RSS
 

Archive for the ‘Uncategorized’ Category

‘Accurate autofocus on any subject in any environment’: Olympus engineer talks OM-D E-M1 Mark III AF

14 Apr
Olympus’ newly-announced OM-D E-M1 Mark III (left) alongside the OM-D E-M1X.

The recently-launched Olympus OM-D E-M1 Mark III features an advanced 121-point all cross-type autofocus system, and many other capabilities inherited from the flagship OM-D E-M1X including Live ND mode and various multi-shot features.

Modern mirrorless interchangeable lens cameras use one, or a combination of two main types of autofocus: contrast-detection and phase-detection. Contrast-detection autofocus works by driving focus until the contrast of a sampled area on the sensor is at its maximum – the presumed point of sharp focus. Contrast-detection is highly accurate, but can be slow, and relies on a certain amount of ‘trial and error’.

Phase-detection works more like human vision, using dedicated pixels to compare light coming from your subject from two slightly different perspectives at the same time. This allows the camera to judge depth, allowing for faster focus acquisition, without the ‘hunting’ characteristic of many purely contrast-detection autofocus systems.

Traditional phase-detection autofocus systems rely on pixels that are sensitive to vertical lines in a scene. Some, more sophisticated systems use a ‘cross-type’ pixel arrangement, which can detect horizontal or vertical detail, meaning that accurate focus can be achieved even with complex, non-linear subjects.

The 121-point autofocus system in the Olympus OM-D E-M1 Mark III and the E-M1X uses a combination of cross-type phase and contrast-detection, to ensure fast and accurate focus in a range of challenging environments.

In this interview, Tetsuo Kikuchi, manager of Imaging System Development at Olympus Corp explains how the E-M1 Mark III’s autofocus system was developed, and what it means to design a camera for demanding professionals.

What are the user requirements for professional-grade autofocus systems?

The most common requests we receive from professionals are that the camera must focus on their desired subject as quickly and accurately as possible, and it must continue to focus on that subject in any situation.

Professionals often stress the importance of operability, too. Their work requires the ability to quickly and easily adjust autofocus settings as shooting situations and subjects change. We believe that in order to satisfy professionals, we have to be able to meet all of those requirements.

What was the main customer feedback about autofocus in previous models?

After releasing the OM-D E-M1, which was Olympus’ first on-chip PDAF mirrorless camera, we received many requests for more AF points. These requests came from professional photographers and ‘prothusiasts’, especially in the genres of sports, bird, wildlife, and aviation.

We collated performance feedback and took special note of comments regarding focus drift to the background. Then, we set out to develop the 121-point all-cross-type PDAF system to eradicate this issue, delivering highly accurate focusing with all AF points, enabling photographers to keep their subject in focus.

Olympus’ 121-point all-cross-type PDAF system covers the majority of the frame.

What was the main priority when developing autofocus for the E-M1X and E-M1 Mark III?

There were two main goals, actually: ‘Quick focusing on targeted subjects after engaging autofocus’ and ‘stable and highly accurate continuous focusing on targeted subjects in any environment’.

What was the concept behind the 121-point all-cross-type On-chip Phase Detection AF point array?

We developed our on-chip PDAF system to achieve our goal of accurate and continuous autofocus on any subject in any environment.

The AF sensor array layout on the image sensor – which is unique to Olympus – is designed to detect any vertical, horizontal, or diagonal line patterns on subjects, and to find a defocused subject in the foreground. Thanks to our AF sensor layout design, our on-chip PDAF can deliver the high-speed focusing of phase detection and the accurate subject detection of cross-type sensors that DSLR cameras have previously achieved with a dedicated AF sensor. Our system has the added advantage of wider autofocus area coverage.

What makes Olympus autofocus technologies different to or better than competitors?

Our PDAF system can detect vertical and horizontal line patterns equally, allowing the camera to detect and focus on subjects in the foreground. This is a merit of Olympus. Because the PDAF sensors are arrayed not in one high density line but discretely over the entire area of the image sensor, any potential negative effect on image quality is also reduced.

Olympus’ most recent firmware delivers accurate autofocus without the risk of ‘focus drift’ to the background.

OM-D E-M1 Mark III, M.Zuiko Digital ED 300mm F4 IS PRO. F4, 1/250sec, ISO 3200

How difficult is it to implement cross-type on-chip phase-detection autofocus technology?

The most difficult challenge we faced when developing our all cross-type on-chip PDAF system was in determining the optimal layout of the PDAF sensors: one that would achieve the highest level of focusing accuracy with horizontally-arrayed and vertically-arrayed AF sensors simultaneously. In principle, utilizing phase detection AF can cause measurement errors; minimizing such errors is required for highly accurate focusing.

Could you elaborate on the sources of these measurement errors?

The measurement errors are attributed to a combination of factors, but the degree of measurement error is specific to the PDAF sensor layout. Therefore, we needed to build a proprietary in-house method to evaluate the reliability of measured distance data. This was important when we commenced development of the OM-D E-M1 Mark II, which was our first camera model equipped with all cross-type PDAF sensors.

Using pre-production cameras, our R&D members worked closely with professional photographers

Using pre-production cameras, our R&D members worked closely with professional photographers to conduct shooting tests, and these tests were repeated many times to refine our method. As a result, we are able to accurately evaluate our PDAF reliability and deliver exceptional performance.

Measurement errors can also come from the lens. However, our cameras can automatically correct for such errors according to the lens’ known characteristics, thus eliminating any effect.

Concept rendering, showing how cross-type phase-detection autofocus pixels are arrayed on the sensor of Olympus’ OM-D E-M1 Mark III and E-M1X.

Is there an autofocus advantage to a smaller sensor compared to APS-C or full-frame?

In principle, there is no correlation between PDAF performance and sensor size. However, our on-chip PDAF strongly complements our compact system size (which is ideal for photography genres such as bird and wildlife) because this autofocus method allows for a small camera body and fast focusing on moving subjects.

Lens resolution can affect autofocus accuracy though, because high resolution lenses make it possible to more precisely detect focus position.

The OM-D E-M1X is one of Olympus’ OM-D models that utilizes its contrast-detection plus all-cross-type phase-detection AF system.

How will the computational and machine learning based approaches we’ve seen in Olympus cameras evolve?

To ensure our products deliver the highest levels of performance, continuous device evolution must be paired with ever-evolving computational photography technologies. We have been heavily investing our resources to meet this challenge. For example, the E-M1 Mark III boasts our Handheld High Res Shot Mode, a technology that can produce high resolution low noise images, similar to those of full frame cameras, but with a system that’s significantly smaller in size.

We will develop new technologies to enable photographers to capture challenging images which are only possible using an Olympus camera and lens

We have also achieved advanced subject detection AF with AI-based deep learning technology. Features such as these will be continuously improved. Looking to the future, we will develop new technologies to enable photographers to capture challenging images which are only possible using an Olympus camera and lens, negating the need for extra equipment, special shooting skills, or additional post-processing.

The OM-D E-M1X has 121-point contrast-detection plus all-cross-type phase-detection AF. It features Olympus’ Subject Detection AF with AI-based deep learning technology.

OM-D E-M1 Mark III, M.Zuiko Digital ED 300mm F4 IS PRO. F5.6, 1/1600sec, ISO 400

Smartphone cameras today perform dynamic and local adjustments to automatically create a pleasing image. Do you see Olympus cameras also adopting this ‘auto’ approach in the future?

Our goals do not include the development of technology that significantly limits users in their individual creativity and expression. Instead, we develop cameras that facilitate the creative process, helping photographers bring their image concepts to life. While it is important that we enable photographers to utilize their skills and knowledge, we also see value to improving camera features for shooting assistance.

Thus, we will strive to uphold a balance between expression and automation with new technology that can benefit photographers of all skill levels and genres.

Tetsuo Kikuchi is manager of Imaging System Development at Olympus Corp, in Tokyo.

This is sponsored content, created with the support of Olympus. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on ‘Accurate autofocus on any subject in any environment’: Olympus engineer talks OM-D E-M1 Mark III AF

Posted in Uncategorized

 

Japan offers $2.2B to help domestic companies move production from China, but will it help the imaging industry?

14 Apr
Fujifilm X-Pro2 cameras being moved along the production process inside Fujifilm’s Sendai, Japan factory.

Last week, South China Morning Post (SCMP) reported that Japan is planning to set aside $ 2.2 billion of its $ 993 billion emergency COVID-19 stimulus package to help Japanese companies move production out of China, a move with potential ramifications for numerous Japanese camera and lens manufacturers.

According to the report, the $ 2.2 billion would be split into two different funds. Roughly $ 2 billion will go towards assisting Japanese companies move operations back to Japan, while the remaining $ 200M will help companies move production into other countries, in what is likely an effort to help diversify supply chains that aren’t domestic.

Rather than purely speculating on the matters, we decided to contact executives at a few Japanese camera and lens manufacturers to find out what their thoughts are on this facet of the emergency stimulus package.

General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division, Toshihisa Iida, had the following to say when asked about the SCMP article and its potential impact on Fujifilm’s operations:

‘Manufacturing in China has changed a lot over the years. It faces many challenges such as parts and labor availability, increase in overall cost, [the] US-China trade issue, and most recently, COVID-19. We still depend heavily on China to source electronic and mechanical components, but we started sourcing from alternative vendors from outside China as well.

[Business continuity planning] is always a very important agenda in our business strategy. We learned from disasters such as earthquakes and floods in the past, and keep our eyes open to prepare for any situations to secure the supply chain. COVID-19 is no exception.’

As for its current production operations, Mr. Iida says ‘Fujifilm already owns factories outside China (e.g. Japan and the Philippines)’ and has also subcontracted factories. ‘Production quality in all of the factories [is] being monitored to achieve the same standard,’ he says. ‘We look at all the important elements for production, such as capacity, cost, lead time, and [allocation of] the products to the aforementioned factories in order to deliver the products efficiently.’

Here, finished X-Pro2 bodies manufactured inside its Sendai, Japan factory await final checks before being boxed up for shipping.

Despite the Japanese government’s record stimulus package, Mr. Iida remains unsure of its impact on Fujifilm’s production, saying ‘It’s too early to say whether we will move our production from China, and if we do, how much will be shifted to Japan or elsewhere, but we will continue to monitor the situation and take action if and when necessary.’

All in all, it seems the production shift initiative might not have as much of an impact on the photography industry as some might’ve hoped. Aside from not being heavily publicized, the state of the industry even before the COVID-19 pandemic wasn’t great and investing in a contracting market isn’t exactly assuring, even with a convincing stimulus opportunity to make use of.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Japan offers $2.2B to help domestic companies move production from China, but will it help the imaging industry?

Posted in Uncategorized

 

I’m Back returns to Kickstarter with updated I’m Back 35 digital back for old 35mm SLRs

14 Apr

Swiss company I’m Back has returned to Kickstarter with another digital back product, this one following the previous models it sought crowdfunding for in 2016, 2017 and 2018. The new I’m Back 35 will be, according to the company, the only digital back product that can be paired with ‘almost all the most famous analog cameras.’ The I’m Back 35 will feature manual and automatic recording modes, improved battery performance, a new ergonomic design and other new technology if it ends up being produced.

The ‘I’m Back 35’ unit is designed to work with old analog SLR cameras that are still functional, yet obsolete. The digital back will replace the back cover on an old SLR to give it digital functionality and features, including a 2″ touch display, external microphone support, USB-C, WiFi, support for syncing flash and a Panasonic 34112 image sensor.

The aluminum-based universal cover on I’m Back 35 supports 99 percent of existing 35mm analog cameras, according to the company. Should the I’m Back 35 see the light of day, its creators say the unit will have new software controls for the manual exposure function, an exclusive PCBA design and will use NP-F550 and NP-F570 batteries.

I’m Back says it offers dedicated back covers that improve the I’m Back 35’s fit on customers’ preferred analog cameras, including models like the Canon EOS 300, Ricoh KR10, Olympus OM10, Nikon F100, Leica M7, Diana F, Pentax K1000 and Yashica FX3, among others. I’m Back 35 will also include a universal back cover that can be used with most other 35mm analog cameras.

The new digital back will feature an ‘M’ button for switching between manual and automatic modes, a new focusing screen, new alignment and stability system, new clamps, micro HDMI and a microSD slot with support for cards up to 128GB capacity. The device, which is currently only shown as a prototype, captures images in JPEG and raw formats at 8MP to 14MP resolutions, plus video in MOV format at up to 4K/30fps.

Other technical features will include a built-in speaker and microphone, support for a 7.4V-1A power source, 1.5mm sync cable, and 3.5mm microphones, as well as PCs running Windows 2000 or higher and Macs running macOS 10.3.6 or higher.

The company notes that because its digital back uses a focusing screen, the images and video captured with I’m Back 35 won’t be at the same quality level as content captured with a dedicated digital camera, but rather will ‘resemble something between analog and digital.’ Below are a few sample photos shared by the I’m Back team, captured with the working prototype:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0657357708″,”galleryId”:”0657357708″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

I’m Back 35 follows the I’m Back MF digital back, which is currently in its final prototype stages, according to the company.

The new 35mm product is a bit cheaper at $ 349 retail price compared to the I’m Back MF’s $ 400 price tag. I’m Back is offering its 35mm model to Kickstarter backers in exchange for pledges starting at CHF 249 (approximately $ 258). The backer kits include the I’m Back 35 digital module, universal back cover, sync cable, USB-C cable, rechargeable battery and battery charger. Assuming everything goes according to plan, I’m Back anticipates shipping its product to backers starting in December 2020.

You can find out more information and secure your pledge on the Kickstarter campaign.

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)

 
Comments Off on I’m Back returns to Kickstarter with updated I’m Back 35 digital back for old 35mm SLRs

Posted in Uncategorized

 

BCN data shows mirrorless camera sales have dropped 50% YoY in Japan for March amidst COVID-19 pandemic

13 Apr
An illustration from BCN Retail showing the unit sales percentage, by manufacturer, of Canon (Blue), Olympus (Green) and Sony (Red).

It was only a matter of time before we started to see the effects of the COVID-19 pandemic on camera sales, and today we’re getting our first glimpse at just how brutal the global pandemic has been on the camera industry.

BCN Retail, an analyst firm that collects daily sales data of mirrorless interchangeable lens cameras directly from online and in-person points of sale in the Japanese camera market, has shared the numbers from its March data, and it’s not pretty. While January and February saw a year-over-year (YoY) decline of 9.9 percent and 23.5 percent, respectively, March saw a decrease of 50.5 percent (compared to March 2019).

This decrease is well above the relatively consistent 15–20 percent YoY decrease we’ve seen over the past few years and goes to show just how hard the coronavirus pandemic is affecting sales, even if BCN’s data is only a relatively small sample size.

As far as sales volume goes, BCN says Canon, Olympus and Sony have all dropped YoY, while Fujifilm stands alone as the only manufacturer to increase its share of the market.

A chart showing the most popular cameras in the Japanese market, based on BCN Retail’s data.

BCN also shares what cameras have performed best, based on sales volume, with the Canon EOS M50 barely edging out the Olympus Pen E-PL9. Sony’s a6400 rounds out the top three, with the a6000 still coming in fifth, despite being six years old.

It’s safe to assume these numbers are just the tip of the iceberg as near-global stay-at-home mandates and quarantines continue in an effort to #flattenthecurve of the COVID-19 pandemic. CIPA’s data won’t be here for a while, but it will likely tell a similar story at a much larger scale.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on BCN data shows mirrorless camera sales have dropped 50% YoY in Japan for March amidst COVID-19 pandemic

Posted in Uncategorized

 

Video: How a video production company turned an ambulance into the ultimate grip truck

13 Apr

What do you do if your average vehicle isn’t enough to safely transport all of your camera gear and other equipment? Well, if you’re the team behind North Dakota-based video production company Threefold.

In the two-minute video recently posted to YouTube, Caleb from Threefold walks through the team’s custom grip truck, which is actually a 1995 diesel E350 box truck that was purchased for $ 7,000 and served as an ambulance in its previous life. From custom shelving and mounting solutions to 2000W inverters and custom charging solutions, the van has nearly everything you’d need for on-location storage, charging, repairing and more.

Sure, it might be overkill for most, but when you need a purpose-built solution, DIY is the way to go. You can find more of Threefold’s work on their YouTube channel.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Video: How a video production company turned an ambulance into the ultimate grip truck

Posted in Uncategorized

 

Create Sexier Portraits With These 5 Tips!

12 Apr


Jake Garn Photography

 
Comments Off on Create Sexier Portraits With These 5 Tips!

Posted in Uncategorized

 

Updated: Fujifilm X100V sample gallery

12 Apr

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_4841377113″,”galleryId”:”4841377113″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Fujifilm X100V is a camera designed to tag along on adventures large and small. We brought it along on plenty of excursions during the course of testing – back when we were able to do that sort of thing – from trips to the coast to walks around the block. Take a look at all of the shooting we were able to do with this award-worthy camera, from a time before quarantine.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Updated: Fujifilm X100V sample gallery

Posted in Uncategorized

 

Affordable anamorphic: hands-on with the Sirui 50mm F1.8 1.33x

12 Apr

Affordable anamorphic: hands-on with the Sirui 50mm F1.8 1.33x

The Sirui 50mm F1.8 1.33x Anamorphic is interesting for more than a couple of reasons, but the thing that makes it immediately attractive is that at $ 700/£660 it’s a lot more affordable than almost all other proper anamorphic lenses for filmmakers using interchangeable lens camera systems.

The lens is designed for APS-C and Super 35mm sensor sizes and comes in mounts for Sony E cameras, Fujifilm X and for Micro Four Thirds models. When used with a Super 35-sized sensor we get the equivalent of a 56mm horizontal field of view, while on a Micro Four Thirds camera this converts to an approximate 75mm horizontal field of view.

On E mount

The a7R IV may not be the ideal Sony camera for shooting all types of video, but it does include an APS-C/Super 35 crop mode, which is where it produces its best quality 4K video. This cropping might be a bug bear for some videographers, but it makes the camera a good match for this lens. It’s possible to use crop mode with FHD resolution as well, but since the camera produces better FHD footage in full sensor mode, we’d recommend sticking with 4K.

However, to see the footage de-squeezed live it’s necessary to use an external monitor with that capability since the feature isn’t built into the camera.

On X mount

Offering this lens in X mount makes a lot more sense now than it would have just a year ago – Fujifilm has upped its video game considerably with the X-H1, X-T4 and new firmware for the X-T3. The Eterna mode makes nice video straight out of the camera, but we also have F-Log and decent data rates too.

The Fujifilm X-T3 doesn’t technically need the grip to shoot video, as the body had both mic and headphone ports, but the grip makes the system easier to hold with the weight of the lens on the front. As with the Sony, you’ll need an external display with an anamorphic preview feature to see the de-squeezed image in real time.

On Micro Four Thirds

Users of the Panasonic GH5 have a couple of choices over the way they use this lens. It has an Anamorphic Mode that uses the 4:3 sensor area to capture video for de-squeezing in software afterwards. As this mode uses almost the whole sensor, the final image contains 18+MP of data to work with.

When you use this mode with the Sirui 1.33x anamorphic lens the wide aspect gets de-squeezed to a 16:9 format with a higher resolution than you’d get shooting in the normal 16:9 video mode, while the in-camera de-squeeze preview feature allows us to see what we are shooting via the rear screen.

To get the wide, cinematic anamorphic look that most will be expecting you need to shoot in the normal 16:9 mode, with Anamorphic Mode switched off. Even with Anamorphic Mode off you can still use the de-squeeze preview on the rear screen and inform the IS system that you have a 1.33x anamorphic lens attached.

The GH5S can also capture anamorphic footage using its 4:3 region, however, due to the nature of its multi-aspect sensor, the resolution isn’t quite as a high as the GH5 in this mode. Like the GH5, it can also show a de-sqeezed preview of the anamorphic image in-camera.

Fit and finish

The lens is constructed from 11 elements arranged in 8 groups, and features a 10-bladed iris. It certainly isn’t big but is long and thin, and weighs more than you might expect. It feels very solidly made and is nicely finished in a semi-matte black paint.

The focus and aperture markings are shown only on the top of the lens, and distances are indicated in both feet and meters with paint sunk into engraved characters.

Front element

The front element of the lens has that characteristic square baffle opening that we often see on anamorphic lenses. As with many single focal length anamorphic lenses the squeezing element is mounted onto the front of the basic optical design of the lens.

Front element

When viewed from the front, the circular iris of the lens appears elongated into an upright oval shape. This is because we are viewing it through the anamorphic element mounted on the front of the construction. When viewed through the rear the iris is shown to be round – well, a nearly round decagon at least.

The size of the front element, and its flat design, makes it a magnet to the flare so many film makers love. The flare appears in oval rings accompanied by thin blue lines that shoot horizontally across the frame. The blue tint seen in the front element appears to be designed to enhance the blue-ness of that line.

It is easy to overdo this effect so that the flare becomes the subject rather than whatever you are shooting, so caution is advised.

Aperture and focus rings

The aperture range on offer spans F1.8-16, while the closest focus is 0.85m / 33″ which is just close enough to get a decent tight head shot. Of course the aperture ring is clickless so exposures can be adjusted during recording without disturbing the audio track. The aperture ring turns smoothly with plenty of resistance to prevent accidental rotation, and you can get from one extreme to the other via a twist of about 90°.

The focusing ring takes a twist of 143.6° and must be turned to the left to reach infinity. The ring is quite stiff and the fine ribbing on the barrel may not always be enough to get a firm grip.

Image format on APS-C

When used with a camera recording in 16:9 mode the de-squeed image works out to a ratio of about 2.35:1, similar to the classic CinemaScope look. The black letterboxes above and below help illustrate the difference between this aspect ratio and the standard 16:9 video format.

Image format on Micro Four Thirds

This is a grab from footage recorded in Anamorphic Mode on the Panasonic Lumix DC-GH5. In this mode the camera records from the whole 4:3 sensor, so the 1.33x anamorphic effect only de-squeezes to 16:9, but it is a higher resolution 16:9 format image than you’d get recording in 16:9 with a normal lens.

Shooting in 16:9 with this lens on a Micro Four Thirds camera will also result in a 2.35:1 CinemaScope aspect ratio, albeit with a longer apparent focal length than on an APS-C/Super 35 sensor.

Trademark blue flare

Here’s an example of the blue-line flare that is a characteristic of this lens when aimed close to a light source. Some people will love it, and others will find it a distraction. As with most things, moderation might be the best policy.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Affordable anamorphic: hands-on with the Sirui 50mm F1.8 1.33x

Posted in Uncategorized

 

DPReview TV: Fujifilm Acros 100 II film review (and samples)

11 Apr

We shot Fujifilm’s new Acros II black and white film in both 35mm and 120 medium format, developing it ourselves. We also tried pushing a roll to ISO 400. But wait, there’s more! We even compared it to Fujifilm’s Acros film simulation.

The verdict? We like this film! Make sure to check out the sample gallery below, which includes many Raw files from the digitizing process.

Make sure to check out our Film Photography forum – it’s a great place to talk about Acros II with your fellow photographers!

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • The camera and lenses we used
  • Sample photos
  • Developing: chemistry used
  • Developing: timing
  • The results!
  • Compared to the original Acros 100 film
  • Compared to Fujifilm's Acros film simulation
  • Acros 100 II pushed to ISO 400
  • Who is this film for?

Sample photos from this episode

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8194224590″,”galleryId”:”8194224590″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DPReview TV: Fujifilm Acros 100 II film review (and samples)

Posted in Uncategorized

 

Film Fridays: How to set up a darkroom and get printing for cheap

11 Apr
Photo: 35mmc.com

We’ve recently shared with you our complete guide to developing film at home, but what happens after your negatives dry? Sure you could scan/digitize them, but why not instead try your hands at the lost art of darkroom printing? Setting up a fully-functional B&W darkroom is way easier and cheaper than you may think – and it’s a ton of fun.

Our pals over at 35mmc.com have put together a complete and practical guide to get you set up in the darkroom and printing, all for around $ 100.

Read: How to setup a darkroom for cheap

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 35mmc.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Film Fridays: How to set up a darkroom and get printing for cheap

Posted in Uncategorized

 
« Older Entries
Newer Entries »