Philadelphia Film Photographer
Thursday, May 8, 2014
Asya Photography
Wednesday, May 7, 2014
Crash Course in Black & White Film Photography
May 17 | Sat 12:30-5:30pm
Instructor: Gina White, Tara Champion, Ish Ishmael & StaffSaturday 12:30-5:30pm | May 17
$135 / $121.50 Members
Register
Level: Introductory
Prerequisites: None
Description:
Go from camera to darkroom in just five hours. Start off by shooting a roll of Black and White film on your 35mm camera, learning how aperture, shutter speed and depth of field will affect your results. Then learn how to process your film and obtain negatives for printing. Move into the darkroom and begin your introduction to the basics of printing by making a contact sheet and selecting an image to start working with. This workshop is focused on shooting and processing film, with a basic introduction to working in the darkroom. Students looking to expand their printing experience in the darkroom should consider our Crash Course in B&W Printing – another one-day workshop devoted to hands-on experience in the darkroom.
Students should bring their 35mm camera, as well as a spare battery (if you haven’t checked it in a while), but film and paper will be provided as part of the course.
Topics covered include:
- aperture, shutter speed, depth of field, and ISO: how do they work together?
- metering and shooting with a 35mm film camera
- film processing: how to turn exposed film into negatives for printing
- film developing chemistry, and how it works
- making a contact sheet in the black and white darkroom
- make your first prints in the black and white darkroom
Tuition Payment & Refund Policy
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Female Models Required for 35mm Film photography Shoot
Manchester, United KingdomInterested in classic 35mm film photography shots for your portfolio?
Interested in classic 35mm film photography shots for your portfolio?
Im a Manchester Based Photographer who specialises in Fashion/Film/Music
I Want to expand my knowledge using Old school 35mm FILM cameras and Feature images on a monthly ONLINE FILM BLOG with the potential to feature in Photography magazines etc
Im looking for female models who want unique portfolio images shot using FILM,
As you may be aware FILM Photography is expensive and becoming more sought after in the fashion world,
This will be a great opportunity to have some great portfolio images to stand out from the crowd and get involved in something Dope
I have some Manchester based clothing labels that are interested in having their clothing featured in these shoots also, so this will be a good opportunity to collaborate and get some free garments in the process
If you are interested in becoming part of this project please apply to this application
Payment details: £50 per half day + free garmentsIm a Manchester Based Photographer who specialises in Fashion/Film/Music
I Want to expand my knowledge using Old school 35mm FILM cameras and Feature images on a monthly ONLINE FILM BLOG with the potential to feature in Photography magazines etc
Im looking for female models who want unique portfolio images shot using FILM,
As you may be aware FILM Photography is expensive and becoming more sought after in the fashion world,
This will be a great opportunity to have some great portfolio images to stand out from the crowd and get involved in something Dope
I have some Manchester based clothing labels that are interested in having their clothing featured in these shoots also, so this will be a good opportunity to collaborate and get some free garments in the process
If you are interested in becoming part of this project please apply to this application
Applications to this casting call require:
- A phone number
- A profile photo
The owner of this listing has agreed to abide by the UK National Minimum Wage Act. Find out more
Female models interested in featuring in 35mm film
Models will be need be comfortable in front of camera, this will be a very relaxed artistic shoot in and around Manchester area, model will need to be comfortable with light nudity if t shirts or clothing is revealing.examples of type of shots will be send over to applicants before shoot
Females, aged 19 to 35 from Manchester, United Kingdom (nudity may be required)
- Minimum Modeling experience: Beginner, starting out
EYECON Photography Registration
Registrations For Canon EYECON Photography And Film Competition 2014 Are Open (New Zealand only)
Canon New Zealand is accepting registrations for the EYECON Photography and Film Competition 2014. Registrations are accepted until 10/1/2014Canon EYEcon is a competition created especially for New Zealand’s emerging photographers and filmmakers. It’s the ultimate opportunity to showcase your talent, gain valuable experience and pitch yourself against the best in your field.More information at Canon NZ –>
There are some truly incredible prizes to be won too, including a range of ‘money can’t buy experience days’ with some of New Zealand’s most prominent photographers.
The EYEcon 2014 competition is open to New Zealand students or assistants studying photography or film and is split into three categories for you to submit an entry too. Each category is judged individually and has separate prize packages to be won:
Canon EYEcon is a truly fantastic opportunity for all budding photographers and filmmakers – so don’t miss out. To enter Canon EYEcon, please click on the links below:
- PHOTOGRAPHY: Tertiary students and assistant photographers currently studying photography.
- PHOTOGRAPHY:Year 12 & 13 High School students currently studying photography.
- FILM: Tertiary students and assistant film makers currently studying film.
- EYEcon Registration Form (must be submitted by October 1, 2014)
- EYEcon Competition Guidelines
- EYEcon Terms and Conditions
- EYEcon FAQ’s
Tuesday, May 6, 2014
[ About Us ] - [ Why ILFORD ] - [ Our History ] - [ Why Silver Halide ]
Over the 130 year history of ILFORD there has always been a positive commitment to the traditional world of silver halide black and white photography.
HARMAN technology Limited, trading as ILFORD PHOTO, is “Passionate about Black and White” and intends to continue this commitment.
The demand for traditional monochrome films and papers remains strong. With Agfa no longer in the black and white photographic market, and Kodak pulling out of manufacturing black and white papers the future of ILFORD PHOTO products looks good for years to come.
ILFORD PHOTO has experienced a tumultuous history since its origins in 1879, with ownership of the company changing hands several times. The latest development was the acquisition in February 2005 of its black-and-white photographic business, premises and ILFORD PHOTO name from the receivers of the old ILFORD Imaging group by HARMAN technology Limited, a company created by former managers of the company and named after the founder of the ILFORD business, Alfred Harman.
Since that time, ILFORD PHOTO has re-established its primary position in the global photographic market and has led the worldwide resurgence of black-and-white photography. It is now the only manufacturer that provides a full range of film, paper, photochemistry and ancillary products for this sector.
HARMAN technology Limited is a pioneering professional imaging specialist based in Mobberley, Cheshire in the centre of the United Kingdom. The company announced the launch of its pioneering HARMAN PHOTO inkjet media range, suitable for both colour and monochrome photography, in August 2006; and the first products became available in the UK and USA in February 2007.
The ILFORD range of colour photographic products, including ‘ILFORD Galerie’ inkjet media, is not manufactured or marketed by HARMAN technology, and remains a separate business operated by ILFORD Imaging based in Switzerland.
How To Take Natural-Looking (Posed) Portraits
Personally, I am not a big fan of portraits that look stiff or posed. Sometimes it can work in the right context, but more often than not it looks awkward. There are several things that I do to avoid this while keeping my subject feeling comfortable:
1. Get to know your subject.
(Emeline Piot, Fashion Stylist)
I always, always, always talk to the person I’m photographing. About life. About music. About the weather. Whatever. I like to get a conversation going because it gets a rapport going - and a photographer must have a rapport with the subject. Talking helps people relax and frequently helps you learn something about them which can in turn help you make a stronger portrait. I would say I chat with subjects for at least 15 minutes before I even take out my camera. That way the ice is broken before we start shooting.
The above image is of Emeline Piot, a very talented (and adorable) fashion stylist based here in Paris, who I was photographing for Marie Claire. It turns out that Emeline hates to have her picture taken, so I wanted to make her as comfortable as possible. We joked and talked about life while I photographed her for a couple of hours, and at the end of the shoot I had her sit down at a cafe and that’s how I got this shot. After she felt comfortable.
2. Allow some prep and warm-up time.
(Alexandra Guerre-Joly, Photo Editor, BE Magazine)
The worst thing you can possibly do on a portrait shoot is to show up and whip out your camera. One key to shooting a “natural” looking portrait is evaluating the space you are shooting in, whether it be outside, at the subject’s home, or at the subject’s office. If you don’t take the time to choose a good setting for your subject and analyze available light in relation to that setting, your portraits will look rushed and awkward. It may actually even take you longer to shoot rather than if you had just spent 20 minutes looking around in the first place.
For the above shot, the story was on successful women who are addicted to shoes. After touring Alexandra’s gorgeous Parisian apartment, I decided that in front of her shoes was quite fitting.
3. Movement is a good thing.
(Isabel Marant, Fashion Designer)
As photographers, we often want our images to be as crisp and sharp as possible. But alas, straying from the scholarly path can actually make for a great portrait. I had the pleasure of shooting Isabel Marant a few years back and, while I have many other shots of her, this one is my favorite. For me, the movement and motion blur are what makes it a “real moment.”Try walking around with your subject and photographing them at the same time. Sometimes, mid-action makes a far better portrait than if the subject were still.
4. It’s OK to smile.
Many portrait photographers have a profound belief that asking your subject to smile makes for a cheeeeeeeezy portrait - which is not technically untrue. Except for the fact that 9 times out of 10, if you send a client a smiley photo within the selection they take it. Take the previous photo of Isabel Marant for example: the fact that she’s laughing makes it happy. And fun.
Instead of going for dead-on cheese, ask your subject to fake laugh. It sounds stupid, but it really works. You can also tell jokes if you think you’re funny enough to make the subject laugh naturally. Not all photographers are funny. Keep this in mind.
5. Provide direction.
(Valerie Laderriere, Creative Director, L’Oreal China)
Most people don’t know which is their good side, bad side or best angle. They also don’t know if they have a weird mouth or eye twitch every time you press the shutter. Providing your subject with ample direction helps you get the shot while helping your subject feel reassured. I usually tell my subjects to follow my finger with their nose, chin or eyes to get the exact position I want. For portraits, it’s important to pay attention to details such as hand position (claw hands are the worst), slouchy shoulders or bulging fabric. It’s the type of thing that can ruin your portrait when you think it’s great, and you only realize when it’s too late.
For more photography help and how-to’s, check out I Still Shoot Film’s Help & How-To page.
How To Take Good Care of Your Film
1. KEEP YOUR FILM IN THE FRIDGE. I cannot stress this enough. In fact, it’s so very, very important that I’m going to repeat it 10 times:
- KEEP YOUR FILM IN THE FRIDGE
- KEEP YOUR FILM IN THE FRIDGE
- KEEP YOUR FILM IN THE FRIDGE
- KEEP YOUR FILM IN THE FRIDGE
- KEEP YOUR FILM IN THE FRIDGE
- KEEP YOUR FILM IN THE FRIDGE
- KEEP YOUR FILM IN THE FRIDGE
- KEEP YOUR FILM IN THE FRIDGE
- KEEP YOUR FILM IN THE FRIDGE
- KEEP YOUR FILM IN THE FRIDGE
This was apparently in preparation for a trip… but I know many photographers who, like this guy, do not have actual food in their refrigerators.
Now, sadly, the fridge does not fix all film woes when it comes to the cruel hand of time. Here’s an excerpt from Kodak’s official page on Storage and Handling of Unprocessed Film:
Refrigerating camera films reduces the photographic effects of long-term storage, but refrigeration cannot reduce the effects of ambient gamma radiation. Naturally occurring gamma radiation increases the D-min and toe densities and also increases grain. Higher speed films are affected more by gamma radiation than lower speed films. A camera film with an EI (Exposure Index) of 800 has a much greater change than an EI 200 film. Exposed and unprocessed film that has been properly refrigerated retains the speed and contrast of the exposure conditions, but the overall D-min, toe and grain will continue to increase.For those of you who don’t speak fancy photography, it means your Ilford Delta 3200 won’t keep as long as your Ilford Pan F 50.
2. DO NOT EXPOSE YOUR FILM TO HEAT
Considering #1, this is not that surprising. Film doesn’t like heat. Or too much humidity. Obviously sometimes this is unavoidable, for example if you’re shooting in the middle of July and have film on you for the day. That’s okay. However, if you’re traveling to a tropical climate and have a mini-fridge in your room… you know where this is going. Like people, film does need some humidity and complete dryness isn’t a good thing either (hence the fridge.)
In general you should not leave your film in the car when it’s hot, laying in the sun even if it’s inside your home, or out in places that regularly get warm and humid. Heat and humidity promote mold growth and ferrotyping, which is a fancy way of saying it makes the gelatin base of the film swell, changing the overall surface structure. Basically, it’s not good.
A ferrotyped negative looks like this:
EWWWW.
3. FREEZE FOR LONG-TERM STORAGE
If you stockpile film (I do and if you don’t you should think about it) and intend on storing it for a period of 6 months or longer, the ideal temperature is freezing - actually below freezing, at 0 degrees Fahrenheit and -18 degrees Celsius.
When freezing film, it is essential to let it warm up by 25 degrees (F). That’s approximately three hours for 35mm. If you don’t let it warm up, it will crack and break - because frozen film is brittle film.
4. ACTUALLY LOAD YOUR 120 FILM IN SUBDUED LIGHT
Anyone who has shot 120 film has noticed the “Load in Subdued Light” message printed on the backing paper. Anyone who has shot 120 film will also admit that at some point they have completely and blatantly ignored this instruction. Why? So many reasons, but primarily laziness… which I myself have also been guilty of on occasion.
Sure, there’s a good chance your photos will turn out okay even if you reload in broad daylight, but do you really want to risk it? Fogging sucks, so find a shady corner or shut yourself in a bathroom.
5. WHEN YOU LOAD A ROLL, FINISH IT
Lots of people want to get the most out of a roll of film… in fact, one time my grandfather accidentally wound a roll of film after shooting only 7 frames and asked me to pull it out and reload it in a darkbag so he could finish the roll. But I digress…
Leaving a roll of partially-exposed film in your camera for weeks or months pretty much guarantees your film will be partially degraded. For those of you looking for a quicker solution than waiting for a decade to get “expired film effects,” may like the results. But if you have a variety of cherish photos, some of them will be blown out, faded, have light leaks or have color changes. I’ll quote Kodak again:
Do not keep film in the camera or magazine longer than necessary.Simple. Besides, if you shoot film, at some point or another you’ll open up a camera back thinking it’s empty only to have your eyes fall upon the silver glossy surface of exposed, undeveloped film, at which point you will probably shriek to yourself and try to close the back as quickly as possible. This doesn’t happen when you finish rolls you start on the same day.
By following these simple steps, you can often extend the life of your film by years without seeing any difference in image quality.
Monday, May 5, 2014
How to Use a Canon A-1 35mm Camera
Edited by Lewis Collard, Teresa, Krystle, Eric and 6 others
The
Canon A-1 is a legendary, hugely influential and (for its time)
extremely sophisticated late-70s manual focus camera that, like many
other 35mm cameras,
can be bought extremely cheaply, and gives superb results. If you've
bought or inherited one, you may find using one to be a little daunting
if you're used to fully-automatic point-and-shoot digital cameras. These
simplified instructions will guide you through the basics of setting up
and using an A-1.Method 1 of 3: Basic Preparation
- Fit your lens if you haven't already. The steps below describe how to fit original FD lenses with a silver locking ring, the kind which were typically sold with the camera at the time. If yours doesn't have this, it's a late-70s-and-onwards "new FD" lens, and the instructions will differ somewhat; in the instructions below, replace the part with twisting the silver locking ring with twisting the whole lens itself until it audibly locks into place.
- Remove your body cap if you have one, as well as the rear lens cap on the lens.
Remove your body cap.
- Line up the red dot on the lens with the red dot on the body and gently drop the lens into the mount.
Line up the two red dots...
- Twist the locking ring clockwise, that is, clockwise if you are looking from it from the front. It won't lock into place, but instead it will get progressively tighter. Don't overtighten this, but do make sure it is firmly in place.
...and twist the silver locking ring to tighten it into place.
- Turn the camera on. Rotate the main switch from "L" to "A". Canon's manual recommends leaving this at "L" when you're not using the camera to conserve battery life. It might not be worth bothering with this, especially if you're not using one of Canon's power winders for the A-1; just handle your camera carefully (so as not to hit the shutter button) and you'll be okay.
- Turn on your viewfinder display. This is a small lever right next to the large ASA dial on the left of the camera (if you're looking from the back). Turn it clockwise to uncover the white dot. This will turn on the display in your viewfinder (and you want this).
- Open your viewfinder blind. Uncommonly, the A-1 has a blind on the viewfinder to stop stray light entering the viewfinder on long, tripod-mounted exposures. It's a neat enough feature, but most of the time, you will not need this. If it hasn't been done already, turn the small lever to the left of the viewfinder window clockwise to open the blind.
- Check your battery. The A-1 is an electronically controlled camera that will not work with a low or dead battery; the shutter will refuse to fire if it is. Press the battery test button (illustrated). If the LED next to the shutter button doesn't blink at all then your battery is dead. If it does not blink very rapidly (several times per second), then it's low, and you should replace it. Pick up a few cheap 4LR44 (aka A544) cells and replace them.
- Load your film. This is just like any other rear-loading SLR.
- Pull your film rewind knob upwards to open the back of the camera.
- Place your film in the film chamber, and draw the leader of the film over to sit in one of the slots, and so that the bottom of the leader is engaging the film transport sprocket.
- Close the back of the camera, push the shutter and then wind the film on. Repeat until the frame counter shows that you're on the first frame. While you do that, watch the rewind knob on the left as you wind the film on on; this should turn as you wind it on, and if it doesn't it probably means your film isn't loaded correctly.
- Set your film speed. This is necessary for automatic exposure to work accurately. The film speed dial sits around the rewind crank, and has a silver unlocking button on the side, as illustrated. Push this in, and then rotate the dial to the same as the ASA (same as the ISO) speed rating of your film.
- Set your lens' aperture ring to "A". This will allow the aperture to be set by the camera; for the most part, this is what you want (it always is, unless you're doing fully manual exposures for some reason).
- Get up and get out there and take some photographs. The next part of this guide will walk you through using the A-1.
Method 2 of 3: Taking Photographs with the A-1
- Uncover your AT dial. This is a cover for the dial which sets your shutter speed or aperture. Slide it down to uncover the dial. This is the single most important control on the camera, so play with the dial a little to get the feel of it. ("AT dial" is a hideous term from Canon's literature, borrowed here for lack of a better one, sorry.)
- Set your exposure mode. The A-1 has three modes that you'll be interested in: fully-programmed AE (which is fully automatic), shutter-priority AE, aperture-priority AE and fully manual.
- Programmed AE will make the camera set both aperture and shutter speeds for you automatically. Turn your mode dial to "Tv" ("Time value", which is Canon's silly name for "shutter priority"), and use your AT dial to select the green "P" as the shutter speed. Most of the time, this will be what you want to use if you're not using your aperture for creative depth of field tricks, or if you're not using your shutter speed to creative effect; it generally does a good job of picking something that works for most photos most of the time. (Sorry, but this is 1978; you can't shift the program.)
Turn your mode dial to "Tv" and the shutter speed to "P" for program automatic.
- Shutter-priority AE will allow you to select a shutter speed, and then the A-1 will pick an aperture for you. If you want either very fast or very slow shutter speeds for creative effect, then use this. Turn your mode dial to "Tv" and select a shutter speed. Remember that the speeds in yellow on the dial are shutter speeds in seconds, the white numbers are ones in fractions of a second.
For shutter-priority auto-exposure, turn the mode dial to "Tv" and select your shutter speed (here, 1/125 sec).
- Aperture-priority AE will allow you to select an aperture, and then the A-1 will select a shutter speed for you. Use this if you want to use very wide or very small apertures (i.e. if you want creative control over depth of field). Turn your mode dial to "Av" and select an aperture with the AT dial to get aperture priority AE.
For aperture-priority auto-exposure, turn the mode dial to "Av" and select your aperture.
Note that this won't allow you to select apertures smaller than f/22, but you shouldn't be doing that anyway. - Fully manual exposure is a last resort for using in extremely dim[1] or otherwise impossible lighting conditions. You can select fully manual mode by setting your mode dial to "Tv", selecting a shutter speed, and turning your aperture ring on your lens off "A" and to your preferred aperture. You'll need an external light meter for doing this; the A-1 shows no indication of over- and under-exposure in fully manual mode.
- Look through the viewfinder and very gently half-press the shutter button. Your shutter speed and your aperture (either the shutter or the aperture or both or none could be automatically selected) will be displayed in the viewfinder. If either the shutter speed or aperture readouts are blinking, it means you've selected a shutter speed that is either too fast or slow for the largest or smallest apertures on your camera, or an aperture that requires a shutter speed faster or slower than the camera has available.[2] Select a different aperture or shutter speed if this is the case.
- Focus. The A-1 provides you with two useful focusing aids to ensure that your shots are sharp. One is a split image, right in the center, which splits the images into two pieces, which are aligned when the image is in focus.
The other (more useful) aid is a microprism ring around the outside of the the split screen. this will cause any defocus to be far more obvious than it would be otherwise; when it's out of focus, this area will flicker and display a very obvious "cross-hatched" pattern. Turn the focus ring until either the split image is no longer visibly split, or until the image in the microprism ring is visibly sharp. - Set exposure compensation, if required. This feature of the A-1 forces the camera to either under- or over-expose your shot by a given amount. You'll need this in tricky, inconsistent lighting conditions. Press the button to unlock the exposure compensation dial and turn it to give you the desired amount (you can do this in 1/3 stop increments). Turning this clockwise will give you underexposure, and counter-clockwise will give you overexposure.
Actually, the A-1's exposure compensation dial is annoying and difficult to do one-handed, so you might not want to bother with this. The ASA dial, on the other hand, can be changed with a fingertip. Neither the ASA nor exposure compensation dials will give you any indication (other than by looking at them) that you're forcibly over- or under-exposing, and the ASA dial has the advantage of being much easier to use. It's up to you. - Press your shutter button. The viewfinder will temporarily blank out and the shutter will fire. If you're using one of the optional power winders, the film will advance itself to the next frame, otherwise, wind it on yourself.
Keep photographing until you get to the last frame. Don't pay any attention to the frame counter; you're only at the end of the roll when the winder becomes difficult-to-impossible to wind on (don't force it!), or when your power winder (if you have one) refuses to wind it on any further.
Method 3 of 3: Unloading your film
- Press the rewind release button on the base of the camera.
- Flip out the rewind lever on the rewind knob and turn it clockwise to wind the film back into its canister. The frame indicator will go backwards as you wind. Keep winding until the rewind lever goes very stiff, and then suddenly turns much more freely. When the latter happens, this means your film is free of the transport sprocket. Wind it in a bit further if you like.
- Open the back of the camera by lifting the rewind knob upwards. The back of the camera will spring open. Remove your film and get it developed. Load in another roll and carry on enjoying this superb classic camera!
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