Wednesday, April 23, 2014

Photographers at Work in the Past

Flickr's user Steve Given has collected amazing and interesting vintage photographs in his photo album titled "Photographers at Work". The photographs showing how photographers worked in the past different than today with their old cameras from folding cameras to large cameras and some very long or big lenses that you might never seen before.

Twins, LaVona and LaVelda Rowe were press photographers for the Chicago Sun-Times Newspaper. This obviously promotional image of the ladies with their Graflex cameras was taken in February 1961.

A great looking setup to achieve astrophotography, using a Kodak folding camera and some very long lenses, in 1946.

A press photographer trying to tease an image from a bear enclosure inmate of the Brookfield Zoo in 1945.

French photographer on a beach with a very interested lad who one day might take on the role of a fashion photographer.

James Wong Howe working his cinemagraphic excellence on the film noir "Nora Prentiss" during February, 1946. Actress, Barbara London, and Director, Vincent Sherman, take an interest in James' viewfinder composition.

Aircraftsman Ron Jeffs of the Royal Australian Air Force undergoes training with a 10x8 Ansco view camera at the School of Photography, East Sale, Victoria, Australia, in 1949.

A trio of keen amateurs, perhaps doing a bit of train spotting in late 1920s.

American Air Force photographers load a Fairchild K-22 camera into the nose of a reconnaissance aircraft.

An Australian pioneering family, dressed in their 'Sunday Best', take time out for a small group photograph.

Margaret Truman, daughter of the former President, Harry S. Truman, displays her skills with a Graflex camera. She borrowed the camera from pressmen during a function at the Conrad Hilton in Chicago, Illinois, during September 1953.

A newsreel cameraman captures families at the Democratic National Convention held at the Hilton Hotel, Chicago, in July, 1952.

A group of Graflex wielding press photographers descend on a table bound model.

Press and Television corps at MacArthur Day commemorations in Chicago during the late 1940's. A battery of different cameras, including Arriflex and Mitchell movie cameras, and Graflex 'Big Bertha' cameras, are being operated by photographers and cameramen from NBC, and Chicago's WGN-TV, as well as the Chicago Sun Times.

While undergoing training, United States military photographers practice with the Graflex camera during May, 1944.

Please go here for more images of "Photographers at Work", or check out Steve Given's Flickr photostream to see more of his work.

Hindu's Snap Photography fest a big hit with students

Baishali Adak, April  2014, DHNS:
Photography enthusiast students not just in Delhi University but across India got a chance to showcase their work at Hindu College’s recently held Snap Photography Festival.
 
Organised by the Film and Photography Society of Hindu College, Vivre, the festival invited student entries on three exciting themes – Street, Vintage and Machine - and gathered equally exciting photographs.
 
These were displayed over two days at the heritage building Dr Bharat Ram House of Culture in Delhi.
Vivre is one of the most sought-after societies among all colleges of DU.

The society, run largely by senior students, receives at least 500 applications every year of which only 20 are selected finally.
 
They regularly organise photography workshops, talks by eminent photographers and interesting photo walks.
 
Snap is their annual festival which sees a photography competition and then exhibition as well.

This time, Snap had three very interesting themes - Street, Vintage and Machine. These fetched over 5,000 entries from across the country.
 
As Anikesh Kishor, the student president of the society and an English (Hons) student at Hindu, informed us, “There were entries from DU, Jamia Millia Islamia and Indraprastha University, but also a large number from varsities in south India.
 
In fact, we had a lot of entries from school students which shows how far the word spread and Snap is definitely gathering a lot of goodwill.”
 
Students came up with remarkable pictures of vintage cars and bikes in the Vintage category.
 
There were old clocks, antique coins and also a photograph of a war tank dating back to World War I taken in Nagaland. Students went all sci-fi in the machines category taking snaps of bulldozers and cranes, close shots of springs, bike parts etc. 
Street, being a broad theme, saw an even larger number of entries featuring nameless but expressive faces from the streets, passers-by, hawkers, beggars et al.

At least 50 pictures were put on show.
Additionally, the first day of the fest saw a fascinating talk by renowned photographer William Chang, along with an interesting workshop on the basics of photography organised by Canon on the second day.

Snap 2014 ended on a high note as the three winners of the online photography competition - Prateek Sultania, Kush Kukreja and Sana Kamra - were awarded lenses by representatives from Canon representatives and the organising team.

The Stories Behind The Tank Man of Tiananmen's Photographs in 1989

Twenty-five years ago, the Tank Man, the nickname of an anonymous man who stood in front of a column of tanks on June 5, 1989, the morning after the Chinese military had suppressed the Tiananmen Square protests of 1989 by force. The man achieved widespread international recognition due to the videotape and photographs taken of the incident. Some have identified the man as Wang Weilin (王維林), but the name has not been confirmed and little is known about him or of his fate after the confrontation that day.

Five photographers managed to capture the event on film and get their pictures published in its aftermath. On June 4, 2009, another photographer released an image of the scene taken from ground level. Today, images of what happened at Tiananmen Square are still blocked on the Internet in China due to what John Palfrey of Harvard’s Berkman Center for Internet and Society has described as “the world's most sophisticated means of Internet filtering.”

The most used photograph of the event was taken by Jeff Widener of the Associated Press, from a sixth floor balcony of the Beijing Hotel, about half a mile (800 meters) away from the scene. Widener was injured and suffering from flu. The image was taken using a Nikon FE2 camera through a Nikkor 400mm 5.6 ED IF lens and TC-301 teleconverter. Low on film, a friend hastily obtained a roll of Fuji 100 ASA color negative film, allowing him to make the shot. Though he was concerned that his shots were not good, his image was syndicated to a large number of newspapers around the world, and was said to have appeared on the front page of all European papers.

Photo: Jeff Widener/Associated Press

Another version was taken by Stuart Franklin of Magnum Photos from the fifth floor of the Beijing Hotel. His has a wider field of view than Widener's, showing more tanks farther away. He was on the same balcony as Charlie Cole, and his roll of film was smuggled out of the country by a French student, concealed in a box of tea.

Photo: Stuart Franklin/Magnum Photos

Charlie Cole, working for Newsweek and on the same balcony as Stuart Franklin, hid his roll of film containing Tank Man in a Beijing Hotel toilet, sacrificing an unused roll of film and undeveloped images of wounded protesters after the PSB raided his room, destroyed the two rolls of film just mentioned and forced him to sign a confession. Cole was able to retrieve the roll and have it sent to Newsweek. He won a World Press Award for a similar photo. It was featured in Life's "100 Photographs That Changed the World" in 2003.

Photo: Charlie Cole/Newsweek

On June 4, 2009, in connection with the 20th anniversary of the protests, Associated Press reporter Terril Jones revealed a photo he took showing the Tank Man from ground level, a different angle than all of the other known photos of the Tank Man. Jones has written that he was not aware of what he had captured until a month later when printing his photos.

Photo: Terril JonesAssociated Press

Arthur Tsang Hin Wah of Reuters took several shots from room 1111 of the Beijing Hotel, but only the shot of Tank Man climbing the tank was chosen. It was not until several hours later that the photo of the man standing in front of the tank was finally chosen. When the staff noticed Widener's work, they re-checked Wah's negative to see if it was of the same moment as Widener's. Later, on March 20, 2013, in an interview by the Hong Kong Press Photographers Association (HKPPA), Wah told the story and added further detail. He told HKPPA that on the night of June 3, 1989, he was beaten by students while taking photos and was bleeding. A "foreign" photographer accompanying him suddenly said "I am not gonna die for your country" and left. Wah returned to the hotel. When he decided to go out again, the public security stopped him, so he stayed in his room, stood next to the window and eventually witnessed the Tank Man and took several shots on June 4, 1989.

Photo: Arthur Tsang Hin Wah/Reuters

Tuesday, April 22, 2014

From Yahoo answers...

What do the effects of film photography depend on?

Does it depend on your lens? Camera? Film?

Each effect comes from something, right? My knowledge tells me light leaks depend on your camera body? Cross process from when you produce film and mix the chemicals etc Uhhh, and lomo photography depends on the film you use? So what are effects I could do with my film?

I've recently become interested in film photography, mainly because of the effects that you can obtain just by taking pictures with a film camera. I do all these effects all the time on photoshop, but I want to get that effect without photoshop on film.

I hope this makes sense.
 

keerok answered;
Overall, you can use imagination to introduce special effects on film from modifying (destroying) the camera or lens (like applying gelatin to a filter over the lens), varying the developing process (push-pull or cross processing) or inserting the film wrong-side front (red-lining). It's all in the mind but sometimes (actually the norm with lomography) it is purely incidental due to horrible camera quality.
 

Pentax Film Duplicator helps you scan 35mm and medium-format film quicker


Back at the CP+ tradeshow in Japan last February, Ricoh announced quite a range of new photo gear for its Pentax brand, but perhaps the most interesting for film photographers who haven't transitioned their old photos to digital was the Pentax Film Duplicator. Now, the company has provided a release date for this interesting accessory, and the Japanese media has supplied an expected price.
The Pentax Film Duplicator allows you to do the job of digitizing your film using your existing camera and flash. Your camera and lens sit at one end of the duplicator, and your flash -- triggered either wirelessly or via a sync cord -- sits at the other. In between are a bellows, film mount, and a diffusers that provides even illumination from your direct flash. The point of the bellows is that it allows you to accommodate a variety of camera and lens pairings, adjusting to match the minimum focus distance of the lens, thereby putting as many pixels as possible onto each film frame.
 
Pentax's Film Duplicator can digitize 35mm and medium-format film with your existing camera.
Why would you want to use your existing camera, rather than a dedicated scanner? Well for one thing, this provides you with a degree of future-proofing. There are no electronics in the duplicator to fail, and as cameras improve and you upgrade to newer models, so to does your scanning capability. There's also potentially quite a big difference in speed: Film scanners typically work line-by-line, so it takes quite some time to scan each image at high resolution. By contrast, with the digital camera you already own, you can digitize one or more frames of film near-instantly with a press of the shutter button, saving you a lot of waiting between preparing frames.
If you're scanning tens, hundreds, or even thousands of frames, that could make a big difference to the scope of your project. (And hence, make it more likely you'll take the time to digitize your film in the first place. Let's face it -- if you've not digitized yet after more than a decade of digital photography, you've likely been putting it off for a reason.) There is, of course, a downside. Not only will you need to clean your film carefully before digitizing it, you'll also have to manually retouch dust and scratches, something that some scanners will do automatically for you. That extra work will to some extent offset the time saved on scanning in the first place. How much time you'll save thus depends on how well your film has been looked after, and how picky you are about dust and scratches appearing in the final result.
 
Since you provide the electronics and optics, scanning resolution depends on your camera body -- here, a 51-megapixel Pentax 645Z -- and the macro capabilities of your lens.
The Pentax Film Duplicator is compatible with mounted and unmounted film formats up to a maximum of 6x9 medium format, or 60 x 90mm in size. For positive film, simply mount, focus, set your aperture to provide sufficient depth of field if the film isn't perfectly flat, and you're set to go. If digitizing negatives, you'll also need to convert your digitized frames to positives. You can, of course, use the negative function provided in Photoshop if you're not too picky about getting accurate color. Much better results are available with film-specific conversion software such as SilverFast NegaFix or similar, however. Obviously, you'll need to buy that separately.
You'll also need to buy optional holders for all but 35mm mounted film, for which the necessary holder is included in the product bundle. Optional holders are available for mounted 645 / 66 film and mounted 67 / 69 film, while sleeves can be bought for unmounted 35mm, 645, and 66 / 67 / 69 film. The sleeves will also require that you purchase a sleeve base mount; a quick shoe base and plate are also available.
 
The Pentax Film Duplicator includes a holder for 35mm mounted slides, but can accomodate up to 6x9 film thanks to a variety of optional sleeves and holders.
Pricing for all of the above has not been officially disclosed by Ricoh, but the base Film Duplicator with 35mm slide holder is reported by Japanese photo site Impress DC Watch to be a rather stiff ¥120,000. (That's the equivalent of US$1,170, at current exchange rates.) The Pentax Film Duplicator is available in Japan from May 2014, and thus far, no plans have been disclosed for sale in other markets.

Monday, April 21, 2014

Photographer Profile: Ayede Film and Photography

adminphotonaija's picture
Photographer : Ayede Film and Photography
Intro : Ayede Film and Photography is a Nigerian outfit dedicated to providing wedding and general photography and video services to a discerning client base. We operate in and about Lagos, Abuja and the middle belt.
Phone No : +2348064662140
email: : ayede_taver@yahoo.com

 by Bellamy

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Get Featured: Jesse Struyvelt
Jesse is the first of the ‘get featured’ series. And what a way to start, images of a beautiful woman. Come and check out Jesse’s work.

Hi guys and girls. I’m Jesse, a 21 year old Belgian student who stumbled into photography about a year ago. Mainly shot digital until 2014 with a Leica M8 and shooting models.
Tried many different camera’s, but kept going back to the Leica’s. After seeing much more of film I have always wanted to shoot film only.
I’m not really working on a project, except for The Film Foundation and finding my creative voice.
As much as I tried to, it was a very though process to go through. In 2014 I finally left the digital scene and began shooting film. The main reason what convinced me was first my friends and secondly the start of “The Film Foundation”.
Shot 06.jpg & 07.jpg are digital with the Leica M8 all the rest is done on my M6. Still need to get a load of film developed so can’t give more film shots of my modelling work.
Felt I needed something to hold on to, so I started this open platform, for everyone that shoots film and wants to get in touch with each other. The project gave me a huge boost to continue what I was aiming for.
Secondly, and more important. We held a meeting here in Belgium to bring film shooters together. And it actually did what it should have done, stimulate people on shooting film. Wrote an article about “The leap to film photography” which you can find here: http://jessestr.be/essays/2014/03/the-film-leap/
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On the downside I feel it’s hard to run these things international, I’m focusing mainly in Belgium, but I’m busy on the new website which will be an easy sharing platform for all kinds of stuff. Articles, experiences, portfolio’s ..
My other project is a lifetime project which every artist in this world goes trough and it’s finding my creative voice in my work. What I know is where about my aim is. But how to get there, what will change and how will I be different from now until then is the hardest part to estimate. The direction is ahead of me and hopefully the rest will follow.
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For the people who are interested in my work. You can find my portfolio on www.jessestr.be, follow me on instagram @jessestr or pop a like on Facebook at https://www.facebook.com/jessestrphotography
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Big thanks to Bellamy for all his effort!
Thanks for sharing your work, Jesse. Keep it up.
Come on, share with us what you have and get yourself featured.
Click on this link and send in your project/work: Get Featured. *I am looking for mainly projects, not individual images*
Oh, and click here to see a few of the photographers that have been on the site before http://www.japancamerahunter.com/?s=featured
Please make sure you come and comment, polite and constructive critique is welcome.
Thanks
JCH