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Posts Tagged ‘Analog’

Capture One Film Styles Pack tries to capture the ‘old analog feeling’ with 15 new presets

24 Oct

Phase One just released a new ‘Film Styles Pack’ for those Capture One users who, in the company’s words, “long to create the feel and texture from the days of analog photography.” Translation: you can now get several sought after ‘film looks’ within Capture One thanks to a fancy new preset pack.

The Film Styles Pack was launched this morning, and seeks to recreate the ‘colors, contrast and grain’ of analog photography through 15 different ‘looks’, each of which is available in three strengths for a total of 45 presets—33 in color and 12 in black & white.

This intro video gives you a good overview of the Pack and how these presets work:

And here is a before-and-after sample gallery for your perusing pleasure:

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The Film Styles Pack is available today for $ 70 USD (70 Euro) from the Phase One e-store. To learn more about the presets or pick it up for yourself, click here.

Press Release

New Capture One Film Styles Pack Captures that Old Analog Feeling

COPENHAGEN, October 23, 2017 – Phase One today released The Film Styles Pack. This newest Styles Pack is designed for photographers who long to create the feel and texture from the days of analog photography. For artistic visions attracted to the colors, contrast and grain of these analog images, Capture One Film Styles help photographers get one step closer to creating this special atmosphere in their images.

This latest release delivers 15 different “looks,” each in three different strengths, from subtle to regular to strong, for a total of 45 different Styles. The pack includes 33 in color and 12 in black and white. The Capture One Film Styles may be the most versatile pack so far, given the wide variety of available options.

Capture One Film Styles give photographers a head start in the editing process, providing a solid foundation of adjustments for a faster workflow. Styles function as inspiration, providing a quick view of images, with a variety of editing options. The three-split-variation of each Film Style makes the pack easily applicable across various types of images and helps the photographer maintain full control of the editing process.

For Styles examples and usage guidelines, please see: phaseone.com/styles

View promotion video: https://youtu.be/s3p5xz9c0UU

Pricing and Availability

The Capture One Film Pack is available now for 69 USD / 69 EUR from the Phase One e-store: phaseone.com/styles-store. The pack contains 15 different “looks” in three different strengths (normal, plus and minus) for Windows and Mac operating systems.

A free sample pack composed of five Styles is also available, containing three versions of FL-07, one color style of FL-02, and one black and white style of FL-12. Download sample pack: https://go.phaseone.com/C1-EN-2017-10-04-FilmStylesSamplePack_EN01LP.html

Capture One version 10.2 or newer is recommended for the best user experience. Version 10.1.2 is necessary for Capture One Express (for Sony) users. The packs are simply installed with a double-click, importing via the new and improved Styles and Presets tool, or by dragging-and-dropping the Pack to the Capture One menu icon.

Articles: Digital Photography Review (dpreview.com)

 
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Analog revival rolls on: Rollei Vario Chrome slide film coming soon

28 Jun

Dear film photographers! Rollei Vario Chrome 135-36 is a medium to high-speed color reversal film that is intended for photography under low-level daylight illumination or under other light sources using proper filtration. Rollei Vario Chrome has a medium degree of sharpness, its image results are characterized by a slightly visible grain and a warmish image tone. As the name of the film suggests it has a broad exposure latitude from 200 to 400 ISO (DX coded at 320 ISO). If you intend to project the slides we suggest to shoot the film at 200 ISO whereas 320-400 ISO is preferable for scanning applications. Pre-sale will start next week on Monday July 3rd. We expect the supplies to arrive in week 28 so that we’ll be able to start shipping between July 10th and 14th. We hope you’ll like the film as much as we do and thank you all for the support.

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Well this is some unexpected, but exciting news: German photography shop and producer of Rollei-branded film, Maco Direct, has announced Rollei Vario Chrome 135-36. It’s an ISO 320 color reversal film stock with medium sharpness and a warm tone, which sounds perfect for grey Seattle days.

That brings the count to four new, reformulated or resurrected film stocks that will become available this year. The others include: Kodak Ektachrome, Ferrania P30 b/w film, and a reformulation of LomoChrome Purple 400 film. Not to mention Lomography also announced three new single-use cameras and German film maker ADOX announced it will doubled the size of its film plant. All this means more options for analog diehards.

You can pre-order a roll (or more) of Rollei Vario Chrome come July 3rd, and orders will begin shipping as soon as the middle of the month. Of course, it makes some sense to wait and see what images from this new film look like, unless you’re the gambling type. In that case, please share your results as soon as possible.

Has this Rollei news whet your appetite for film? Here are 10 excellent, affordable film cameras that are easy to track down and get started with.

Articles: Digital Photography Review (dpreview.com)

 
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Analog gems: 10 excellent, affordable film cameras

20 May

Affordable analog

Battles rage over whether digital or analog is the better medium. But those shouting on both sides are missing out on the simple truth that the two compliment each other beautifully.

With digital photography, there is an ability and sometimes a desire to achieve something precise, while happy surprises can be a big part of the analog draw. Keen photographers realize that shooting with both mediums keeps one creatively-focused and balanced: aware that perfection exists, but open to creative serendipity. Moreover, film gives the user a chance to slow down and be decisive, and digital allows the user to quickly see results and learn.

Of course, many of the readers of our site are digital diehards. But let’s pretend for a moment that we’ve convinced you to dabble a bit in analog. What would be a good camera to run a roll through? What follows is a list of 10 cameras, all of which are easy to find, technically capable, and reasonably priced. These are cameras known for holding up mechanically and don’t require obscure or discontinued batteries, like mercury cells.

Of course, this list is far from complete – there are many excellent film cameras available that fit our criteria. Which is why we’ll be looking to add more periodically. So if there are any you feel particularly strongly about, let us know in the comments. Happy shooting!

Canon AE-1

History: The Canon AE-1 was produced from 1976-1984 and in that time more than a million units were sold. One of the first affordable SLRs on the market to feature TTL auto exposure metering, the AE-1 was also the first SLR to use a microprocessor. It is constructed mostly of injection molded plastic to keep costs down. However, this leads to a comparably lighter body than most metal SLRs of the day.

‘From 1976-1984…more than a million units were sold.’

Why we like it: This camera is a solid choice for beginners, offering both a shutter priority and a manual mode (though sadly no aperture priority mode). Metering tends to be accurate and the camera can be powered by a variety of common drugstore batteries. Canon FD lenses are cheap and readily available for the system.

Buy one: These cameras are extremely easy to come across in working order for under $ 100. If buying on eBay, you can often pick up an AE-1 with a bunch of FD lenses and other accessories for about the same price as the body.

Also consider: The Canon AE-1 Program (shown above). The Program was released in 1981 is the follow up to the original AE-1. It is largely the same camera, except for the inclusion of a Program auto exposure mode that sets both shutter speed and aperture.

Pentax K1000

History: The Pentax K1000 first debuted in 1976 (same year as the Canon AE-1) and was manufactured continuously for just over two decades. The body is made mostly of metal and the camera is fully mechanical in operation (there is no auto mode). The K1000 has a built-in light meter that runs on generic drugstore camera batteries. Just remember to put the lens cap on to avoid draining the charge!

Why we like it: The K1000 represents a very different approach to the amateur SLR market than the Canon AE-1. Both are great cameras with redeeming qualities, but we really appreciate the Pentax’s mechanical design, which means it can be operated without batteries (unlike the Canon). And due to its metal build, K1000’s tend to stand the test of time quite well. In short, these cameras have a reputation for being simple, but reliable – great for beginners or purists. And there is also a ton of great glass to be had for the system.

‘We really appreciate the Pentax’s mechanical design, which means it can be operated without batteries.’

Buy one: Not only are these cameras built to last, they were made non-stop for 21 years! So it comes as no surprise that they are easy to find used. Expect to pay between $ 50-$ 175 for one on eBay, depending on the condition. Snagging a deal that includes the body and some Pentax glass is not super likely, but also not impossible. Some collectors claim the bodies with “Asahi” on the prism are more reliable – as they are older and supposedly use fewer plastic components internally – something to keep in mind.

Photo credit: John Kratz

Olympus XA

History:  The Olympus XA is one of the smallest 35mm rangefinder cameras ever made. Sold from 1979 to 1985, this camera manages to tuck a very sharp Zuiko 35mm F2.8 lens (with a 4-blade aperture) behind a protective sliding door. The camera is aperture priority-only, however there is a +1.5 Exp. comp. lever on the bottom of the body. The camera itself is built mostly of plastic, but still feels dense in hand.

Why we like it: There’s a lot to like about this tiny rangefinder: It’s incredibly quiet, the lens is sharp and the metering is good. It also represents one of the most unusual camera designs of its time. The focusing lever is admittedly a bit small and fiddly, but the focus depth scale makes things a bit easier.

‘The Olympus XA is one of the smallest 35mm rangefinder cameras ever made.’

Buy one: It’s pretty easy to find this camera sold alongside its original accessory flash (which mounts on the side of the body). Expect to pay between $ 50-150 for one in working order, with or without the flash. A note of caution: sometimes these turn up in seemingly working order, but with a dead light meter (bad news for an aperture priority-only camera).

Also consider: The Olympus XA2. It is essentially a simplified version of the XA, but with a 35mm F3.5 lens and zone focusing. Some people find the XA2 easier for casual pointing and shooting.

Mamiya M645

History: The Mamiya M645 was the company’s first 6 x 4.5 format SLR-style camera and was manufactured from 1975-1987. It uses an electronic focal plane shutter and features an interchangeable finder and focus screen, but not interchangeable film backs. The camera uses a generic 6 volt camera battery. There are several different versions available including the M645 1000 and the budget-friendly M645J.

Why we like it: These are beautiful cameras both to hold and to operate. Not only that, they are also mechanically reliable. And while there are more feature-packed 6 x 4.5 cameras on the market (including many from Mamiya), few are as affordable as the original M645.

‘There are more feature-packed 6 x 4.5 cameras on the market, but few are as affordable or reliable as the original M645.’

Buy one: These cameras are easy to find in working order. You can expect to pick one up on eBay, with a lens, for between $ 250-350. Note: the M645J model (shown in the image above) is a stripped down version of the M645 for slightly less cash (it has a limited shutter speed range, no mirror lock-up, and one shutter release as opposed to two).

Nikon L35AF

History: Introduced in 1983, the L35AF was Nikon’s first compact with autofocus capability. Its sharp 35mm F2.8 lens and simple design led it to become a marketplace hit. The camera is fully automatic, but does have a +2EV exposure compensation lever on the front of the body. The metering cell is located directly below the lens and the camera can accept filters. It also has a built-in pop-up flash.

Why we like it: At first glance, the L35AF looks like a cheap, plastic camera. But looks are deceiving. This camera is in fact a gem (the body is actually metal with a plastic shell). As mentioned, the lens is sharp, and metering is accurate. AF is also surprisingly accurate. Plus, the camera is powered by two generic AA batteries. Technically-speaking, this is an outstanding film point and shoot. The only down side is the camera is a tad chunky.

‘The L35AF looks like a cheap, plastic camera. But looks are deceiving because this camera is in fact a gem.’

Buy one: You can expect to pay between $ 60-150 for one of these cameras, in working order, on eBay. However the L35AF often turns up in thrift store bins and at rummage sales. Spend a little time hunting and you might find one for under $ 10. There is also the Nikon L35AD, which is the same camera as the L35AF, but with an autodate function.

Minolta Hi-Matic AF2

History: The Minolta Hi-Matic AF2 first debuted in 1981 and is a fully-automatic fixed lens compact, with the exception of its manual film advanced/rewind (weird, we know). The camera has a fairly sharp 38mm F2.8 lens. And like the Nikon L35AF, the camera’s meter is located directly below the front element, which also accepts filters. The camera runs on two AA batteries and offers a pop-up flash.

Why we like it: There are affordable film cameras, and there is the Hi-Matic AF2. In terms of lens sharpness-to-price ratio, this camera is hard to beat. And while there is no exposure compensation lever as you’ll find on other fixed lens compacts of its time, the camera will warn you if there is not enough light or if a subject is too close. It does this by emitting an irritating beep. It’s plasticky, light weight and a lot of fun to shoot with.

‘There are affordable film cameras, and there is the Hi-Matic AF2. In terms of lens sharpness to price ratio, this camera is hard to beat.’

Buy one: These camera can be purchased in working order for between $ 10-35 on eBay. And if you are really turned off by the manual film advanced, consider the Minolta Hi-Matic AF2-M instead. It’s the same camera, but with a motorized film advanced.

Photo credit: Jonathan Mauer

Olympus Stylus Epic

History: The Stylus Epic or Mju II, as it was called in European and Asian markets, is a fully automatic, weatherproof compact camera that debuted in 1997. Like the Olympus XA, the Stylus Epic features a sliding door to protect the lens – it also doubles as an on/off switch. These cameras are revered for their sharp 35mm F2.8 lens, good autofocus and compact design. Plus the camera is powered by a long-lasting and easily obtainable lithium battery.

Why we like it: There’s a lot to like about the Olympus Stylus Epic. While not everyone is a fan of the camera’s odd, rounded design, this writer finds it fits perfectly in a back pocket. This, plus its weather-sealing make it a great take-everywhere-camera. Also, the flash starts charging as soon as the cover is opened, meaning it should be ready to go when it comes time to photograph a decisive moment.

‘These cameras are revered for their sharp 35mm F2.8 lens, good autofocus and compact design.’

Buy one: These cameras are a cult classic and can be a tad tricky to acquire. This is partly due to the fact that Olympus made numerous compacts under the ‘Stylus’ and ‘mju’ names. However the Stylus Epic/Mju II is optically the best and therefore the most coveted. You can generally find one for between $ 150 and $ 250 on eBay – not bad for a camera originally marketed as a budget compact.

Nikon N90s

History: The N90s, also know as the Nikon F90x in Europe, first debuted in 1994 and was manufactured until 2001. Geared toward advanced amateurs, this camera sounds quite advanced on paper, for a film SLR. Features like 3D Matrix metering, a top plate LCD, 4.1 fps continuous shooting in AF-C and a 1/8000 sec max shutter speed sound like digital camera specs. But don’t get too ahead of yourself, it has only a single AF point and AF performance does not compare to that of modern DSLRs. Still the camera is quite capable. And it runs on four ubiquitous AA batteries, which is a plus.

Why we like it: The turn of the century was an interesting time for camera makers: as consumers slowly began to shift from film to digital, a lot of advanced film cameras debuted at a time when the market was drying up. In a sense, the N90s offers nearly the same feel and handling of a modern Nikon DSLR in a film SLR body. If you’re a Nikon digital shooter, there’s simply no reason not to pick one of these up just to try. They are fantastic. 

‘The N90s offers nearly the same feel and handling of a modern Nikon DSLR, in a film SLR body.’

Buy one: It’s kind of crazy how cheap these cameras can be had. On eBay, expect to pay between $ 40-$ 120. Plus, they are easy to find in working order because of how recently they were manufactured. Just don’t expect to find a sweet deal on one with with a lens included. Oh and be aware, the rubberized coating on the body can become unpleasantly sticky with age, especially if the camera was stored in a warm environment.

Photo credit: Amydet at English Wikipedia

Minolta X-700

History: At the time of its release in 1981, the X700 was Minolta’s top tier manual focus camera. A market success, it was manufactured continually until 1999 and was also the final manual focus SLR the company made.  Stand-out features include TTL flash metering, a bright viewfinder and multiple auto exposure modes. Like the Canon AE-1, the body is made mostly of plastic, which keeps the weight (and manufacturing cost) down. It uses generic drugstore camera batteries.

Why we like it: The X-700 offers both Program auto exposure and Aperture Priority modes as well as full manual mode, making it a good choice for those learning. Plus, Minolta glass is fairly easy to come by on the cheap for this system.

‘The X-700 offers both Program auto exposure…as well as full manual mode, making it a good choice for those learning.’

Buy one: You can expect to pay between $ 75 – $ 150 on eBay for one of these cameras with a lens. And like the Canon AE-1, it’s pretty easy to come across a bundle with camera, extra glass and accessories for around the same price as a single camera and lens. 

Photo credit: Retired Electrician

Canon EOS 5

History: The Canon EOS 5, also sold as the EOS A2 in some markets, is a semi-professional SLR manufactured starting in 1992 and discontinued around the turn of the century. It uses Canon’s latest EF mount, first introduced in 1987. The camera features 16 zone evaluative metering and offers a top burst rate with AF, of 3 fps (5 fps in one shot mode). Other standout features include 5 selectable autofocus points as well as the very first iteration of Canon’s infamous eye-controlled focus. The body is powered by a single 2CR5 lithium battery. These batteries can be a tad pricey, but they’re easy enough to find online. 

Why we like it: High and mid-range SLRs from the 90’s are strange beasts: retro in format, while offering some modern-DSLR features. The EOS 5 is a great example of this: it’s highly capable despite its lack of a sensor. Canon diehards can learn a lot about of the lineage of their modern DSLRs by spending some time with the EOS 5.

‘Canon diehards can learn a lot about of the lineage of their modern DSLRs by spending some time with the EOS 5.’

Buy one: No need to break the bank. You can pick up one of these cameras body-only for between $ 30 – $ 100 on eBay. But because they use the modern Canon EF mount, picking one up with a decent lens is going to set you back considerably more.

What cameras should we add?

Is there a camera you feel strongly should be added to this list? Is it affordable, readily available and technically capable? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

 
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How to Simulate the Look of Analog Film Using Lightroom

06 Apr

The tones and organic nature of analog film are things many of us have began to long for in our digital age. Don’t worry, though, this will not be an article about the merits or disadvantages of digital photography or whether film is better or worse than digital. The purpose of this tutorial is to deliver what might be called the best of both photographic worlds. And if not the best, a very liveable compromise between the charm of analog film and the convenience of digital imaging – how to simulate the look of analog film using Lightroom.

How to Simulate the Look of Analog Film Using Lightroom

Photography, like most everything else, is invariably on a forward march of advancement. Always looking for the next best thing; better cars, better computers, and for us photographers…newer digital cameras. Intriguingly enough, often times we end up missing the “old school” feel of the very things we sought to replace with successive newer versions.

Imparting our digital photos with the great look of film is not only but possible, but simpler than it has ever been before. Furthermore, we can conduct all this retrograde post-processing alchemy in Adobe Lightroom. Yes, I promise it’s easy.

How to Simulate the Look of Analog Film Using Lightroom

Things to Note

Now is a good time to pause and make a small disclosure. There are many other variables that exist which determine the final look of a print made from analog film. These variables range from the type and temperature of the chemistry used to develop the film, to the way it was printed and scanned. Even the age of the film when it was shot can change the look of the final results. So remember that while exact accuracy might not be possible the fun of the process itself certainly is!

First Things First – Find a Film You Like

The first step in the process is to find the film you want to replicate. There are a number of ways to go about this. If you happen to be one of those glorious hybrids who shoot both digital and film then you likely have some examples readily available. But the easiest way I’ve found to discover a multitude of images made with analog film is to have a look at Flickr.

There are quite a few groups there that specialize in “film only”, so each image posted is shot on analog film and then scanned into the computer. Some of these groups, such as Film Database require participants to post their images with the film type indicated. Once you find an image with a grain and tone you like, it’s very simple to learn which film was used to create that image. The more images you can find that were shot with that film, the better you can understand the general feel of it.

How to Simulate the Look of Analog Film Using Lightroom

Moving to Lightroom

Once you’ve found the film-look that you’d like to replicate, it’s time to move into Lightroom and let the fun begin. First, we’ll look at the three key things to pay attention to when it comes to simulating the characteristics of film color tone, contrast, and grain. Then, we’ll walk through creating the look of film with a sample image, so you can see just how easy the process really is!

Color Tone

Color tone is a broad term that, for our purpose, describes the overall color temperature of a film and the saturation of those colors. Analog films come in virtually every color tone under the rainbow (pun intended). Some films are very warm toned with rich, vibrant colors. While others are more subdued, with cooler tones and less color saturation. Even black and white films have certain color tone variations.

When looking for the chromatic characteristics of a film, be sure to take note whether the overall tone is warmer or cooler in temperature. Then, look to see if there is any color cast to the image such as blue, red, green, etc. If the film you’re replicating is black and white, still pay close attention to any coloring that might be present. Black and white film is always more than just black and white!

Contrast

This is perhaps the most straightforward aspect of the entire replication process. Contrast is simply the difference between lights and darks within an image. Films carry different contrast latitudes (again, development is key) which you can observe. Are the blacks dark and dense or are they lighter and more faded? Are the highlights bright and contrasted or is the photo flatter and less punchy? Later in Lightroom, the contrast slider will do a lot of the work for you.

Grain

Perhaps the most fickle property of analog film is the presence of grain. Grain is brought about by the size and number of the tiny light-sensitive silver crystals found in the film’s emulsion. Higher ISO film has more grain and lower ISO films generally have less grain. Depending on the film these grains can be larger or smaller, rough or fine, and literally everything in between. It’s a good idea to view the image at the largest size available when examining the grain of the film. Pay special attention to the amount, size, and coarseness of the grain when taking your notes. You are taking notes…aren’t you? Of course, you are!

The Process of Simulation

How to Simulate the Look of Analog Film Using Lightroom

Fujifilm Provia 400X (Image courtesy of Fujifilm)

Now here comes the good part. We will take a digital image and give it the look of a particular analog film. In this case, I’ve chosen a mid-range ISO film, Fujifilm Provia 400X. It’s a moderately saturated film in terms of color, with nice contrast. At ISO 400 the grain is apparent, but not as coarse as some other mid-range ISO films. In most of the images that I viewed from this film, there exists a slight blue color cast present.

Make a Roadmap

So, before I do anything in Lightroom, I make a road map to help me along the way during my processing. It will list the core attributes of the film I’m hoping to replicate. Do this for your film now:

  • Color Tone: Slight blue hue especially in the shadows. Color saturation is moderate. Color temperature is slightly cool.
  • Contrast: Moderate to strong contrast with deep blacks.
  • Grain: Quite apparent but relatively smooth.

Do Basic Adjustments First

We begin with a photo that has been corrected for exposure but no adjustments for color or contrast. This is the best place to start for replicating analog film.

How to Simulate the Look of Analog Film Using Lightroom

Image before processing.

I crop the photo slightly and then move back to the Basic Panel.

How to Simulate the Look of Analog Film Using Lightroom

Follow the Roadmap

Going back to the road map list I made earlier, contrast is the first adjustment. I increase the contrast slider to +81 but this still doesn’t give me the depth in the shadows I’m after, so I go further and darken the blacks by -40. While I’m here, I reduce the saturation to better match the moderate qualities of the Provia 400x. Since the image needs to be slightly cooler, I decrease the temperature a very small amount as well.

To add a little more blue to the shadows we will next use one of the great unsung hero of Lightroom, the tone curve. Click on the tone curve panel and be sure it’s set to “channels” view. Since I want to add a blue color cast, I select the blue channel (see below).

How to Simulate the Look of Analog Film Using Lightroom

Since I want to apply the blue toning mostly in the shadow areas of the image, I raise the leftmost end of the curve upwards slightly. This will introduce a blue hue to the blacks. Be careful not to overdo it here. A little goes an incredibly long way.

How to Simulate the Look of Analog Film Using Lightroom

Using the Curves Adjustment, in the blue channel – adjust the blacks as shown here to add a cool tint to shadows.

Adding Grain

All that’s left now is to focus in on our grain situation. My original digital image was shot at ISO 500 which is close to the ISO 400 of the Provia. Here’s a 1:1 zoom of the original image.

How to Simulate the Look of Analog Film Using Lightroom
But film grain bears many more nuances. So let’s adjust the grain in the effects panel based on our notes from earlier. We observed that Fujifilm Provia 400x sported grain that was moderate, but rather fine. So I experiment with the Amount, Size, and Roughness sliders until I reach a grain effect that approximates the appearance I’m after. Don’t be afraid to manipulate these sliders into submission! The correct combination only comes from visually comparing the adjustments.

How to Simulate the Look of Analog Film Using Lightroom

Here is the grain we’ve added compared to the original image. At a 1:1 view the difference because readily apparent.

And now, you’re all done!

How to Simulate the Look of Analog Film Using Lightroom

Final image.

Don’t hesitate to go back and tweak the exposure or other adjustments to get the look you want. But remember if you change the contrast or color edits your photo might distance itself from the analog film you’ve attempted to simulate.

*Bonus* Try increasing the color noise reduction slider to remove any traces of color noise. Color noise is a trait exclusive to digital imaging and is not found in analog films.

Here’s the finished simulation of Fujifilm Provia 400x film compared to our original digital photo.

How to Simulate the Look of Analog Film Using Lightroom

Before and after.

Conclusion

While we can’t exactly replicate the look of film due to variances in the development and printing processes, we can achieve very similar looks. In a way, we have more versatility since we can strive to achieve the look of a multitude of films in our digital darkrooms. Show us your own analog film simulations in the comments section below!

Want to get a jump start at creating your very own analog film simulations? Take a look at these presets developed by myself, which replicate the looks of numerous classic analog films. All with just a click of the mouse!

  • Analog Film Simulations: Volume 1
  • Analog Film Simulations: Volume 2

The post How to Simulate the Look of Analog Film Using Lightroom by Adam Welch appeared first on Digital Photography School.


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Analog revival? Increase in film sales spurs Kodak to bring back Ektachrome

06 Jan
A box of Ektachrome. Photo via Wikimedia commons

The list of discontinued film stocks is lengthy and after Kodak pulled the plug on our beloved Kodachrome, it seemed like any film could be next on the chopping block. But perhaps those dark days are behind us because today Kodak announced the company will be bringing back a different film stock: Ektachrome.

Discontinued in 2012, Kodak’s decision to raise it from the dead is directly related to a recent increase in demand for analog film. Yep, you read that right. So does this mean that film photography is about to start down a similar path of revival as we’ve seen from vinyl records, which are currently selling at a 25 year high? We sure wouldn’t mind.

From the Kodak announcement:

“Sales of professional photographic films have been steadily rising over the last few years, with professionals and enthusiasts rediscovering the artistic control offered by manual processes and the creative satisfaction of a physical end product. The reintroduction of one of the most iconic films is supported by the growing popularity of analog photography and a resurgence in shooting film. Resurgence in the popularity of analog photography has created demand for new and old film products alike.”

Ektachrome is a color reversal film and was first developed in the 1940’s. Used for decades by National Geographic photographers, it’s been long favored it due to its fine grain and excellent color reproduction.

So come the end of 2017, you’ll once again be able to pick up a 35mm roll of it. And you’ve likely got a bearded, glasses-wearing hipster with a turntable to thank for that.

What do you think of the prospect of an analog revival? Let us know in the comments.

Kodak Brings Back a Classic with EKTACHROME Film

Las Vegas, NV, Thursday, January 05, 2017 —

To the delight of film enthusiasts across the globe, Eastman Kodak Company today announced plans to bring back one of its most iconic film stocks. Over the next 12 months, Kodak will be working to reformulate and manufacture KODAK EKTACHROME Film for both motion picture and still photography applications. Initial availability is expected in the fourth quarter of 2017.

KODAK EKTACHROME Film has a distinctive look that was the choice for generations of cinematographers before it was discontinued in 2012. The film is known for its extremely fine grain, clean colors, great tones and contrasts.

“It is such a privilege to reintroduce KODAK EKTRACHROME Film to the cinematography community,” said Steven Overman, Kodak’s chief marketing officer and president of the Consumer and Film Division. “We are seeing a broad resurgence of excitement about capturing images on film. Kodak is committed to continuing to manufacture film as an irreplaceable medium for image creators to capture their artistic vision. We are proud to help bring back this classic.”

Kodak will produce EKTACHROME at its film factory in Rochester, N.Y., and will market and distribute the Super 8 motion picture film version of EKTACHROME Film directly.

Kodak Alaris, an independent company since 2013, also plans to offer a still format KODAK PROFESSIONAL EKTACHROME Film for photographers in 135-36x format. KODAK PROFESSIONAL EKTACHROME Film is a color positive film, also known as “reversal,” “slide,” or “transparency” film. Unlike all of the other KODAK PROFESSIONAL Films available today, which are color negative films, EKTACHROME generates a positive image that can be viewed or projected once it is exposed and processed. This makes it ideal for high-resolution projection or presentations. It is also well suited for scanning and printing onto a range of professional-grade photographic media. Availability is expected in the fourth quarter of 2017.

Articles: Digital Photography Review (dpreview.com)

 
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Hands On: RNI All Films 4.0, analog presets for Lightroom and ACR

06 Jul

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9248880534″,”galleryId”:”9248880534″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

All images in the gallery above were processed using presets from RNI All Films 4.0 – Pro (the duplicate is the un-edited version for comparison). Click through for larger previews and more info on which presets were used.

Really Nice Images has announced RNI All Films 4.0, the latest version of its film simulation presets for Lightroom and Adobe Camera Raw. It will be sold in two versions, Pro and Lite. 

In the full ‘Pro’ version, 58 film stocks are organized into 5 categories including Negative, Slide, Instant, Black & White, and Vintage. And because most film stocks have several versions, in total RNI 4.0 offers more than 300 presets, 170 of which are brand new from the previous release.

Processed using the new ‘Fuji Natura 1600 – 01’ preset.

RNI specifically highlights Fuji Natura 1600, Fuji Velvia 2.0 and Fuji Pro 400H among its new film stocks, but many more have also been added. Furthermore, according to RNI, the vast majority of presets included from previous releases have been fine-tuned or completely reworked for more accurate skin tones and more realistic grain.

RNI’s film simulations are created from analyzing actual film stocks, so if you are an analog purist, this may be the easiest way to dial in the look of some of your favorite films. RNI 4.0 also now features customized camera profiles, with support for most modern digital cameras.

The software also includes RNI 4 Toolkit, a set of presets that allows users to quickly adjust parameters like grain and softness. They’re useful if you are going for a ‘very analog’ look. Though I personally found the Toolkit presets made my images look over-processed. And when working with film presets, there is a fine line between good processing and over-processing.

Once installed, RNI presets will show up in the left-most Lightroom panel. Hovering over a preset will show a quick display in the thumbnail (upper left) of what it will look like once applied.

Of course, there are quite a few companies marketing realistic film emulations and presets. Two of the most popular are VSCO Film and DxO Filmpack. VSCO Film, like RNI All FIlm, is a set of analog-like presets for Lightroom and ACR. However, unlike RNI All Film, VSCO Film is packaged into 8 different packs of presets, sold separately. Each pack goes for $ 59 and includes around 20 film stocks (each film stock has multiple variations, some have up to 10). 

DxO Filmpack 5 on the other hand is both a plugin for LR and ACR and a stand-alone program. It is sold in two editions: the Elite edition is $ 99, the Essential Edition is $ 49. The former includes 120 different ‘styles,’ 80 of which are based off of film. 

RNI All Film 4.0 also comes in two flavors, Pro and Lite. Pro will run you $ 122. The Lite version, which is stripped down and includes a curated selection of presets from the Pro version will cost you $ 59, the same as one VSCO pack. Of course, if you’re upgrading from a previous RNI Pro version, the price is cut in half, same goes if you’re upgrading from a previous RNI Lite version to RNI Lite 4.0.

Processed using the ‘Fuji Fortia SP’ preset. 

I’ve long been a user of VSCO’s film presets, but in just briefly trying out RNI 4.0, I’m eager to keep using it in the future for processing. Most of the actual film stocks (not Toolkit presets) are well-judged and there are plenty to experiment with. Not to mention, RNI 4.0 offers quite a few film stocks not available from the competition.

 You can download All Films 4.0 directly from RNI here.

Articles: Digital Photography Review (dpreview.com)

 
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The good, the bad and the analog: CES 2016 ‘best of’

13 Jan

Best of CES 2016

CES 2016 just wrapped up in Las Vegas and during the course of the week-long trade show, in between meetings and demos, we had the chance to roam the floor and check out a lot of cool new products; from big releases like the Nikon D500 and D5 to pleasant surprises like the new Kodak Super 8 camera (pictured above). Take a look through our gallery and see for yourself all the cool new stuff CES 2016 had to offer.

Zeiss Optics + ExoLens for iPhone

Zeiss and Fellowes Brands teamed up to launch three new Zeiss-branded iPhone attachment lenses that work with ExoLens iPhone mounts, including a wide-angle, telephoto and macro lens. The wide angle lens offers an 18mm equiv. FOV, the telephoto a 58mm equiv. FOV and the macro a 40-80mm FOV depending on distance from subject. We had the chance to check out the wide-angle and telephoto options in person, and were quite impressed with the quality of these iPhone accessories.

We also chatted with a Zeiss rep on the show floor and he told us that the whole idea in developing these lens attachments was to create something that would not degrade image quality in any way, when affixed to an iPhone. We also joked that these are the most affordable Zeiss lenses on the market (though pricing has not officially been announced). It seems likely that these units will initially hit the market as a kit, which will include the wide, tele and ExoLens mount; the Macro lens will likely be sold as a stand-alone product.

Sony HDR-AS50 Action Camera

The Sony HDR-AS50 is the company’s latest mid-level action camera. It features an 11MP 1/2.4-inch BSI sensor with an F2.8 lens and can capture 1080/60p video as well as 720/120p slow-motion video. While it isn’t waterproof, a newly-designed underwater housing will be available bundled with the camera (and also sold separately).

Unlike GoPros, Sony Action Cameras are stabilized, and the HDR-AS50 utilizes the company’s newest version of SteadyShot. It also features a new button layout and a rearranged menu, with an easy-to-use grid design. It should be available come February and can be yours for $ 200, making it a mean competitor to the GoPro HERO4 Session.

360Fly VR Camera

The 360Fly camera, which was technically launched prior to CES, caught our attention because of its unique design and ease-of-use. We had the chance to briefly demo one on the show floor and were impressed with the fact that users can view their footage in real-time on a smart device, as well as edit and share with great ease.

Video captured with the 360 Fly can also be viewed using standard cardboard VR glasses. And unlike VR cameras that use multiple lenses and stitch in post, the 360Fly has only one lens (so no awkward seams). It is also smaller than most 360 cameras we’ve seen, about the size of a tennis ball. The 360Fly is available now for $ 400.

Olympus M.Zuiko Digital ED 300mm F4 IS Pro

Olympus’ new 300mm F4 IS Pro offers a 600mm equivalent field of view in a reasonably-sized/weighted package. It is weather-sealed, dust-sealed and freeze-proof. It is also the first Olympus Micro Four Thirds lens to offer built-in image stabilization, for easy hand-hold-ability. When paired with an Olympus OM-D E-M1 (firmware version 4.0) or E-M5 Mark II (firmware version 2.0), Olympus claims it will give up to 6 stops of image stabilization.

We had the chance to check out this beautiful lens prior to the show, and found it to be incredibly sharp. Take a look through our sample gallery and see for yourself.

LaCie Porsche Design Desktop Drive

LaCie’s new Porsche Design Desktop Drives utilize USB-C connectivity for file transfer speeds up to 5 Gb/sec. But what’s even cooler about these drives is the fact they can also be used to power your laptop – simply plug the drive into the wall, and USB-C cable from the drive to your computer. Available in 4TB, 5TB and 8TB, these drives will be available in March starting at $ 209.95.

Kodak Super 8

The new Kodak Super 8 camera was easily on of the most talked about product releases of CES 2016 (Nikon DSLRs aside), at least amongst nerdy camera folks. And for good reason: it not only has us feeling nostalgic, it also gives us hope that Kodak, the film company (not the licensed name) is here to stay.

The unit records movies on Kodak Super 8 film cartridges but uses an internal prism to split the image and display what is being captured on an LCD. It also has a built-in microphone and SD card slot for recording audio, which can be synced up later. When available, the Kodak Super 8 camera will ship with either a Ricoh 6mm or 6-48mm lens, both of which are C-Mount.

One of the coolest things about the launch of this new Super 8 camera is that Kodak also announced they will start including processing costs in the price of each Super 8 film cartridge. So when you’re done shooting, simply send the cartridge off to Kodak and they’ll send the physical film back, along with digital scans of your movie, which can then add your sound to/edit.

Pricing and availability details are not set in stone, but it looks like the unit will be available in fall 2016 and will cost between $ 400 and $ 750. The film should cost between $ 50 to $ 75 per cartridge, including processing.

MindShift Gear UltraLight Dual 36L

MindShift Gear is a funky little company owned by Think Tank Photo that specializes in bags for adventure-seeking photographers. What makes the new UltraLight Dual 36L so cool is the ability to remove the gear compartment completely from the backpack, and use it as a stand-alone bag. The gear compartment has both a belt loop and shoulder strap for easy transportation when not in the backpack. However, when it is tucked within the bag, gear can easily be accessed via a side zipper.

We love the idea of camera bags that can serve double duty, hauling one’s gear, as well as one’s personal items. Also, as the name might suggest, the UltraLight Dual is one of MindShift Gear’s lightest daypacks, weighing 3.3 lb / 1.5 kg. It can also carry up to a 15″ laptop and includes a rain cover. The UltraLight Dual 36L is available now for $ 200.

Nikon SB-5000

The Nikon SB-5000 was announced at the same time as the flagship Nikon D5 and D500 DSLRs. It is the first Nikon flash to offer built-in radio triggers. Smaller than an SB-910, the SB-5000 has a range of 30 meters and can control up to 6 groups of flashes, or a total of 18 units. It features a redesigned cooling system and can fire 120 continuous shots at 5-second intervals.

The Nikon SB-5000 will be available in March for $ 599.95.

DJI Phantom 3 4K

DJI might be the most recognizable name in consumer drones. The company’s latest release, the Phantom 3 4K offers the same exact video quality as the higher-end Phantom 3 Professional, but for $ 200 cheaper. 4K video is captured at 30 fps with a 60Mbps compression rate.

The main difference between the $ 1000 Phantom 3 4K and $ 1200 Phantom 3 Professional is the operating range. The 4K uses Wi-Fi to stay connected and stream footage while the Professional uses DJI’s LightBridge system, which has a greater range, and can stream higher-res video. Still, it’s nice to see DJI offering quite a few drone options at different price points to meet different budgets. For those looking to invest in their first drone, DJI also offers the Phantom 3 Standard for $ 800, which is capable of 2.7K video and also uses Wi-Fi to stay connected.

Kodak/JK Imaging PixPro SP360

The Kodak PixPro SP360 4K action camera is one of those products that took us by surprise at CES. In general, we were on the lookout for any cool virtual reality or 360 cameras, but Kodak was one of the last names we expected to be attached to such a product. Technically, JK Imaging has licensed the Kodak name for this product, but that is neither here nor there.

The SP360 4K uses a 12MP BSI CMOS sensor and an F2.8 aperture lens; 4K video is captured at 2028 x 2028. It is being touted as the World’s first 4K 360-degree action camera. Though there were some hiccups with the unit during our booth demo, the sample footage from it looks very good. Users can record footage in 10 different modes including a full 360-degree mode, a super-wide 235-degree mode, and a Front mode that gives a more traditional (less distorted) action-cam POV. The SP360 4K is Wi-Fi and NFC enabled for pairing with a device. It is also freeze, dust and shockproof as well as water-resistant, though not waterproof. It ships with dedicated editing software and footage from the SP360 4K is both YouTube and Facebook-compatible.

The camera is being sold in two different kits, as a stand-alone unit for $ 500, and Dual Pro pack that includes both cameras and a mount for $ 900 (pictured above). Check out a sample video here.

Olympus Tough TG-870

Olympus makes some of the best rugged cameras in the business and the TG-870 is the company’s latest Tough Camera release. Slotted right below the flagship TG-4, the TG-970 features an improved GPS with faster synchronization times (compared to its predecessor), and a brighter, higher resolution 920K-dot LCD.

It is waterproof down to 50 feet, shockproof from 7 feet, crushproof up to 220 pounds and freeze proof down to 14 degrees F. Basically, this camera is built to last, making it a solid option for both adventure-seekers, or those needing a kid-friendly family camera.

Other cool features include Live Composite mode, new Nightscape movie and still modes, built-in Wi-Fi and 1080/60p video. Also cool: the LCD flips up 180 degrees and a front-facing shutter release ensures the ability to take epic selfies, no matter how extreme the situation. The Olympus Stylus Tough TG-870 will hit shelves in April for $ 279.99.

Nikon D5

The fact that Nikon ‘pre-announced’ the D5 didn’t make it any less exciting to see it in person and get our hands on it. Taking over the high performance flagship position in Nikon’s lineup from the D4S, the D5 is poised to create its own legacy. The D4S was a beast; the D5 is an even beastier beast.

The D5 is built around a new 20.8MP CMOS sensor and and Nikon’s EXPEED 5 image processor. Key to its high performance is a new 153 point autofocus system which includes 99 cross-type sensors. In addition, the 180,000-pixel RGB metering sensor is double the resolution of the one in the D4S, which should make Nikon’s already good 3D focusing system work even better. Nikon also made a big deal about high ISO performance on this camera: when fully expanded its ISO range reaches into the stratosphere at ISO 3,280,000. You may not want to shoot quite that high to get optimal image quality, but Nikon emphasized that they want users to be able to shoot in dark environments, such as poorly lit sports arenas, without having to use a strobe.

Although the D5 isn’t the type of camera someone is likely to buy as a primary video tool it can capture 4K video footage, though with the caveat that you get a 1.52x crop factor and a 3 minute record limit per shot.

You can read more about the Nikon D5 in our hands-on article from CES.

Nikon D500

Nikon gave its users an unexpected New Year’s gift in the form of the D500 DSLR, the long awaited follow-up to the D300S, which was introduced way back in 2009. Just in case you did a double take, yes… 2009. Though some users inevitably gave up hope along the way the Nikon faithful never did, and they’ve been rewarded with a camera that may have been worth the wait.

Nikon has managed to cram as much of a D5 into a smaller APS-C body as humanly possible. For the most part, they’ve pulled it off with finesse. The D500 gets the same 153-point AF system as its bigger brother, though on the DX sensor it covers almost the entire frame. It uses the same EXPEED 5 image processing engine as the D5 and shoots 10 fps with a 200 shot Raw buffer. Birders are going to love this thing. 

At 20.9MP the D500 doesn’t have quite the resolution as the more common 24MP we see on many cameras nowadays, but we’re guessing that most users of this camera are less worried about total resolution than performance. Like its big brother the D500 can also shoot 4K video, though at a 2.3x crop relative to full frame.

One feature we’re really excited to see is ‘Auto AF Fine-Tune’, which is designed to use the live-view image on the sensor to auto-calibrate the phase detect autofocus system for any lens.

You can read more about the Nikon D500 in our hands-on article from CES.

Samsung Gear VR

Virtual reality goggles were everywhere at CES, but none more than Samsung’s Gear VR headset that uses one of the company’s Galaxy smartphones for its display. I sat through a demo in Samsung’s booth in which you ride a virtual roller coaster while sitting in chairs that simulate the ride’s movement and vibration, and I have to admit it was shockingly realistic. It may be obvious to your eyes that you’re looking at a smartphone, but your brain still leaves your stomach behind when the roller coaster drops down some steep track. 

The good news for photographers and videographers is that the conversation around VR seems to be changing. Whereas marketers used to just talk about the technical capabilities of headsets (and let’s face it, they still will if you give them a chance) we seem to have reached the point where everyone realizes that VR content will be what drives the market. Riding roller coasters at trade shows is fun, but tools that give individual content creators the ability to create unique VR experiences or immersive films should really open up creative possibilities.

Panono Camera

Speaking of creating VR content, one of the tools we saw at CES that will help you make it is the Panono spherical camera. At less than five inches in diameter, and weighing in at just over a pound, the Panono packs 36 fixed-focus cameras that capture a total of 108MP of image capture capability. You control the camera with a simple smartphone app that uploads the data to Panono’s servers to perform the processor-intensive stitching process.

We had the opportunity to play with the Panono at CES and you can see an example of a shot we took in the Nikon booth. It’s worth noting that the camera couldn’t capture the wide dynamic range of lighting in the convention center – it probably would have been a challenge for many small cameras – but the folks at Panono showed us a soon-to-be-released update that adds HDR to the camera, with fairly nice results.

Nikon KeyMission 360

We were expecting to see a lot of action cameras at CES, but this one caught us by surprise. After wowing us on Tuesday with its new D5 and D500 DSLRs, Nikon unexpectedly gave us the the KeyMission 360.

The company says the name reflects the nature of the camera; when you’re out having a serious adventure your ‘key mission’ is to get footage. OK, we’ll be the first to acknowledge that the name doesn’t exactly roll off your tongue, but the camera itself looks pretty exciting. It’s a shockproof, waterproof, spherical 360-degree action camera which includes electronic VR stabilization and generates 4K (UHD) video using two ultra-wide angle field of view cameras.

Unfortunately, the KeyMission was still locked under glass at CES, but to our eye the footage from the camera looked pretty impressive. We’ll reserve final judgement until we have a chance to run our own tests, but there are already arguments around the office about who gets to do the playing testing. The KeyMission 360 is scheduled to be released in spring 2016.

Ambarella Electronic Image Stabilization (EIS)

Many consumers may not recognize the name Ambarella, but that doesn’t mean they’re not customers. Ambarella makes many of the processors that power the small, mobile imaging devices now in use, such as action and drone cameras. Chances are if you have one of these devices it probably has Ambarella technology inside.

Ambarella showed us a number of new technologies at CES 2016, but the one that really caught our attention was the company’s electronic image stabilization (EIS) technology. Historically, processing power limited just how much manipulation could be done to video in realtime; for example, you could have effective image stabilization on a small drone camera, but only at 1080p. With Ambarella’s newest chips, such as the H2, it’s now possible to record in UHD 4K with fully enabled EIS. 

How good is it? To provide an example the company set up two cameras on a vibrating platform, one with EIS enabled and one without, and two TVs showing live feeds from each camera. The results? The image from the camera without EIS enabled was bouncing all over the place, while the camera with EIS enabled looked almost as if it was mounted on a tripod. Ambarella is a component provider to other manufacturers so it will probably take a while before this technology starts appearing in consumer products, though a spokesman said we should be seeing shipping products by CES next year.

Panasonic DMC-ZS100

Readers of the site will know that we’re generally big fans of Panasonic’s high end compact cameras, so the new Panasonic ZS100 (TZ100 outside North America) definitely got our attention. It’s a compact model with a 20MP 1”-type sensor and a 25-250mm equivalent lens. Despite the rather generous 10x zoom range it still collapses down into a package that will fit in many pockets.

But it’s not just the 1” sensor and versatile zoom range we like. The camera features two control dials (one on the top plate and one surrounding the lens), four customizable buttons, and a touch screen, meaning you get plenty of control. Top it off with 4K UHD video and it makes a very nice package.

Of course, there are always tradeoffs with long zooms, and the ZS100 is no exception. Although it starts out at F2.8 at the wide end, it stops down to F5.9 at the long end. If you can work within those parameters, however, the ZS100 could make a great compact travel zoom.

InVisage Quantum Film

The top two devices in this image are an iPhone and a ‘popular Android phone.’ The bottom device is a prototype phone incorporating InVisage’s QuantumFilm sensor technology.

A couple months ago we wrote about an innovative sensor technology from InVisage called Quantum Film. You can read our earlier article for specifics on how the technology works, but the abbreviated version is that instead of using silicon as the light sensitive medium in its sensors, InVisage Quantum Film uses a layer of nano-scale crystals that respond to specific frequencies of light. The primary benefits of the technology are expanded dynamic range (compared to silicon-based sensors) and global shutter, which eliminates the jello effect often seen in CMOS sensor designs.

In a private meeting with InVisage we finally had a chance to see these sensors in action, and we’re excited. To show off dynamic range InVisage set up a mini studio scene with color charts in high contrast bright and dark areas (see photo above). Three phones – an iPhone, an ‘popular Android phone,’ and an unreleased phone with an InVisage sensor – were lined up for comparison. To our eye the InVisage sensor definitely captured more dynamic range, appearing a bit similar to Log video footage. We were also able to see global shutter in action in a side-by-side comparison to an iPhone. In this video, you can see the difference global shutter makes when capturing certain types of motion such as a vibrating guitar string.

The good news is that you won’t have to wait long to get your hands on this technology: InVisigen tells us the first phones with their sensors are expected to ship in Q1.

olloclip Studio

Smartphone photography has gone mainstream, and one company that has been supporting users almost from the beginning is olloclip, known for its cases and add-on lenses. At CES 2016 olloclip introduced its new olloclip Studio, an integrated case and accessory solution for the iPhone 6/6 Plus series of phones. 

The core of the Studio is a highly protective case that includes a rail-mounting system to which accessories can be attached. Accessories include two screw mounts for attaching tripods or grips, two cold-shoe adapters for add-ons such as microphones or LED lights, a very sturdy finger grip to facilitate one-handed operation, and a kickstand. It’s enough to build out an entire filming rig in the palm of your hand. 

Samsung T3 SSD

It’s not exactly photography equipment, but the Samsung T3 portable SSD is an appealing solution for photographers and videographers who need lots of fast, compact storage while working in the field. Available in capacities up to 2TB, the T3 weighs in at under 2 ounces (51 grams, to be exact) and its longest edge is only 3 in / 7.6 cm long – small enough to fit in a shirt pocket. See that connector on the end? That’s a USB type-C connector, giving you an idea of how small it is.

Despite its size, the T3 offers data transfer speeds up to 450MB/sec, likely fast enough for all but the most demanding applications of most photographers.

Articles: Digital Photography Review (dpreview.com)

 
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Squeeze to Zoom: No Need to Fold this Egg-Shaped Analog Map

04 Sep

[ By WebUrbanist in Design & Products & Packaging. ]

egg shaped map design

Tapping into the natural expansion of a squeezable ball under pressure, this urban micro-globe provides both big-picture views and detailed streetscapes on one continuous surface.

squeeze color coded map

Hungarian designer Dénes Sátor created the rubber EggMap ball in response to both traditional paper maps and newer digital equivalents, wanting a to pack more information into less space without relying on external energy or connectivity.

squeeze eggmap zoom out

squeeze eggmap zoomed in

The spherical solution addresses classic issues with other geographical guides. Folding maps wear out over time, are susceptible to weather and conspicuous to examine publicly in unfamiliar places. Online maps may fail for lack of battery or internet.

squeeze map legend

Color-coded city sections let you easily spin and locate places on the map; a quick squeeze then reveals street names, specific locations and transit details (illustrated in the legend above).

squeeze to zoom map

squeeze ball egg map

Made to be robust and portable, the air-filled ball easily resists rain, wind, mud or snow and can be tossed in a pocket or backpack when not in use. And if you still manage to get lost, you can always throw it against the wall in anger – it will rebound.

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20 Cool Things You Can Do With Nik Software’s New Analog Efex Pro 2

27 May

I’ve been playing around with Nik Software’s new Analog Efex Pro 2 photo processing software (brought to you by the good folks at Google) all weekend long and I’m super impressed. The purist film photographers out there are probably going to hate this new software, but for you digital photographers who dig an analog look and feel, you are going to love this.

I shot film exclusively for about 15 years before switching to digital in the early 2000s. While there is an absolute undeniable romance with rolling your own film, hanging out in a darkroom with your college girlfriend, and licking the fixer off your own prints you made yourself, it’s not something I think I’ll ever go back to — unless and maybe when my hipster buddy Daniel Krieger finally convinces me to buy a film Hasselblad.

I used to joke around with anyone who asked me what camera I shot and tell them a Holga. Now it’s like I really am shooting a Holga, just with my Canon 5D Mark III. ;)

Anyways, check out 20 different looks you can create with Analog Efex Pro 2. I’m a fan. You can buy it here if you want.

Motion Blur. It’s like owning a lensbaby without having to actually use one of those horrible awkward things. Just kidding, lensbabys are great!

How did I ever get a double exposure of this classic neon sign? I’ll never tell.

Hey It’s Amanda Morgan shot with my cool Toy Camera #9.

Wet plate photography, without all the sticky wet plates.

Jenna Jamieson shot with Toy Camera #1.

Every respectable concert photographer brings their Toy Camera #2 to the photo pit these days. Chvrches rock!

Instant triptychs.

Classic Camera #7 has such a nice warm film feel, doesn’t it?

Hey tilt shift and I didn’t even have to buy the $ 2,500 Canon TS-E 17mm f/4L Tilt-Shift Lens! Which is a totally awesome lens by the way that I actually will buy someday. Canon L lenses are the best. I cannot say enough positive things about all my Canon glass. I’m not being sarcastic there, I’m being serious.

One of my neon signs that I took back in 1972 while on a photography junket across America with Stephen Shore.

Motion blur with Jeremiah Owyang. It’s just like Star Wars only better because it’s got Jeremiah in it.

Colorcast #2 makes butterflies look so pretty.

Colorcast #2 makes models look so pretty too, but this one was already pretty to begin with. :)

I think this painting from the Met in New York City looks better this way, don’t you? I could totally print this up and hang this in my house. So can you too, because I licensed it Creative Commons non-commercial. Friends share right? ;)

Oopsie, a little light leak thing happened in my Holga again.

Doing wet plate photography in Holbrook, Arizona.

Love the authentic real life colors from Classic Camera #2 on this San Francisco victorian in the Mission District. A couple million in stock options and this too can be yours.

Smoothdude let me borrow his Hasselblad to make this photo on our Route 66 trip last year.

I took a photo of my Kodak Instamatic with my Kodak Instamatic. Get it?

More Seattle fun with Toy Camera #2.


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Lost 1960s moon photos recovered from analog tapes

25 Apr

289762main_GPN_2000_001588_1024-768.jpg

More than 50 years after the satellites that captured the first high-res images of the moon plunged to the surface and were destroyed, a Wired article tells the story of a group of people that found the tapes after they ended up in storage in California. Re-engineering the old drives capable of reading the tapes, they’ve recovered these historically significant images. Learn more

News: Digital Photography Review (dpreview.com)

 
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