Wednesday, July 23, 2014

PEPS KIRKLAND - SEATTLE FAMILY PHOTOGRAPHY - THE HAPPY FILM COMPANY

Thank you so much this sweet PEPS Group in Kirkland for inviting me in for their little whirlwind parent's group photo shoot. Each family was so sweet and we had happy babies and crying babies and flying babies. haha I am so glad that I got to come to your very last meeting! I hope you all enjoy these photos and they bring back happy memories of this time when everything was so new and you were making great friends for life. Thank you so much again for inviting the Happy Film Company to your group and please let us know if you're ever in the market for a family photography session!! ;) xoxo Chamonix
WHAT IS PEPS?
"Since 1983, the Program for Early Parent Support (PEPS), a 501(C)(3) nonprofit organization has helped parents connect and grow as they begin their journey into parenthood. PEPS parent support programs educate, inform and create community. We've become a vital resource for new mothers and new fathers in the Puget Sound region, with parent groups serving thousands of families annually.
Each session of 12 weekly PEPS meetings brings parents together to share the joys and challenges of parenthood, and develop confidence in their own abilities. PEPS stands apart from other new moms groups or dad support groups by providing ongoing neighborhood-based resources and peer education, facilitated by trained volunteers. During one of the most vulnerable periods for new parents, PEPS provides immediate and accessible support, creating "extended families" that often last a lifetime."
undefined
—Credits—
Photographer: Chamonix of the Happy Film Company
Location: Private Residence, Kirkland, WA
Parent's Group: PEPS — Program for Early Parent Support

Check out our latest Seattle family film with the Rosenzweig family!

10 Tips on Shooting Street Photography on Film

1x1.trans 10 Tips on Shooting Street Photography on Film
Leica M2 of Callan Tham
I have learned a few things about shooting street photography on film from my own experiences (and the advice of others). If you want to read the full list of things I learned shooting film– read more!
1. It is better to slightly over-expose than under-expose your photos. This is because it is easy to pull out details from highlights in film (while very difficult to recover details from the shadows). I have also discovered that slightly over-exposing color film brings out more saturated colors (around 1/3-2/3rds of a stop).
2. If you’re pushing your film, mark what ISO you’re pushing it to directly on the film canister with a sharpie. I generally prefer doing this before I put the film into the camera, as I often forget to do it afterwards.
3. If you are curious to shoot film and never have shot it before, don’t splurge money on a Leica. Rather, start with the cheapest film camera you can find (eBay, flea market, your parents’ closet) and experiment. If you’ve shot with film for several months and really like it— then invest in a better film camera.
4. When shooting film on a rangefinder on ISO 400 film (during a sunny day) here are some good settings: f/8 at 1/1000th of a second in extremely bright sunlight, f/8 at 1/500th of a second when it is slightly less bright, f/8 at 1/250th of a second at the “golden hour”, f/8 at 1/125th in uncovered shade, f/8 at 1/60th when in darker shade.
5. Don’t be afraid to “waste” your film by only taking 1 shot of a scene. Rather, work the scene and even shoot an entire roll of film on a scene if you think it is interesting enough.
6. When experimenting with a new film or camera, do the following: take a series of photos of a friend in different lighting conditions with different apertures and shutter speeds. For each shot, write down the settings you used in a notebook (and the lighting situations). Once you get the film developed and scanned, cross-reference your photos with your notes. Then you will get a better sense of the “ideal” settings to use on your camera for the “look” you want.
7. I think it is good to experiment with a lot of different types of films— but once you find a film you are about 80% happy with, I recommend sticking with it. It helps you have a more consistent aesthetic look — and also helps you better understand the nuances of each film (how resilient it is to over/underexposure, how it looks during the day or at night, and the color or contrast of it).
8. If you’re shooting ISO 400 film, you won’t have any problems in airport x-ray scanners. ISO 800-1600 might pose a problem.
9. I generally get 1 photo I am proud of in every 50 rolls of film. Use this as a guideline— you will rarely take good street photographs. Of course, your mileage will vary.
10. Don’t feel bad about “wasting money” shooting film. Rather, see it as an “investment” — that will bring you boundless amounts of joy (more than any digital camera ever will, imho).
Learn more about film
1x1.trans 10 Tips on Shooting Street Photography on Film
Kodak Portra 400, my film of choice for color.
My favorite films
What are some other tips you have shooting street photography on film? Share them in the comments.

Tuesday, July 22, 2014

17 Wilderness Photographs That Will Make You Want to Go Hiking!

One of the great pleasures of outdoor photography is simply getting outside and into nature. To be honest, for some of us, it’s the main motivator. So we thought we would put together a small collection of wilderness photographs from some clever photographers who managed to get some very inspiring shots. Who knows you might get inspired by them to make your next hiking trip.
Check the list of resources at the end of the collection for tips on how to get some of your own shots like these.

Warm ‘n’ Cool by Nicholas_T, on Flickr

Canyon Creek Lakes by Jeff Pang, on Flickr

The Golden Curtain by Ian Sane, on Flickr

tunnel by vl8189, on Flickr

Mighty by vl8189, on Flickr

Worth It

WorthIt
This guest post is brought to us by Ron Offringa.  Check him out on Twitter or his work at the Android blog Droid-Life.
I love taking pictures with my iPhone. It’s super easy to use, and best of all, it consistently takes incredible images. I’m regularly blown away by how much detail my phone’s camera is able to capture. I’m also blown away by all the apps that are out there to edit and enhance photographs. Outside of the built in camera and photos apps, I regularly use Instagram, Path, Flickr, Over, Frontback, Snapseed, Big Lens, and Camera Noir to take and enhance the pictures I take with my phone. On top of all of those apps, I obsess about how to manage and store all of the photos I take.
This past year I’ve been learning as much as I can about film photography. I’ve always enjoyed taking pictures with my iPhone, but I wanted to try using film. My dad gave me my mother’s old Yashica MG-1 and I started shooting. The Yashica MG-1 is a rangefinder, which means when I look through the viewfinder I’m looking above the lens, not through the lens. Almost everything on this camera is manual, including focus, ISO settings for the film (which is called ASA on the camera because it’s so old), advancing the film, and aperture (how much light goes through the lens and hits the film). In fact, the only thing that I can’t control manually is the shutter speed.
It’s a lot of fun to use, but there’s a big risk involved with film: I never know what kind of photograph I’m going to get. If my settings are wrong then the moment will be lost and I won’t be able to do anything about it. On my iPhone (or any modern digital camera) I can instantly see what my photo will look like and adjust accordingly. On my iPhone I can tap to focus instead of lining up a small yellow diamond in the rangefinder to determine focus. On my iPhone I can also take hundreds of photographs in a short period of time, whereas my Yashica is limited to the rolls of film I have with me. So why would I want to use the Yashica if the iPhone is so much easier to use and lessens the risk of losing a moment?
I think that kind of question is similar to asking why someone would want to read about theology or go on a mission trip or ask for more gifts of the Spirit. Isn’t going to church on Sundays enough? It’s easy to do and there’s really not much risk involved.
If you try to learn more about theology then you might find yourself changing your mind about what you believe. Worse yet, you might learn some things that change the way you love and worship God. If you go on a mission trip then you might feel guilty for living in America and owning a smartphone. If you ask the Spirit for more gifts then you might have to actually use them in ministry situations.
The truth is, I could keep taking great pictures on my iPhone, but if I never learned how to use a ‘real’ camera then I would probably have never learned about things like aperture, shutter speed, ISO, lighting, and more. I wouldn’t be able to become a better photographer and I certainly wouldn’t learn to value capturing a specific moment in time.
The same is true with our religion. If we just show up to church and never pursue the depths of God, then we won’t grow in our relationship and love for God. Things will just stay the same. We won’t continue to become like Jesus through the work of the Spirit. That doesn’t mean that if you don’t get a Masters of Divinity, get a passport, or speak in tongues that you don’t love Jesus, but if we aren’t always moving deeper into the mysteries of God then we can’t say that we’re really pursuing him. We can’t say that we truly love God if we don’t spend time getting to know him and doing the things that he has called us to do.
No matter where we are in our pursuit of holiness, there is always room to grow. There will never be a day when I can set my Yashica MG-1 down because I’ve learned everything about photography. I’ll never take all the photographs. We need to continue to pursue God with everything we have. There are risks involved, but he’s worth it.

Interesting Photographs of Kodak's Labs and Stores Around The World

With the slogan "you press the button, we do the rest," George Eastman put the first simple camera into the hands of a world of consumers in 1888. In so doing, he made a cumbersome and complicated process easy to use and accessible to nearly everyone.

Kodak is best known for photographic film products. During most of the 20th century Kodak held a dominant position in photographic film, and in 1976 had a 90% market share of photographic film sales in the United States. The company's ubiquity was such that its tagline "Kodak moment" entered the common lexicon to describe a personal event that demanded to be recorded for posterity.

Kodak began to struggle financially in the late 1990s as a result of the decline in sales of photographic film and its slowness in transitioning to digital photography, despite having invented the core technology used in current digital cameras. As part of a turnaround strategy, Kodak focused on digital photography and digital printing.

Here, a selection of interesting photographs of Kodak's labs and stores around the world. Just click through the links we have already added to each images to find out more about their locations.

undefined
photo paradise by Ron Layters

undefined
The Photo Shop by Roadsidepictures

undefined
Kodak by Dr Rubberfunk

undefined
Krauss Photo Shop by jschumacher

undefined
The Photo Shop by beeater

undefined
Kodak 01_26_09 IMG_2681 by stingraysballcoach

undefined
defunct photo shop by frankie14850

undefined
Photo Market by Nate Madore

undefined
Old Фoto shop by Ainav..

undefined
kodak - "photoshop" by china.sixty4

undefined
Kodak by rhys.baker

Kodak store by grayhex

Kodak store,nr Ouazazate, Morocco 5 by Dan Bernard 131 Design Ltd…

undefined
Light My Way To Kodak by Coquine!

undefined
Kodak Photo Studio, Camera and Photo shop in Mombasa Town. by One more shot Rog

undefined
Kodak Flag by Muggeridge Photography

Monday, July 21, 2014

More Free Computer Screen Wallpaper



This video will look familiar to some of you because it is a re-post.  Because my visitor count has nearly tripled since I originally posted the video, I'm posting it again for those who've never seen it.  You can view all my photography videos here:  https://www.youtube.com/user/DarrylMrT
'til next time, happy shutter bugging.

Photo.net

Hi  Everybody, thanks for stopping by my blog today.  Like a lot of you I like to learn from other photographers.  There are a lot of great blogs and websites for us to choose from and one of my favorites is Photo.net.  If you've never visited them I hope you'll stop by as a result of reading this post.  It doesn't matter if you're a beginner, or a seasoned professional, you'll find input from Photographers of every experience level.  I especially like their question and response feature.  Here's a sample of what I mean:

metering a perfect black background

ivan vilches , Jul 19, 2014; 11:58 p.m.
hello guys i am experimenting with my camera (fuji gx680 with 180mm 3.2) i am a beginner, always i shoted with my nikon d800 and forget learn a solid base of theory of exposure, my scene is a candles on a nice table and in the background like 1.5 meters is the background , it is black , the only light i have is the candles , how i can know if my background is perfect black? metering with my d800, i know i can do a test shot but i wanna learn about teory , thinking i dont have the digital camera and it is a spot meter for example, the background have a slight light for the candles is any way to know if will be black in terms of stops or some...
Thanks very much.
the film is a ilford 50 panf
PD: sorry for my bad english :)

Responses

john cox , Jul 20, 2014; 12:12 a.m.
There's a few ways of doing this, one is to take a gray card (a piece of paper or cloth that is 18% grey) and meter the light in your scene falling on it. Another is to use an incident meter, which may be a function of your spot meter.
The concept of an incident meter is to measure the light coming towards the light meter instead of the light reflected off of (in this case the completely black ) background.
Making a grey card isn't too difficult in photoshop. The insides of a 35mm carton of kodak film usually works too.
ivan vilches , Jul 20, 2014; 12:19 a.m.
thanks john i have a gery card i can meter with spot of my camera and what more? should i take the diference on how many stops down compared with my candles?
thanks
john cox , Jul 20, 2014; 02:25 a.m.
In this case I would let the light from the candle fall onto the grey card and the measure the card. The idea is to measure something that's neutral toned and lit by the light your scene is using. There's no need to get into other complicated metering methods.
David Bebbington , Jul 20, 2014; 05:11 a.m.
There’s a simple and a slightly less simple answer to your question. The simple idea is that (assuming you are including the candles in the picture) the critical tone is the highlight detail in the flames, so spot-meter these and give 2 to 3 stops more exposure, according to which result you prefer. If you do so, the background will almost certainly photograph dead black.
The slightly more complicated method is to do the same as above but consciously think in terms of the Zone System:
http://en.wikipedia.org/wiki/Zone_system
This way, you spot-meter the flames as before. Any direct uncorrected meter reading applied to your camera setting will result in the tone in question being treated as zone 5 (mid-gray) – since this would result in over-exposure, you would need to place the spot reading from the flames on zone 7 (normal highlight) or zone 8 (brightest highlight showing detail) by giving 2 or 3 stops respectively more exposure. To make absolutely sure the background photographs dead black, you will need to treat this as zone 0 (which it almost certainly will be anyway). If you check and find the background is not zone 0 (i.e. seven stops less bright than the highlight if you have placed this in zone 7), you will need to move it further away from the light (candles).
There are a lot more responses to this novice photographers' question, but you get the idea.  Pay them a visit and tell me what you think.  'til next time - happy shutter bugging.

P.S.  You can check out my photography videos here:  https://www.youtube.com/user/DarrylMrT

Sunday, July 20, 2014

Extreme surf photographer chases Arctic swells

CNN) – “I love to suffer,” says extreme surf photographer Chris Burkard.
That much is clearly evident from his incredible portfolio, built up from shooting surfers as they ride waves in some of the most extreme places on the planet.
The California-based photographer hikes glaciers, dons wetsuits and routinely gets slammed by his subjects (unintentionally) as he tries to get as close as possible to the action.
His latest project is documented in a stunning video collaboration with SmugMug Films, part of a behind-the-scenes series highlighting photographers at work.
Shot over a two-week period in Norway, the film, called “Arctic Swell – Surfing the ends of the earth,” shows Burkard and his surfing companions battling blizzards as they catch freezing Arctic swells.
“You feel like you’re really paying the price but the greatest rewards come,” says Burkard.
We asked the photographer why he chases storms and swells and where he loves to shoot most.
CNN: How long have you been chasing extreme wave shots?
Burkard: I started chasing waves with my surfing and bodyboarding friends as a teenager because I found a certain thrill in being a part of the ocean’s energy.
I feel that places with extreme waves make for the best stories, which is why I’ll continue to chase not just extreme waves but also extreme landscapes in the remote corners of the world.
CNN: Do you surf yourself?
Burkard: I surfed a bit growing up but it was always more about the ocean for me than about the sport of surfing.
The ocean was really my inspiration in the beginning of my photography career and continues to motivate me every day.
I try to get in the water daily because it seems to have the ability to constantly rejuvenate and inspire me in all aspects of life.
Living near the beach has also provided me the ability to be constantly near great waves and surfers.
Central California is an amazing coastline and no matter where I travel, coming home to this stretch of coast gets me excited.
CNN: Tell us about shooting this video.
Burkard: We traveled to Norway in the spring, when the weather is constantly in flux. Storms shift in out of nowhere and sunny skies can quickly become blizzards.
We spent the entire two weeks of the trip in the Lofoten Islands staying in a cabin not far from the beach. When we weren’t surfing we were warming ourselves up in hot springs and near bonfires.
CNN: What kind of media/audiences have the biggest appetite for your kind of work?
Burkard: My portfolio is saturated with tons of surf imagery but I aim to make it appeal to bigger audiences.
It’s not just for the surfers out there but also the travelers and nature enthusiasts and really anyone who dreams of visiting these places.
CNN: Do you have a particularly memorable anecdote from the trip?
Burkard: The Arctic and Norway always lend themselves to a ridiculous amount of freezing.
When we first arrived on the beach the waves were hardly visible because of the storm — as we opened our doors the chill of the wind, hail and snow spread up our bodies and it felt like our core temperature dropped 20 degrees in a matter of seconds.
I’d told the guys mid-flight that they had to be ready for any type of weather when we landed, but honestly did not expect this strong of a storm to be sweeping through.
The session only lasted about 40 minutes as the guys could barely drop into waves with the snow and hail blowing against their faces. They said it was impossible to even open their eyes on some of the waves and were essentially surfing blind.
CNN: What are three of your favorite places to photograph?
Burkard: Central California. It’s been my home for 28 years. I’ve lived in nearly every city and traveled to as much of the beautiful surroundings that this section of the coastline offers. There’s so much variety in this region from camping above the clouds in Big Sur to exploring other worldly dunes near Pismo Beach.
I’ve been to Iceland 13 times and will continue to go back for its unparalleled rawness from the beaches to the mountains. Iceland delivers with hot springs, ice lakes and some of my favorite beaches like Vik and Hofn.
The Pacific Northwest offers a diverse landscape with waterfalls, forests, mountains, lakes and a rugged coastline.
Oregon summers are close to perfect with temperatures in the mid-80s and sunny skies. Oregon claims they have their own seven wonders with Mt Hood, Columbia River Gorge, the Wallowas, Painted Hills, Crater Lake, the Coast and Smith Rock.
I’ve been to five of them and they are totally worth it.
I recommend a road trip.
CNN: What’s your next big project?
Burkard: I’m balancing my work between editorial and commercial projects and looking to line a few trips up for the fall.
I’m organizing a few road trips with my sponsors as well as potentially a trip back to the Arctic.
I’m also working on a children’s book with The Dream Press.
CNN: Ever had any mishaps?
Burkard: Much of the actual accidents with my surf photography have happened in the water.
One of my most memorable experiences was when I went to Kamchatka, Russia. My passport had the wrong date on it and we argued about it for three hours and then the Russia customs security threw me in a jail cell.
I was in Vladivostok, a port city on the Sea of Japan. It’s like the Wild West out there.
I spent 24 hours in a dirty holding cell — it was basically a really gnarly hotel room with a guard at door. Then I got deported to Korea.
When I went back in 2012, it was sort of a redemption but I was scared and a little nervous it would happen again.
CNN: How do you get those in-the-water surfing shots?
Burkard: It’s a challenge to nail that perfect capture of a breaking wave or an action shot. One of the biggest challenges is probably just swimming in the water and often swimming in some precarious situations while trying to get as close as you can to the surfers.
There have been many times I have taken water housings to the face or collided with the athlete. Though it’s dangerous it’s just part of the job.
The ability to capture those shots happens through good positioning and being a nimble swimmer.
Water shots are tough to get because you’re literally dealing in inches.
CNN: How often do you travel?
Burkard: I travel about six to eight months out of the year and it’s the foundation for a lot of my work. I’ve spent the better part the last 10 years chasing down cold surf in the Arctic and other remote parts of the globe.
I operate under the impression that travel should leave marks on you.
My style of traveling for surfing in particular is a different approach than most people are used to.
I’m drawn to places that are a bit more rugged and I love treating surf trips similar to some might treat travel to the mountains, preparing for every situation and making the extra effort to explore a foreign land.
CNN: What kind of photographer do you call yourself?
Burkard: I originally thought of myself as a landscape photographer or a surf photographer but I hate to categorize myself in just one category.
I find my work definitely incorporates a lot of those elements of adventure, travel and extreme sports.Photo Courtesy: CNN Photo