When shooting wet plates, you deal with a very light-insensitive process (about ISO 0.5). So most wet plate artists want to get their hand on a fast lens. Wolfgang, a former participant of my wet plate workshop got his hand on a very fast lens and sent it over to me. For the first time, you can get the plates from this project on eBay, starting from 1 Euro.
How to turn landscape photography into a successful career
Some godfathers of photography, including Ansel Adams, produced images of landscapes that shaped the US’s national identity. His iconic work captured the beauty of this country one photograph at a time, particularly that of the American West.
People came to know and love the dramatic landscapes of national parks through his imagery, recognizing a form of beauty that has stood the test of time. Art historians think his work was instrumental in forging a love for the outdoors, which is still apparent today. While Adams’ photos are revered to this day, some dismiss contemporary landscape photography as a genre for amateur photographers, as hobbyists flood image-sharing platforms with predictable imagery.
Lens review: Sigma 23mm F1.4 DC DN Contemporary
It has been four years since I last reviewed a premium Sigma DN prime lens designed specifically for APS-C. The last one that I tested was the Sigma 56mm F1.4 DN, which impressed me as a portrait/short telephoto lens that was extremely sharp (one of the sharpest APS-C lenses that I’ve tested). Sigma is finally back with a new entry in the line-up, and this one covers the incredibly important full frame equivalent 35mm focal length. The Sigma 23mm F1.4 DC DN Contemporary is (according to Sigma) the APS-C equivalent of their 35mm F1.4 DN ART lens, though, as we’ll see, Sigma’s design brief for the APS-C series follows a different formula than their full frame lenses. Here’s a look at the DC (APS-C) DN (mirrorless) lineup thus far.
Comparing strobe and LED flash duration
We rarely see any big changes in the flash lighting world, but one area that is constantly evolving rapidly is LED lighting. One of the more interesting innovations we’ve seen come out of that field is LEDs that can also flash. But what does that really mean? How are LEDs actually flashing and is it a feature you need?
As many of you know, I’m currently a ‘Master of Light’ for Rotolight who are a U.K. based LED lighting manufacturer. Essentially that title means Rotolight deem me decent enough to use their lights to their fullest potential and that I have the ability to share my thoughts on them via socials and in-person training. But why on Earth would they choose me? After all, for the past 20 years I’d been happily using my flash heads alone, I’d never really used an LED light before and for good reason. Until now.
Expert advice: The nuts and bolts of photographer agent contract
While we’re now used to ticking endless “accept terms and conditions” boxes without a second thought, a photography agent contract is a different matter. This is a legal document with far-reaching ramifications for a photographer’s career and earnings.
Because of this, they should scrutinize and make sure they fully understand the document and all its implications. Having said this, most photographers find agent contracts very straightforward.
Lens review: Leica Noctilux 50mm f0.95 ASPH M – A Nocturne
If I remember correctly, I briefly held this lens in Sydney 2011 Photokina. Good old days when there weren’t too many product releases, and each excited you. Noctilux is like Mount Everest for every Leica lover, the holy grail. We climbers reach the base camp with the Summilux, and we are all waiting for the right moment to climb the top without a sherpa. You have to try it once to feel the power. You don’t have to buy it, just bring your wife or girlfriend to a local dealer and try this lens. Show them the picture. I am confident they will like it.
50mm is my favourite focal length. I almost bought this lens by trading in the Noctilux 50mm f/1.2 ASPH reissue to a local dealer. But I walked out of the store without a 0.95 because that copy suffered a front-focusing issue. I kept searching for another copy in Hong Kong; a copy that focuses accurately will suffice. Thanks to my good friend Andrew for letting me try his lens. Now I know what’s so magical about this lens.
How I made a 3D-printed movie camera that uses 35mm film
A couple of years ago I have been occasionally shooting 35mm films with point&shoot still cameras while also having the desire to shoot motion picture films. Upon reviewing my options, the best way would be to do it with Super8 film, but after financial considerations, I concluded that it would be very costly in the long run since shooting just one standard 50 ft cartridge wouldn’t be enough for me. Purchasing, developing, and digitalizing costs for just one would be over €100! And not to mention the long turnaround time of a few weeks! There had to be a better solution to the problem.
After researching, since I had some experience with 3D designing and printing, electronic design, and coding, I came up with the idea to build my own analog motion picture film camera. I’ve decided that my camera would utilize the standard 35mm film cartridges since these are cheaper and are widely available in much larger quantities and type varieties (B&W, Color, Reversal, UV, IR, special kinds …) and can be bulk loaded.
Using AI to create decisive moment photography
Defining Moments in a Digital World: My Journey into AI-Generated Street Photography
As a street photographer, I’ve always found solace in the hustle and bustle of city streets. There’s something magical about capturing those fleeting, defining moments. The thrill of waiting for all the stars to align and then clicking the shutter at just the perfect instant is indescribable.
Discovering generative A.I. was mind-blowing; a whole new art form was suddenly within my grasp. However, despite the results reaching a level-10 on the gorgeousness scale, they somehow felt hollow and lacked the emotion and storytelling that I treasured.
I shot these epic landscapes with my iPhone, I will never go back to shooting with a camera
In 2010, when Apple released the iPhone 4, it sparked a debate on whether a smartphone could replace a camera. At that time, professional photographers were sceptical, but little did they know that this small device would revolutionize the industry forever.
Despite having used both film and DSLRs in the past, I will never go back to shooting travel photography with them. The iPhone has become too convenient, and I see little difference in the quality of images. This is how I created these beautiful images of Norway, Italy, and Serbia, among others, with little more than the iPhone in my pocket.
When lightning strikes: how to make great images out of any situation
I’ve heard that a bad day fishing is still better than a good day at the office. That’s how I feel about chasing the Milky Way. It’s not only about capturing a beautiful image but is a way to unplug from the hyperconnected world. Before that happens, you typically have to walk up or down a dark trail on a moonless night while trying to talk some sense into the imaginary voice in your head that’s telling you every stray sound is a starving bear or mountain lion with a taste for human flesh.
One’s imagination tends to go into overdrive in total darkness. But when the voice calms down, as it eventually does once your eyes adjust to the dark, you can relax, connect with nature, and revel in awe at the mysterious, starry band of lights called the Milky Way. On this occasion, I didn’t manage to capture the Milky Way as planned. This is how a surprise storm actually made the shot even better than I’d imagined. Sometimes lightning strikes, and you just have to go with it.
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