makes it really easy to see which parts of the image share the same luminance, and I found it even more useful than the more-common technique of just highlighting the brightest and darkest image areas.

Click here for the full-sized Silver Efex image or here for the original color image.

Conclusion

It’s been more than a decade since Silver Efex Pro’s last major update and until just this year, it hadn’t been significantly changed since the suite’s original creator, Nik Software, was sold first to Google and then DxO.

A lot has changed in all that time, not only for Silver Efex itself but also in the imaging software market. Gone are the days when a plugin of its ilk could command the heady price of $ 200. These days you can purchase the entire eight-plugin Nik Collection for a much more reasonable $ 150, but sadly you can’t pick and choose which of those plugins you want to save even more.

Click here for the full-sized Silver Efex image or here for the original color image.

In its overhauled form Silver Efex Pro 3 is much easier on the eye than its predecessor, making it much easier to focus on your images. And while some of its new features sit a little awkwardly alongside earlier ones, once we got used to the differences between film types vs. film grain and global vs. local adjustment sliders, we found it to be pretty easy to use considering the level of control on offer.

Performance, while not mindblowing, is sufficient to prevent frustration. On my 2018-vintage Dell XPS 15 9570 laptop running Windows 10 version 20H2 and Nik Collection v4.2, most sliders update within a half-second or less of being tweaked, even those using U-Point controls to limit their effect to certain area of the image. Final renders can take perhaps 20-30 seconds, which again doesn’t feel unduly slow.

Click here for the full-sized Silver Efex image or here for the original color image.

And it’s hard to argue with Silver Efex Pro’s results. If you’re a fan of black and white photography and are willing to put in a bit more effort than simply clicking on a preset, you can get much more authentic-looking images than you would from the black and white tools in your camera or most all-in-one apps like Photoshop.

If you’re still using the previous release of Silver Efex Pro, its successor represents a no-brainer upgrade. As well as a nicer interface and more film grain types, you’ll also find the new ClearView tool and improved U-Point technology to be big improvements. And if you’re not already a Nik Collection user but want a solid plugin that can deliver realistically film-like black and white images, we’d definitely recommend giving the trial version a spin.

What we like:

  • Yields convincingly film-like results
  • Presets get beginners up and running quickly
  • Making and sharing custom presets is simple
  • Both global and local adjustments
  • Loads of controls to fine-tune the look you’re after
  • ClearView tool is quite effective at correcting haze
  • New user interface is cleaner and less distracting
  • More affordable as a suite component than its predecessors were sold separately

What we don’t:

  • Can no longer be purchased separately
  • No Raw support when used standalone
  • Presets feel rather disorganized
  • Film types vs. film grain tools are unnecessarily confusing
  • Ditto the differing global and local adjustment slider arrangements

Who’s it for:

More experienced photographers who want fine-grained control over their black and white creations, and who desire a convincingly film-like final result.

Articles: Digital Photography Review (dpreview.com)

 
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Film Photography: A Guide (and How to Get Started)

10 May

The post Film Photography: A Guide (and How to Get Started) appeared first on Digital Photography School. It was authored by Carl Spring.

a guide to film photography

Film photography is gaining in popularity.

At the start of the digital revolution, film was the realm of those who did not want to move to the new way of working (and those folks were usually harassed on forums and message boards).

But these days, film photography has a much different reputation. While some photographers see film as the preserve of hipsters trying to look cool, for many, film is a more organic method of photography. It allows you to slow down, focus on getting the shot, and experience a wait before seeing the results.

In this article, I’ll guide you through the process, equipment, and reasons to start shooting film.

film photography 2 rolls of Porta film and one of HP5
Working with film means locking in your ISO and look for the next 36 shots.

What is film photography? 

Film photography is the process of using chemicals to create a photograph. Film in roll form has been around since 1885. The film roll was invented by Peter Houston, who then licensed it to George Eastman (of the Kodak company). Kodak still dominates film photography to this day. 

Without getting too complicated, film photography works by exposing silver halide crystals to light. The more light that comes in contact with the crystals, the darker the crystals become. Afterward, the film can be processed to create a negative (the inverse of the final image), and this can be exposed onto light-sensitive paper to create a final print.

Slide film is also available, which works slightly differently – but let’s not overcomplicate things too much!

Film photography of a bride on a balcony
Shooting with off-camera flash on a film camera can be daunting. Here, I used my digital camera as the meter for my film exposure.

Film vs digital: Why should you consider shooting film?

As I explained above, the process of creating a photograph on film is a science. It involves chemicals, darkness, and all sorts of other cool stuff. Anyone who has ever processed their own film images will talk about the feeling they had when they first saw a print come to life in the developer. It is a magical experience, and one that takes a lot of time and effort. But it is this time and effort that makes film photography so rewarding.

Let’s take a closer look at the many reasons you should shoot film over digital:

1. Film stops you from being sloppy

Film photography is much more deliberate than digital photography. Each time you press the shutter, there is a cost attached. So you quickly learn to nail the technical elements and the composition. Shooting a 36-exposure roll of film will cost you roughly $ 1 per image. So if you go out and shoot 200-300 images, as many of us do on a digital shoot, you will suddenly see how cheap digital photography is.

An out-of-focus film shot of a couple
This shot shows how sloppy technique will hurt you when shooting film. I captured it using autofocus – but as the light dropped, so did my ability to focus, leading to a blurry result.

Also, when you can shoot bursts of 100 images, you don’t really need to wait for the perfect moment to unfold. You just shoot until you get it. You don’t need to worry about exposure because you can check the LCD, adjust as needed, and fix it in editing.

Film photography, on the other hand, isn’t about shooting hundreds of images. It’s about shooting a roll of 36 pictures (possibly 2 rolls if you have a great photoshoot). It is about making each exposure count and getting everything right in-camera.

In other words: With digital, it’s easy to become a lazy photographer because there are rarely consequences. With film, you’ll always be on your toes.

Astronaut Buzz Aldrin in space
The best camera is the one you have with you. For NASA, it was a modified Hasselblad. (Photo by NASA.)

2. Film saves you hours in post-processing

Film tends to look great straight out of the camera, whereas digital photos can require hours of post-processing.

In fact, most popular editing styles are film-based. So if you want the look and feel of a polished photo without spending tons of time editing, just shoot film!

Digital photographs edited to look like film are the photographic equivalent of laminate oak flooring. Yes, it’s cheaper. Yes, it’s more practical. But it just isn’t the same as the real thing!

I don’t mean to say that printing film photographs isn’t an absolute art. If you look at some of the notes of Magnum’s master printer, Pablo Inirio, you will see how the process of creating a print from a negative is something that takes a true mastery of the craft. There are definitely no auto buttons in the darkroom.

But overall, the “film” look is pretty stunning – and requires little-to-no actual editing.

A table setting for a wedding on white linen
I could have edited a digital image to look like this, but it would’ve taken time behind the computer. The result you see here is simply how the photo arrived from the lab.

3. Film makes you better at problem solving

In film photography, your ISO is fixed.

So you’re forced to think carefully when doing photography. If the light is dropping and you’re shooting ISO 100 film, you’ll have to figure out how to get more light into the camera, or you won’t get the shot. Should you slow the shutter? At what speed can you still handhold? Are you sure? Should you open the aperture and sacrifice depth of field? How can you still get a great shot in tough conditions?

Film photography throws up a lot of questions, and you only get the answers when you see the developed images.

A model against a black wall
Slowing down is definitely the way to get better film photos.

 4. Film is (potentially) cost effective

Here’s the thing:

As I mentioned above, it costs around $ 1 per shot to do film photography. And that seems like a lot.

But if you look at the cost of a high-end film camera compared to something like the Canon EOS R5 (which is around $ 5000 with a lens), you’ll quickly realize that film photography can be very budget friendly, depending on how frequently you shoot.

Even if you spend $ 1000 on a high-end film camera and lens, it leaves you with a $ 4000 film budget. Additionally, high-end film cameras will keep their value. In fact, many film cameras rise in value. So if you purchase a film camera and sell it 5 years later, you might make a nice little profit in the process. That definitely isn’t true of the latest and greatest digital cameras.

5. Film photography is enjoyable

Ask yourself: What do you enjoy most about photography? Is it taking photos, or is it wading through editing software to find the best image out of 100 almost identical files? Is your enjoyment in seeing the final image, or in spending hours of editing to make it look perfect?

Personally, I am not a fan of editing, especially when I compare it to the enjoyment of taking photos. For you, it may be different, but photographing film sharpens my skills. It helps me get more keepers and means I spend less time behind the computer. 

The easiest analogy I can draw here is with music. I love my phone with thousands of songs on it. The ability to carry every record I ever wanted to in my pocket is amazing, and it is how I listen to 90% or more of my music. However, when I really want to listen to music, I make a coffee, turn on my hi-fi system, and put on a record. It isn’t as convenient, and you have to get up to turn the album over halfway through, but it sounds better. And because I have invested more, I focus more, and I always enjoy it more.

6. It makes you cooler

Let’s face it:

Shooting film just makes you look cooler. 

What equipment do you need for film photos? 

You need a camera and some film. You then need a place to develop it. Pretty simple, really.

Let’s take a closer look at cameras and film:

A 35mm film camera: the Yashica T5. A film photography classic.
Don’t be fooled by the looks; this Yashica T5 packs a 35mm Zeiss lens for amazing image quality.

Cameras

There are three main types of film cameras:

  • Point and shoot
  • SLR/Rangefinder
  • Medium format

Each has its own advantages and disadvantages.

The easiest way to get into film photography is with a good-quality compact camera. It’s the analog equivalent of taking photos on an iPhone. The camera will work out the exposure, leaving you to work on the composition.

There are many compact film cameras out there, ranging from the cheap all the way up to the incredibly expensive. If you want to try shooting film, this is where I suggest you start. You can pick up a decent compact film camera on a well-known auction site for under $ 100.

A film SLR is a lot like a digital SLR except not as good. There are those with autofocus and those without. SLRs without autofocus will add another layer of complexity to taking photographs. Generally, you can find a manual focus SLR for cheaper. Manual focus cameras are also more reliable mechanically due to the smaller amount of internal electronics.

Even if you do use an autofocusing film camera, note that old autofocus systems are not anything like those we enjoy today (though they can make film less daunting). The right option is something only you can decide. 

Finally, there’s medium format. Medium format cameras use much larger film, though with 12-16 exposures per roll. In the same way that a bigger digital sensor improves image quality and gives a shallower depth of field, medium format film creates ultra-stunning results. Many iconic photographs have been taken on medium format film, including shots of the NASA space missions. 

Medium format cameras have some advantages (e.g., many are able to change film partway through a roll). But they also have many quirks, and these can be overwhelming for photographers new to film. Medium format cameras are bulky, heavy, and expensive compared to the other types mentioned here, so I’d hesitate to recommend them if you’re new to shooting film.

If you really want to try medium format film on a budget, you can get a Holga. It uses medium format film in a point and shoot style body with a plastic lens. Holga cameras have a very specific look; just don’t expect images like those shot by a “proper” medium format camera.

A Canon film photography camera in its box
I bought this on a well-known auction site for under $ 50. It came fully working and even included the retro paperwork.

Choosing film

Your film will determine the look of your photography. It also fixes your ISO (i.e., if you put in ISO 100 film, you’ll be shooting at ISO 100 until the roll is finished). So make sure you carefully select your film’s ISO based on the day/time you’re shooting.

Now, each film has distinctive characteristics, such as color vividness and shadow softness. So the film you choose depends on the type of look you want to achieve. The main brands to check out are Kodak, Fuji, and Ilford.

Every film out there has an example photo or two on the internet, so get your Google on and see what looks good. I’d suggest buying a few different rolls of film and finding your own favorite. Trying a new film is part of the fun of film photography!

How to develop your film photos

A Lab-Box developing kit
Products such as this Lab-Box make developing film much easier. And there’s something magical about seeing negatives appear!

The easiest way to develop your film photos is to send them off to a professional film lab. If you’re just starting out with film photography, this is the method I would definitely recommend.

However, many photographers (myself included) like the experience of developing their film at home. It’s a relatively simple process, and if you shoot a lot, it can be cost-effective. The main equipment and chemicals can be bought at many photography stores – some may even offer a discounted kit to get you started.

How to develop film at home is a whole different article. However, if you think you might want to try it, a basic equipment list is as follows:

  • Film changing bag
  • Film tank
  • Developer
  • Fixer
  • Distilled water
  • Thermometer
  • Measuring cylinder

One quick tip for developing your film at home:

Dry it in the bathroom. The moisture from showering will decrease the amount of dust in the air, which will in turn decrease the amount of dust that will settle onto your negatives. 

If you want to take things even further, you can set up your own darkroom for printing – but it’s more expensive and requires a dedicated space.

A guide to film photography: conclusion

Shooting film is a great way to learn more about photography. It gives you new methods of thinking about composition, exposure, and editing; it might even be the thing that can break you out of a creative rut.

As you now know, you can start film photography for cheap, and it may take your photography in a whole new direction!

Over to you:

What do you think of film photography? Have you tried it yet? If so, do you have any advice for beginners? And if you haven’t tried film, what camera and film do you plan to use? Share your thoughts in the comments below!

The post Film Photography: A Guide (and How to Get Started) appeared first on Digital Photography School. It was authored by Carl Spring.


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Interview: David ‘Dee’ Delgado’s love letter to New York City, shot on 4×5 film

09 Apr
Genesis + Ronald, Before Prom, Westchester Ave (May 2019)

David ‘Dee’ Delgado has spent his entire life exploring New York City. Born and raised in the Bronx, in his younger years he traveled the city as a graffiti artist before transitioning into photography. “I got busted a couple of times and I got tired of getting locked up for doing graffiti,” he says. “So I started taking pictures of my friends.”

He worked as a graphic designer but says he found himself in a creative rut in a career where all his creativity was expended on behalf of the clients – “it was soul-draining in a sense.” And so Delgado found himself gravitating back to his cameras. Six years ago, at the suggestion of his wife, he quit the job that he hated and dove head-on into documentary photography.

Shot entirely on 4×5 film, Delgados project, ‘On My Block’, is an homage to the people and places that make New York City so special

These days Delgado works as a freelance photographer for clients like Getty, Reuters, Gothamist and others. He’s spent the last year very busy, on the ground documenting stories about COVID-19, the George Floyd police brutality protests and the 2020 election. In between all of that he’s continued to work on an ongoing personal project called On My Block, which he debuted earlier this year on his Instagram account.

Shot entirely on 4×5 film, On My Block is a homage to the people and places that make New York City so special. We spoke with Delgado to learn more.

Saint Guadalupe, Simpson Street (February 2019)

When did you start shooting images for On My Block?

I started photographing On My Block in December 2018, I went into it with a direct purpose, although it has morphed. In the beginning, I was thinking about it in terms of gentrification – I’m a native New Yorker, I was born and raised here and I’ve seen how much the city has changed. I turn 45 this year, so I’ve been around for a decent amount of time.

Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction

I started seeing the city change so much and was reminiscing back to when I was a graffiti writer and I would go around the city. I decided I wanted to document the city and the people in it. What they are and how I remember them and how I remember it being like. That’s when the project morphed into more of a love letter to New York and less about gentrification. It’s a love letter to the city that I love and know.

Black and his Son Liam, Barber Shop, Cypress Ave (February 2019)

What camera are you using to shoot the work?

I did not want to shoot digital for this project. I have my cameras that are meant for assignment work and then I have my cameras that are my personal cameras that I use just because I love the medium.

This gives me a break and it gives me the ability to be a little more artistic. As opposed to the hard news, with this, I can slow down and make a pretty photo

This whole project was shot on a Toyo 45A which is a 4×5 field camera. It’s not a light camera. It’s a heavy camera. Lugging that camera along with the film, film holders, and a dark cloth is not an easy task. Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction, you can make the connection through the camera in a sense. It just slows down the whole process.

Why was it important to shoot on film? How do you select what film stocks you use for this project?

I’m a big film buff and I knew I did not want to shoot this in black and white. I wanted it to look less documentary and more personal. The project was shot on Kodak Portra 160, I just found the soft and warm tones of the film leant themselves to what I wanted the project to look like.

Kayla, Malcolm-X Boulevard and W.117th St (July 2019)

How does being born and raised in the Bronx influence the way you see and photograph in other New York City neighborhoods?

When you are young in New York it’s like, ‘don’t leave the stoop,’ but I always wandered. I would always push. ‘I can make it down the block to the bodega before mom notices.’ I always pushed the boundaries of where I was allowed to go. Once I became a little bit older and I was able to leave the stoop I would jump on the subway and I would pick a stop and go there. I would end up in Prospect Park, I would end up in Queensbridge, I would end up in Washington Heights.

I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural

I’ve always been the person that was talkative and I would speak to people, I would connect to people. I’d be in Queens and when I was growing up, people in Queens used to use slang that was called ‘dun language’, and me being from The Bronx, I didn’t know how to speak dun language. But then I met guys who did and I would practice my dun language with them.

Then I’d be in the Heights, you know I’m Puerto Rican, and I’d be around the Dominican community and they are having Tres Golpes for breakfast and I was like ‘what the hell is that?’ and its salami and fried cheese and yucca, and I’d try it. I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural.

Monica Flores, Macy Place, and Prospect Ave (December 2018)

Do you see this work as being related to the work you do as a freelance news photographer, or is this a project that gives you a mental break from that world?

This gives me a break and it gives me the ability to be a little more artistic and have a little bit more freedom. As opposed to covering the hard news, with this, I can slow down and make a pretty photo.

What can we expect to see as you continue the project?

It’s a project that is morphing on a continuous basis. Right now I’m playing with archival photos, I may include a different factor of photography in it. Chapter 2 is something I am still playing with.

What’s your quintessential New York food and where is the best place to get it?

Oh wow. Hmm. One of my favorite things – I was raised in Little Italy in the Bronx, 183rd and Crotona – is Madonia’s chocolate bread on Arthur Avenue. That’s definitely something that if you are here in New York, you have to try.

More photographs from On My Block

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About:

David ‘Dee’ Delgado is a Puerto Rican independent photographer based in New York City mainly focused on documentary and photojournalism. The interest in learning and his desire to help people made him realize the necessity of documenting his surroundings and broadening the conversation with the use of a camera. See more of Dee’s work on his site, dispatch.nyc.

Articles: Digital Photography Review (dpreview.com)

 
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Street Candy Film announces new MTN100 black and white 35mm film

05 Mar

Street Candy Film writes that they make ‘the tastiest black and white films around.’ It offers even more black and white film now with the addition of Street Candy Film MTN100 to its catalog, joining its previous film, ATM400.

MTN100 is a black and white ISO 100 film. The film is taken from a Motion Picture Film and promises to take your ‘black and white photography to the next level with a classic cinematic look and fine details.’ MTN100 is a panchromatic film ideal for outdoor and indoor photography. You can process it as a normal black and white negative or with a reversal kit to create direct positives.

Click to enlarge

Street Candy writes that MTN100’s primary features are beautiful contrast, fine grain and rich details. It comes as a 36-exposure 35mm roll in Street Candy’s recycled paper film canister. Regarding the canister, Street Candy Film introduced the first alternative to plastic film canisters in 2020. The canister is made of recycled cardboard and is printed with soy ink.

Street Candy Film MTN100 is available for preorder now. It is available in small quantities ahead of its April release. The minimum required purchase is two rolls, which costs 21€. For ordering information, click here.

Image shot using Street Candy MTN100. Click to enlarge.

Although not new, it’s worth doing a quick rundown of Street Candy’s ATM400 film. The panchromatic black and white negative film was originally coated for use in security surveillance cameras. It was used in banks, ATMs, offices and other places in need of security before digital surveillance became commonplace. Street Candy states that the ISO 400 film is easy to shoot, forgiving and delivers ‘beautiful contrast while retaining rich details throughout its wide dynamic range.’ ATM400 starts at 19€ and comes in 36-exposure 35mm rolls, which like the MTN100, are hand-rolled.

Street Candy ATM400 key features. Click to enlarge.

If you’d like to check out images shot by photographers using Street Candy Film, the company hosts an online gallery. To see the companies other product offerings, including merchandise for analog photography fans, click here.

Articles: Digital Photography Review (dpreview.com)

 
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Video: The ‘surprising’ origin story of Kodak Aerochrome film

30 Nov

Todd Dominey has published a video no his Youtube channel that dives into the interesting history of a film stock ‘with an origin story unlike any other,’ Kodak Aerochrome.

The 11-minute video, which is part one of a two-part series, walks through why the infrared film was developed by Kodak and what the United States military had to do with its inception. From there, Dominey talks about the film’s significance in pop culture — most notably in the late 1960s and early 70s — as well as the film’s discontinuation announcement in 2009 and the striking Aerochrome works of photographer Richard Mosse.

One of a few albums from the late 1960s and early 1970s that used images captured on Kodak Aerochrome film.

It’s a fantastic watch for those unfamiliar with the discontinued film and still worth a watch for those familiar with it. Dominey says the second video will focus on digitally recreating the aesthetic of Aerochrome film — something that’s been attempted a few times before in the form of presets.

Articles: Digital Photography Review (dpreview.com)

 
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VALOI 360 Kickstarter campaign promises affordable way to digitize film

22 Nov

A new Kickstarter campaign for VALOI 360 promises to deliver an affordable, high-quality way to digitize rolls of 35mm and medium format film.

VALOI 360, which is over halfway toward its roughly $ 74,000 USD goal, is a system of modular physical components you can use to digitize 35mm and 120mm film negatives using a digital camera. There are three main components in the 360 system. There is the VALOI 360 35mm Holder. The holder keeps 35mm film flat while allowing for a backlight to shine through. It is constructed of injection-molded plastic and has an S-curve film path to flatten the film without touching the image area.

Prototype VALOI 35mm Holder

The other holder, the VALOI 360 120 Holder, holds 120 medium format film up to 6 x 9cm frames. Like the 35mm holder, it allows light to shine through, is made of injection-molded plastic, and has an S-curve film path. Both holders also include rubber dome feet to make sure the holder sits flat on the light source underneath.

Prototype VALOI 120 Holder

The third component is the VALOI 360 Film Advancer upgrade. You place a film holder inside the Film Advancer and the advancer allows you to quickly forward to the next frame by rotating a knob. The frame and axle are made of steel and the rollers are rubber. It comes with screw-in rubber feet with long threads which can be used for leveling. As part of the Kickstarter campaign, the Film Advancer upgrade is only available alongside holders, but VALOI plans to sell it separately later.

To use the VALOI 360, you must have a digital camera (or, in a pinch, even a smartphone) and a light source. An ideal setup involves a digital camera, tripod, and a stable, color-consistent light source. The VALOI 360 holds your film flat, you capture an image of the film and if you’re digitizing a negative, you use a computer to invert and process it. There is additional information about digitizing best practices on the Kickstarter page.

Prototype VALOI 360 Film Advancer

The primary challenge that VALOI hopes to overcome with its 360 system is how to hold film flat and stable in front of a light source. This is the problem that VALOI founder, Arild, first tried to address with various prototypes. Arild used plywood, acrylics, LEGO components and more in pursuit of building something affordable and easy to use when digitizing film. He even learned how to build 3D CAD designs. Mechanical engineer Wicher van Lambalgen, VALOI co-founder, came on board to turn Arild’s ideas and early designs into a commercially viable prototype.

Assuming the campaign reaches its funding goal, by pledging €19 backers will receive the VALOI 35mm Holder. For €29, you can select the 120 Holder. The €44 pledge includes the VALOI Holder Pack, which includes both the 35mm and 120 film holders. For photographers wanting the VALOI 360 Film Advancer, you must step up to the VALOI 35mm Kit at €129 (the €139 kit includes the 120 Holder instead). A full kit with all three components is also available for €179. All pledge options include a scanning tutorial to help beginners learn how to best use the VALOI 360 system to scan their film. Products are expected to begin shipping to backers in April 2021. For full details about the VALOI 360 system and the available backer options, click here.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Buying guide: The best gifts for film photographers in 2020

21 Nov

Introduction

Do you love film photography, or are you shopping for someone who does? Lucky you / them! Film photography is exploding in popularity and the folks in on the fun tend to be some the coolest cats in town: sorry, digital peeps.

Cool cats deserve cool gifts. And so we’ve combed the analog universe, searching high and low for the hottest gear to include in this guide. It’s filled with fun stuff that should please even the pickiest analog avenger, and most budgets. From funky film stocks, to home developing and digitizing solutions, these are the best film photography gifts in 2020.

Note: Gifts are listed in order from least to most expensive.

Fujifilm Neopan 100 Acros II – $ 12 a roll – A classic film stock, resurrected from the dead

Fujifilm’s beloved B&W film stock is back, baby! Discontinued in 2018, the Japanese film producer announced a new and improved Acros II in November of 2019, much to the delight of monochrome fanatics everywhere. Available in 35mm and 120 formats, Acros II offers silky smooth grain, excellent sharpness and lovely tonality; the perfect film for a nice sunny day.

It’s nostalgic, yet practical, and a film certainly worthy of a spin through any analog lovers’ camera, whether they shot the OG version or not.

See our Fujifilm Acros II sample gallery

The Solarcan – $ 20 – A cool recyclable pinhole camera

The Solarcan is a long exposure camera, which, you guessed it, is built from a can. The intended use is for documenting the path of the sun across a horizon over a long period of time – we’re talking weeks or months. Originally launched on Kickstarter back in 2017, this single-use pinhole camera is a fun project for any analog nerd also interested in astronomy. Plus, it’s recyclable!

Each Solarcan is preloaded with a piece of B&W photographic paper (Solarcan Color is coming soon) and includes instructions for use, mounting materials and a storage tube to keep it light tight until exposure time. The Solarcan is also available in a five-pack ($ 80), which we recommend for added experimentation. Note: this item ships from the United Kingdom.

Lomography Analogue Aqua camera – $ 40 – An inexpensive waterproof 35mm camera

I’m giddy with excitement just thinking about how fun Lomography’s reloadable waterproof cameras are. For folks in the Northern Hemisphere facing a dreary winter, summer swims may seem like a far-off memory. But sunny skies and COVID-free days will someday soon (hopefully) be back upon us. And when the time does come again to take the watery plunge, the film-lover in your life will have the perfect camera to document it.

The Analogue Aqua is basically one of Lomography’s $ 20 disposable cameras sandwiched into a watertight plastic case. There are two version of the camera, one with Lomo Color Negative 400 film and one with Lomochrome Purple film. But it’s worth noting, unlike a traditional ‘disposable’ camera, these ones are not sealed shut and Lomography intends for you to reload them them again and again.

Lomography Fantôme Kino B&W ISO 8 film – $ 45.50 (5-pack) – A cool and new 35mm film stock

Speaking of Lomography, another great idea for the celluloid celebrator is the gift of a new film stock to try. Lomo’s Fantôme Kino B&W ISO 8 – announced earlier this year – is not technically new, since it’s cut from German cine film stock, but it’s newly-available for stills shooters!

This incredibly-low ISO monochrome film is super contrasty and perfect for creating a film noir–style look. And for more B&W fun, we also recommend Lomography’s Babylon Kino B&W ISO 13 film. Unlike Fantôme, it offers subtle tonal changes and plenty of dynamic range. Both are only available in 35mm as of writing.

View our sample gallery: Lomo Fantôme Kino ISO 8 & Babylon Kino ISO 13

The Pixlatr – $ 55 – A better way to digitize negatives

One of the most annoying struggles faced by analog lovers is how to get high-resolution, high-quality digital versions of their negatives. One of the best non-scanning solutions is to photograph negatives using a digital camera and a macro lens. But how the heck do you hold them in place and ensure even lighting?

Thankfully our good pal and DPR’s Film Photography Talk forum moderator, Hamish Gill, invented a solution. The Pixlatr, originally launched on Kickstarter, is a modular film holder that works with most film formats (up to 4×5) and features a semi-translucent back to diffuse light. It’s a simple, versatile and effective solution for anyone who owns a macro lens, a digital camera and a tripod.

Another solution is the Nikon ES-2. It’s a little more straightforward to use than the Pixlatr – it attaches to the end of a lens – but is also nearly three times the cost ($ 145) and only works with 35mm format film.

Analogue Wonderland film subscription box – $ 65 every other month – A reoccurring 35mm film subscription box

Who doesn’t love getting a parcel filled with fun surprises in the mail on a reoccurring basis? UK-based Analog Wonderland is bringing the concept of the ‘curated subscription box’ to 35mm film lovers everywhere. Once signed up, subscribers will receive a box every other month (depending on the length of subscription). Each box contains six different rolls of 35mm film, curated from a selection of 100.

This is not only a fun way for film lovers to try new emulsions, but also a way to connect with other 35mm shooters. Each month all subscribers receive the same film stocks, and Analog Wonderland provides an online space for folks to both discuss their results and compete in friendly competitions.

Lomography HydroChrome Panoramic Camera – $ 80 – A wacky camera with a ‘water lens’

Bear with us on this one, because Lomography’s HydroChrome Panoramic camera is truly wild. Based off a mid-1800’s camera design, this inexpensive panorama camera is built around a 32mm equivalent water-filled lens. Yes, you read that correctly.

While the concept may sound gimmicky, the results are actually pretty compelling and cool. And the camera plays nice will all sorts of liquids, not just water (though we’d avoid anything sticky). For instance, simply adding food coloring, or watered-down coffee can change the results dramatically.

UN Twin Film Pocket & Rama Works Film Canister – $ 20 & $ 110 – A watertight film holder

Is the film shooter in your life also an adventure-seeker? If so, a water/light tight film holder may be the perfect gift, providing peace of mind. And we’ve got two models to choose from: one on the sensible side and one a little more swanky.

First, the sensible: The UN Twin Film Pocket is a straightforward product that will safely store two rolls of 35mm film. It’s built of plastic and features screw-down caps with rubber gaskets as well as a metal clip to attach to a camera or bag strap. These units can be a little tricky to hunt down stateside, but the product is carried by both European and Japanese distributors. That said, we’ve successfully had them sent to the USA, just plan for a little extra time in transit.

On the other end of the spectrum is the Rama Works Film Canister. Sure, it costs 5x as much as the UN Twin Film Pocket, but it is a beauty to behold: machined from a solid block of aluminum and anodized. Note: Only the 120 format version is currently available as the time of writing.

Rama Works Film Canister shown above.

Fujifilm SQ1 Instax Square camera – $ 120 – A larger format Instax Camera

Most folks are probably familiar with Fujifim’s Instax Mini format, but did you know there’s also an Instax Square format, which provides a larger image size? And the hottest new Instax Square model is the Fujifilm SQ1, which dropped earlier this year.

It’s a handsome-looking model that’s easy-to-use, comfortable and capable of excellent results. Available in three chic colors, it’s the perfect camera for documenting social outings, once we’re allowed to gather together again!

For even more Instax photography fun, we also recommend the Fujifilm Wide Instax 300 ($ 90). It’s a good bit chunkier than the SQ1, but makes use of the largest Instax format: Instax Wide. It also offers a bit more creative control than the SQ1.

Lab-Box Daylight Developing Tank – $ 160 – An easier way to develop film at home

Analog shooting and DIY often go hand-in-hand. And nothing beats the thrill of successfully developing your own images at home. But for those a little nervous to dip their toes in the unknown world of loading exposed film to reels in the dark, the Lab-Box Daylight Developing Tank is for you.

Because let’s face it, most home developing mistakes are a result of improperly loading film and/or accidentally exposing it in the process. Lab-Box removes this pain point, though there is a slight learning curve to using the device. But ultimately, once mastered, it should help speed up the workflow of any home developer while also cutting down on the number of botched rolls.

And there you have it, the best film photography gifts in 2020, sure to bring a smile to the faces of emulsive eccentrics everywhere! Happy holidays and happy shooting, from the analog nerds here at DPReview.

Articles: Digital Photography Review (dpreview.com)

 
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$20 film camera challenge: Minolta Riva Zoom 90EX – Dan Bracaglia

13 Nov

Intro – the challenge

Our ‘$ 20 film camera challenge’ is partly an acknowledgment that the universe is well-stocked with affordable analog cameras, and you don’t necessarily need to spend an arm and a leg on something trendy to get great shots. But it’s also a fun excuse to reassess the cool and often quirky camera designs of the not-too-distant past.

The rules are simple: Find a film camera for under $ 20, shoot a roll or two with it, and describe the experience. Film and developing costs do not count toward the $ 20, otherwise you’d have no money left to spend. But shipping and/or tax do count.

In our very first challenge, DPR writer Aaron Gold ended up falling in love with the surprisingly feature-rich Minolta Maxxum 5. In the second edition, DPR editor Dan Bracaglia pulls the trigger on another Minolta camera…

Read the first installment of the $ 20 film camera challenge here

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Dan Bracaglia and the Minolta Riva Zoom 90EX

The hunt

I’ve been considering purchasing an inexpensive 35mm pocket zoom camera for some time now – something I can toss in my bike frame bag and bring along on adventures. As a kid, I remember shooting with our family’s Olympus Stylus Zoom and recall enjoying the experience and the photographs immensely. And so I figured the $ 20 film camera challenge was the perfect excuse to take to eBay and do a little shopping.

I also picked up an Olympus Stylus Zoom 105, as a sort of consolation if the Minolta didn’t work

The camera industry pumped out a ton of these autofocus-enabled ‘compact’ zoom cameras during the 1990’s. And I had no shortage of well-priced options from every major manufacturer. I’d never shot with a Minolta compact camera before, only an SLR, but a recent, glowing article about the Minolta Riva 110 over on 35mmc.com had me intrigued.

Priced at $ 15, the Minolta Riva 90EX (aka Minolta Freedom 9T) was my camera of choice.

I couldn’t find a Riva 110 for under $ 20, despite a strong desire for as much zoom as possible, but did I track down the a slightly-older Minolta Riva Zoom 90EX, priced to fit the rules of the challenge. Note: The North American version (which I picked up) is called the ‘Freedom Zoom 9T,’ which doesn’t sound as cool, so we’re going with Riva 90EX.

It had originally been listed at $ 20, but was subsequently lowered to $ 15 with free shipping. The seller noted it was in mint condition, minus a cracked hinge on the film door, which they were confident was a non-issue. I figured ‘what the heck’ and bought it for the asking price. Grand total: $ 16.52.

Full disclosure: I also picked up an Olympus Stylus Zoom 105, as a sort of consolation if the Minolta didn’t work. That one I splurged on and spent $ 49.10 with tax and shipping.

The ‘pick’

The Riva 90EX has a nice selection of features including a double exposure mode, landscape mode and even a continuous drive mode.

The Riva 90EX debuted in the early 90’s at a time when the ‘compact’ AF zoom camera market was blowing up and brands were churning out new models, with each generation offering more and more reach.

A mostly automatic camera, the Riva 90EX is built around a 35-90mm F3.5-5.7 lens and includes a nice selection of modes and features, some more useful than others. For instance, ‘Landscape mode’ locks focus at infinity and disengages the flash, something I found useful when shooting street photos on a sunny day toward the tele-end of the focal length. There’s also also a double exposure mode and even a continuous drive mode which, from my testing (without film), shoots at a zippy 1 fps.

In use

You ain’t a beauty but hey, you’re alright.

Upon unboxing my new/old Minolta Riva Freedom 90EX, I popped the film door to see how weak the cracked hinge really was: it fell off in my hands, with only the date cable keeping it attached.

“The first time the date imprint function was ever actually useful,” I thought as I grabbed some gaffers tape.

After loading in a battery I checked to make sure the flash, zoom and shutter worked, and all seemed to be functioning as intended. I then went to set the date on the back because why the heck not? It’s there. Much to my dismay, the year only goes until 2019, something that is actually mentioned in the instructions. Was Minolta foreshadowing a lack of faith and/or the ultimate demise of their camera business all the way back in the early 90s?

Upon unboxing the Minolta Riva Freedom 90EX, I popped the film door to see how weak the cracked hinge really was: it fell off in my hands

In-hand, the Riva 90EX feels large and plasticky, in fact I’d go as far as to say it’s much larger in life than the product photos suggest. But the 1990’s bloat also means there’s lots to hold on to and it’s quite comfortable to grip. The shutter button is nice and clicky, but the zoom toggle has almost no tactile response, which I found odd. The top of the camera offers a nice big (for the era) LCD with setting info. Annoyingly, some settings are saved when the camera is turned off, others are not.

‘Landscape mode’ conveniently sets focus at infinity and disables the flash. Annoyingly though the camera doesn’t save the mode selection when you turn it off and back on again.

I really enjoyed carrying this camera around. Its lightweight design made it easy to sling over a shoulder and its fat grip made it unlikely to slip from hand, though the bloated size meant it just barely fit in my bike frame bag.

Overall, I was pleasantly surprised by its functionality in most shooting scenarios. The little bit of control over the flash, i.e. the ability to turn it off (which can be done independently of ‘Landscape mode’) is much appreciated. And though I didn’t try to shoot any double exposures, it’s certainly a feature I might enjoy messing around with when the moment strikes.

Was Minolta foreshadowing a lack of faith and/or the ultimate demise of their camera business all the way back in the 90s?

The camera offers one central AF point, so focus-and-recompose is the name of the game. I found AF acquisition speed to actually be quite good, given the era. In operation it unsurprisingly sounds like an early 90’s camera, which is to say, it’s noisy. If you’ve ever sharpened a Ticonderoga (pencil) in an electric pencil sharpener, that’s what this camera sounds like when the film is advancing. The zoom action is also audible, though the zoom speed is pretty quick.

There’s really not much else to say about the Riva 90EX; it’s a $ 16 chunk-monster of a camera with just enough controls and some pleasant features to make me happy. And one I enjoyed bringing along on adventures, thanks to its functionality and low cost of replacement, should chaos ensue (I drop it). But how are the photos?

The photos

About a quarter of my images have a pronounced circular flare, a possible sign that optical coatings somewhere in the lens may have degraded.

The Riva 90EX is certainly capable of solid image quality, but my copy has one obvious and unfortunate issue/defect: substantial circular flaring when shooting at the wide end of the focal range. I shot a grand total of 50 images and roughly 1 in 4 shots have this issue. Sure, it looks cool and artsy for some of the more abstract images, but it’s just flat-out annoying in others.

At first I thought the flaring was a result of the flash, but it also appears in images shot in bright sunlight where the flash was disabled. Could a lens hood fix this? Possibly, but it also may just be the result of lens coating degradation. That’s the bad, now for the good:

At the wide end I’d call the lens satisfyingly sharp and at the tele, acceptably sharp; not bad for $ 16

I was pleasantly surprised with the rest of the images, though Kodak Gold 400 seems a bit greener than I remember (I mostly corrected this in Lightroom). The autofocus system proved fairly reliable; very few of my shots had missed focused. The metering also seemed pretty good, especially given some of the more dynamically complex scenes I shot. At the wide end I’d call the lens satisfyingly sharp and at the tele, acceptably sharp; not bad for $ 16.

The takeaway

I really like the versatility of the camera’s 38-90mm focal range, especially for street shooting. I also appreciate the camera’s design, handling and features. But persistent flaring when shooting the wide end of the focal length is a deal-breaker.

Ultimately, I suspected I would love this style of camera, especially the versatility of the focal range, and my time with the Riva 90EX confirmed my suspicions. I’ve long been both a fan of both digital pocket zooms as well as compact 35mm cameras (but with fixed focal lengths), and this feels like a natural category of camera to now explore.

Plus, the sheer number of 90’s pocket zooms available for cheap means you too can explore it, without breaking the bank. Of course, the next model I’ll be trying is my new Olympus Stylus Zoom 105. Here’s hoping for flare-free shooting!

The lens on the Riva 90EX is satisfyingly sharp at the wide end.

Who’s going to take the $ 20 film camera challenge next?

Articles: Digital Photography Review (dpreview.com)

 
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A visual and auditory journey through the shutter sounds of vintage film cameras

28 Oct

Photographer Ace Noguera has published a video highlighting not only the great style of vintage cameras but also their distinct shutter sounds. It’s a satisfying watch and listen.

Of his video, Noguera told DPReview, ‘The video came from an idea I’ve had for a while, to simply showcase how shutter sounds and technology has changed over the years. I thought it would be cool and entertaining to put it in a visual format and share with others how not only designs have changed over the years, but how we’ve been able to integrate electronics to help automate how we take photos.’

In total, the video below showcases the look and sound of nine cameras, dating back to the 1940s. The cameras come from Noguera’s collection with some additions from his friend, Patch Agan. It’s fascinating to hear how shutter sounds have changed over the years. There’s something particularly satisfying about the Olympus Trip XB3 from 1996.

While the video isn’t overly comprehensive in the cameras it covers, Noguera assures us there are more shutter sounds on the way, telling us, ‘I do plan on making another video that will also include some digital cameras as well as just further show the advancement in the tech and design of cameras. I plan to somewhat pick up where this video left off and showcase the next 20 years of sounds and cameras.’

Noguera hopes to record medium format cameras as well. He continues, ‘I think it would be awesome to be able to record some medium format cameras like the iconic Pentax 67 or even the modern medium format like Hasselblads as well.’ Hopefully, some photographers near Noguera in Atlanta will be able to help him out.

To see more from Noguera, follow him on Instagram and check out his YouTube channel. On his YouTube channel, you will find tutorials, lens reviews and much more.

Do you have a favorite camera shutter sound? Do you miss the physical shutter sound when using an electronic shutter in many modern cameras? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Film Fridays: Making and using a cardboard camera – adventures in pinhole photography

23 Oct
Photo: Sroyon / 35mmc.com

Pinhole photography is often associated with ‘intro to photography’ -type classes, because it simplifies the process of recording an image down to bare bones. But there is both an art and a science to creating a well-functioning pinhole camera. Specifications like hole diameter and the light-sensitive material’s distance and angle-of-view to the pinhole make a huge difference.

So, how does one elevate the pinhole camera from DIY beginner project to serious creative tool? With a little bit of technical know-how and a whole lot of trial-and-error. Join 35mmc’s Sroyon on their adventures in the world of cardboard cameras.

Read: Making and using a cardboard camera – adventures in pinhole photography

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at KosmoFoto and 35mmc.

Articles: Digital Photography Review (dpreview.com)

 
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