Thursday, July 24, 2014

Film Canister Wedding Invitations

by cinemakyle· 3 days ago

Film Canister Wedding Invitations

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2 years ago I saw an article on Photojojo about how to turn film canisters into wedding invites. We thought that was pretty neat, so when it came time to make our wedding invitations this year, we knew what we had to do.

work in progress...

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The invitation information was printed on a 10" strip. Then we secured the strip with a bit of tape to the small piece of film that's left in the canisters.
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Closeup of the invitation strip rolled up. The strip was printed on a letterpress by Sweetwater Letterpress.

Sticker Design

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This is the custom sticker that I designed for the outside of the canisters. Our names are Katie and Kyle.
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The stickers were printed using an offset press, which gives them a high gloss & sharpness that you can't get with digital printing.

RSVP

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We designed the RSVP to mimic the developing slip you get from a film lab. This was also printed on a letterpress by Sweetwater Letterpress.
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Some assembly required...

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There was a lot of taping and sticking, but no paper cuts!
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While there is NO right or wrong answer to the question below, I did find the responses interesting.  You can find the entire discussion at the "Inspired Eye" website.

So, what’s the best film camera ever?

Posted by Olivier Duong in Photography Forum
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Here’s a new series of posts about reader opinions. It’s halfway between blog and forum and is intended to get the -opinionated!- discussion going :) So the first topic we will tackle gear…what in your opinion the best film camera ever? And of course state why. You  don’t need to particularly own it, but you are pretty sure its the real deal.
Remember you can post images of the camera(s) and/or images you shot with it or them (plz limit size to 600px wide)
For me, it boils down to two film cameras that I believe are the best.
The first is the Contax G2, black edition. It’s much sexier than the champagne one in my opinion. It’s a great rangefinder and the glass is…is….gulp, SO sharp! I really like the fact that this is a neat little system with all the lenses you need, the 90mm is so nice, the 45…..guuuuuu is gushing, but the 16 is impossibly expensive .
It’s anti Leica in the sense that it’s automatic and all but I like it.

  • Second in Line is the Fuji TX1-TX2, the cheaper version (and I believe the ORIGINAL version) of the Hasselblad Xpan.
    That camera….I stay away from, for fear of just buying it one day! The panoramic images are beautiful and the whole package is relatively compact. Check out these dudes:
    There’s just something about the Xpan….
    Other fine film cameras in my opinion are the Zeiss Ikon and the Voigtlander Bessas :)
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    • Not sure Im entirely qualified to make a judgement but based on personal experience camera one would have to be the Canonet QL17 (though most Canonet’s probably count) as theyre so cheap and easy to use. The main downfall being batteries, though Ive found an LR44 adaptor which is pretty neat.
      Set to A aperture, a decent shutter speed and you’re sorted. The 28 is even easier with basically full auto.
      Small, light fairly disposable if you’re in a tricky situation but with a great lens (just a shame for me its 40mm and not 35mm) – sorted.
    • Camera to is the ubiquitous M6, arguably one of Leica’s best film cameras, whilst the M2 is nicer looking I like the meter and have no need of the TTL version.
      Discrete when in black, but solid enough to make a good defence should it be needed, whats not to like? Also not a bad price really, I have a Voigtlander 35mm with mine which was a good value and f1.4!
      Once you’ve cut your teeth on a Canonet you can get a real MAN’S camera! ;)
    • Kevin Shelley

    • Without a doubt the Leica M2, but then I’m biased.
      Small, light, quick, reliable, well built and the cameras not bad either. :D
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    • undoubtedly, cute cameras , I think more than talking about cameras that is obviously the main thing in this forum, personally for me as the Yashica TL Electro X It was the first camera with electronic lights for exposure information in the viewfinder, and the first with stepless electronic shutter speed control, is heavy like they used to be at that time and it feels reliable, I have only two lens, Yashinon-DX, 1,7, f/50 mm and Vivitar Wide Angle 28mm f2.8 but the common lens mounting, M-42 allows the use of a large amount of “of the brand” lenses, before I sold the helios 58mm f2 made many shots with it, this camera is really easy to use, the meter cells are located on either side of the viewfinder eyepiece and they read the entire area of the focusing screen, is like i’m using the nex 7 with the old russians lenses.
    • GarryJ
      I am still very happy with my Yashica MG-1. It’s big and clunky. Just the way I like it.

    Post a comment

Wednesday, July 23, 2014

10 Tips for Sharper Photos (Even when zoomed in)

Photo by Jim Harmer
10 Tips for Sharper Photos.  #9 was the most helpful for me.  I never thought about that before.
Daily readers of this site already know how I feel about sharpness.   Sharpness is vital to professional photographers who make large prints, but beginners probably will not notice much of a difference between a razor-sharp photo that they view on a computer screen compared to a fairly-sharp photo that they view on a computer screen.  Nonetheless, photographers are crazy about sharpness, and I am too.

Sharpness Tip #1: Shoot like a sharp-shooter

Anyone who has ever shot a gun or bow and arrow knows that the key to shooting well is finding a firm shooting foundation.  Shooters do this by stabilizing themselves against a bench, using a monopod, or standing in the most stable positions.  Not surprisingly, photographers should use the same advice.  If you haven’t taken a minute to consider whether your photography posture is solid, think about it for a minute and decide how to improve your stability.  If you don’t regularly use a tripod, just do it!

Sharpness Tip #2: Don’t zoom to the extremes

I have never tested a lens that is sharpest at the extremes of the zoom range.  For example, if you shoot a 75-300mm lens, you will get sharper photos at 280mm than 300mm.  The Nikon 70-200mm lens shoots sharpest at 135mm.  I’m sure there are exceptions to this rule, but I haven’t seen them personally.  Almost all lenses are sharper somewhere between the extremes of the zoom range.
This is especially important if you are shooting a less expensive zoom lens or a kit lens.  Spend just a minute and take a picture of a newspaper taped to the wall across from you at different focal lengths and apertures.  You’re likely to find quite a variation in sharpness levels depending on the focal length.

Sharpness Tip #3: Determine your sharpest apertures

Just as the zoom dramatically impacts sharpness, so to does the aperture.
Many photographers learn that the sharpest aperture on many lenses is f/7.1 or f/8, but it totally depends on the lens.  That is a good general rule, but it is foolish to accept this as 100% true.  Just take a minute to lock your lens on a tripod and shoot a subject at all of your aperture levels to see what photo is sharpest.  If you are a landscape photographer, you will likely notice that many wide-angle lenses are significantly sharper at slightly higher apertures, because they are made that way.  This test will only take you 5 minutes to perform and will improve your photos for the life of the lens.
To test sharpness, make sure to shoot from a distance that you commonly shoot that lens, shoot in lighting conditions similar to what you will shoot in the field, and do common-sense things like shoot on a tripod with a cable release and mirror lock-up.
This test was performed on a Nikkor 70-200mm lens at 200mm.
This test was performed on a Nikkor 70-200mm lens at 200mm.

Sharpness Tip #4: Do Your Output Sharpening Last

Unfortunately, many photographers use the sharpness slider in Camera Raw or Lightroom first thing. I strongly discourage this technique because sharpening should match the medium, or be applied selectively.
Photos should be sharpened differently for the use on the web as they are for print.  For example, when saving a photo that will be displayed on a computer (like posting a photo to Facebook, for instance), less sharpening is needed because a screen is a sharp output medium.  When saving a photo for matte paper, more sharpening should be applied than when printing on glossy paper because the matte paper soaks the ink more than the glossy does.
Also, a photo that will be seen small should be sharpened differently than photos that will be seen large.  It just doesn’t make sense to sharpen before finishing the editing process.  This way, you’ll be able to go back and re-sharpen the photo in a different way when you want to use that photo for a new purpose without needing to re-do all of the other edits done in Photoshop.

Sharpness Tip #5: Stop mashing your shutter button

In my photography workshops, I see many photographers smash their shutter button with more force than they would smash a cockroach.  Mashing the shutter button will torque the camera at the critical moment when the photo is recording the scene.  The proper way to press a shutter button is to simply roll your finger back across the button.

Sharpness Tip #6: Pick up the manual for your LENS

The lens manual will tell you whether or not to use image stabilization (vibration reduction for us Nikon folks) when the camera is on a tripod.  Some lenses should have vibration reduction ON when using a tripod, and other lenses should have image stabilization turned off when on a tripod.
Lenses made in the last couple of years will make this switch for you, but you’d probably be surprised by looking at the manual for your lens to find that many lenses that you think may be turning this off for you… are not.  The only way to know is to check the lens manual.

Sharpness Tip #7: Decrease Your ISO

Photographers know that increasing your ISO increases the noise in the photo, but their knowledge usually stops there.  Did you also realize that increasing the ISO also dramatically reduces the visible detail in the photo?  When I say “dramatically,” I mean dramatically!
When you’re in a situation where you have to increase your ISO beyond where you’re comfortable, consider adding flash or moving to an area with better lighting to produce a sharper shot.

Sharpness Tip #8: Test different copies of a lens

When lenses are created, they are made to certain tolerances.  Especially in the case of lower-end lenses, the tolerances are not precise and allow for size variances.  For this reason, one lens may shoot better on one camera than another.  Make sure the lens is working well for your camera.  If it isn’t, you might consider returning the lens and buying another copy of the exact same lens model and see if it works better.

Sharpness Tip #9: Know Your Focus

I’ve given portfolio reviews to THOUSANDS of photographers in my online photography classes just in the last year.  THOUSANDS!  When they ask me about the sharpness of their photos and how they can improve, the problem is imprecise focus at least 95% of the time.
So here’s my recipe for proper focus every time…
#1. Decide if you are shooting an action photo or a photo with a stationary subject.  If you’re shooting a moving subject, choose continuous focus (AI servo on Canon or AF-C on Nikon).  If you’re shooting a stationary subject like a landscape or a person standing mostly still, choose AF-S on a Nikon or Single Servo on a Canon.
#2. Always choose the focus point yourself.  Don’t let the camera decide.  Get used to moving the focus point with the four-way selector on the back of your camera.  If you’re shooting a portrait, ALWAYS place the focus on the eye of the person closest to the camera.  On the nose or face or body of the person is not good enough.  Always focus on the eye.  If you’re shooting a landscape, generally focus one-third up from the bottom of the frame, but if you have a strong foreground element, you may want to focus closer.
#3. Once you’ve focused, be extremely careful not to sway forward or backward at all.  When shooting with a fast lens at a wide f-stop, even a slight movement will move the focus before the shot.
#4. Be sure not to focus too close to the lens.  Each lens has a close focus distance, and the camera manufacturers like to push the envelope with this distance.  I usually find that if I focus right at the closest point where the lens will still focus, the result is a blurry shot.  Back up a little bit from the closest you can be to the subject and you’ll always improve the result.

Sharpness Tip #10: Upgrade your shutter button

Less expensive cameras come with either a metal or plastic shutter button.  It does the job just fine, but it encourages the poor habit of “clicking” or “mashing” the shutter button.  More expensive cameras like the 5D Mark III, Nikon D810, etc, have squishy shutter buttons with a rubber coating on top so that the press of the button does not vibrate the camera as much.
For only a few dollars, you can pick up a rubber pad to fit over your shutter button which will solve this problem and upgrade your shutter button for you.
It can be tough to tell how sharp a shot is when looking at the back of the camera.  Zoom in all the way on the eye and the difference is easy to see.
It can be tough to tell how sharp a shot is when looking at the back of the camera. Zoom in all the way on the eye and the difference is easy to see.

Bonus Tip: Zoom to the Eyes!

The best way to know if you have a sharp photo while shooting is to zoom in on a picture you’ve just taken all the way to 100%.  Zoom in on the eyes and see if you can see the eyelashes.  If the eyelashes are just a clump of black, the photo is not sharp.  If you can see each hair in the eyelash, you have a sharp shot.
from: Improve Photography website

8 Tips For Getting Professional Indoor Photos Every Time

8TipsIndoorPhotosShooting indoor photography can become a chore when you don’t know what you are doing. Lucky for you, that’s where we come in to help!
1) Understand your camera as much as you can!
Get to know it like that girl/guy you wish you talked to more often from your English class. With that said, know your camera’s ISO limits; know when it starts to get grainy, and set a mental note for that. This way, you can increase your ISO to the highest value, while maintaining quality. For a T2i, your best bet is around ISO 1600, and at 3200 if ABSOLUTELY NECESSARY. For a T5i, you can shoot up to ISO 6400 without much noise interference. With that said, every camera model is made differently, so some cameras may have higher noise tolerance than others. Experiment to find out about yours!
Knowing your ISO capabilities can be very helpful during nighttime photography, because it is just one other element you can tweak to get your exposure to look “well-lit.”
2) Get out of automatic mode to take control of the all-important shutter speed
If this was not something you are already implementing into your daily photography routine, then it is time to get started! When shooting indoors, it would be recommended to shoot on shutter priority mode (Tv for Canon, S for Nikon) with a shutter speed no slower than 1/60 to 1/200. Anything higher than 1/200 may gain interference from any artificial lighting source you may have. Artificial lighting sources may include fluorescent “tube” lights, Speedlights, etc. This is because light bulbs flicker at a high frequency rate that doesn’t appear too visible to our naked eye. However, when shooting at nearly the same frequency as it, you will start to see those blue and orange bars caused by the lights.
1/60 to 1/200 is a nice range, because it affords you enough speed to capture a sharp image without motion blur, and it avoids capturing that nasty light frequency interference.
Shooting on aperture priority or manual mode indoors is incredibly helpful as well because you can then control the depth of field.  Indoor photos usually have very busy backgrounds, so reducing your depth of field can produce a much more pleasing photo.
If you haven’t yet mastered manual mode, then read Jim’s excellent in-depth photography basics tutorial.
3) When you have the advantage of daylight, make the most of it! 
This means shooting wherever it is available-whether from windows to doorways. Not only does daylight look natural (because it is, afterall), but it is also very BRIGHT! Daylight is significantly brighter than even the brightest flashes.
Shooting from daylight casted upon a window can also provide some beautiful soft light that gives your subject nice, even lighting. If you don’t want to use the sunlight as your light source, you can even get artistic to get it to cast a silhouette effect on your subject.
4) Use a reflector! 
Seriously, this is not only one of the cheapest pieces of equipment you could possibly buy, but it is also one of the easiest pieces of equipment you could CONSTRUCT in a pinch! Not to mention how useful it is as well! How do I make one, you may ask? Easy!
Step 1: Get a blank piece of white poster board or paper.
Step 2: Have someone reflect it onto your subject!
Done!
Need a bigger area covered? Buy a bigger piece of poster board! Blank white paper can give a nice, soft fill source for any shadows that appear on your subject, and it gives off that professional look. If you need something stronger and harder, use some foil to cover that piece of paper!
Of course, you may not have a 5-in-1 reflector after all this, (as you may get for under $20) but it is still a 2-in-1 that you just made from mere pocket change!
Reflectors are great for daytime or nighttime photography and they provide powerful lighting compensation wherever you go.
5) Avoid overhead lighting. 
Yes, this means your dear Aunt Sally’s kitchen lights as well. The reason being is that the overhead lighting casts these unflattering shadows that exaggerates wrinkles and eye bags. The simple solution to this problem? Simply have your subject(s) take a few steps back from the light source, so that it bounces from the floor onto your subject instead. Or if you are shooting for a photo that is going on your next Halloween card, then go ahead and let the light from above rain!
6) Modify that flash!
If you have a Speedlight flash available, or if you must shoot with the dreaded pop-up flash, modify the light in any way possible to avoid washed-out faces from the harsh light. For example, if you are shooting with a Speedlight, point the flash towards the ceiling or a nearby wall to bounce the flash onto your subjects! Doing this technique can be comparable to using a giant soft box such as those used for your school portraits, as it provides soft, even light. When the moment absolutely requires you to use the pop-up flash, an easy and foolproof method to modify the light is to use a thin (preferably plain white) tissue to go over the flash. Even though you are still stuck with direct flash, at least the light is soft, and the material does not have to be paper, by the way! I was at a theme park once, where I needed to use my pop-up flash, and only had a plastic bag to modify the flash. With a couple of trials and fiddling with “Manual” mode, I got it to look pretty nice!
7) A tripod can become your best friend!
When shooting in any situation, it’s always helpful to shoot on a tripod when you can. One of the reasons is that if you are required to shoot without any of the above suggestions for lighting, you can still somewhat get away with a longer exposure than 1/60, as the camera won’t be moving to cause motion blur. However, we cannot guarantee the same for your subjects. Also, wouldn’t it be nice to have a family picture WITH the family’s designated photographer?
If you are shooting static subjects indoors, then you can even use a long-exposure of about ¼ to BULB with less light sources to basically “magnify” the light, when on a tripod.
8) Shoot with whatever setting or lighting you need to get the shot.
Sometimes, we get into moments where we don’t have time to compose and adjust lighting. Those “Kodak moments” only come once in a while, and once they’re gone, they’re gone! These are one of the rare moments where I would find AUTO mode acceptable. You just have to put your faith in the camera and let it fire away. Hopefully, it hits it with its best shot.
Excellent lighting, shallow depth of field, and good white balance.  This is an excellent example of indoor photography.
Excellent lighting, shallow depth of field, and good white balance. This is an excellent example of indoor photography.

Amanda Megan Miller Photography

ENTERING HYBRID WATERS – CHICAGO FILM PHOTOGRAPHER

Yes, I’ve been getting back to my film roots and shooting all our personal photos on film, but what I haven’t shared yet is that I have been dipping my toes in the hybrid digital + film shooting waters. By dipping my toes in, I mean I have been switching gears and grabbing a few frames here and there on film during my sessions. Sessions that are 95% digital, 5% film, just to see if it is something I want to incorporate back into my work. (I LOVE shooting film at home, but shooting film for my work is a whole ‘nother story, as it totally effects my workflow…getting film sent into a lab, processed, and scanned takes TIME…and I hate having to wait to share all the pretty photos with my couples. Granted, I’ve always had dreams of having my own darkroom one day…) So,  lately, it’s only been a few frames here and there so I can do a legit comparison of my digital versus film captures. Here are a few frames from the past couple months that I shot on film…
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Click through for more!
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SO much more coming from the cuties in the last two frames! We did an all film session that I cannot wait to share!!!