Researchers develop a new technique that enables photographers to adjust image compositions after capture

Computational zoom allows for the manipulation of composition elements, such as magnification and perception of depth of a scene. Credit: University of California - Santa Barbara

When taking a picture, a photographer must typically commit to a composition that cannot be changed after the shutter is released. For example, when using a wide-angle lens to capture a subject in front of an appealing background, it is difficult to include the entire background and still have the subject be large enough in the frame.

Positioning the subject closer to the camera will make it larger, but unwanted distortion can occur. This distortion is reduced when shooting with a telephoto lens, since the photographer can move back while maintaining the foreground subject at a reasonable size. But this causes most of the background to be excluded. In each case, the photographer has to settle for a suboptimal composition that cannot be modified later.

As described in a technical paper to be presented July 31 at the ACM SIGGRAPH 2017 conference, UC Santa Barbara Ph.D. student Abhishek Badki and his advisor Pradeep Sen, a professor in the Department of Electrical and Computer Engineering, along with NVIDIA researchers Orazio Gallo and Jan Kautz, have developed a new system that addresses this problem. Specifically, it allows photographers to compose an image post-capture by controlling the relative positions and sizes of objects in the image.

Computational Zoom, as the system is called, allows photographers the flexibility to generate novel image compositions—even some that cannot be captured by a physical camera—by controlling the sense of depth in the scene, the relative sizes of objects at different depths and the perspectives from which the objects are viewed.

Computational zoom allows for the manipulation of composition elements, such as magnification and perception of depth of a scene. Credit: University of California - Santa Barbara

For example, the system makes it possible to automatically combine wide-angle and telephoto perspectives into a single multi-perspective image, so that the subject is properly sized and the full background is visible. In a standard image, the light rays travel in straight lines into the camera at an angle specified by the focal length of the lens (the field of view angle). However, this new functionality allows photographers to produce physically impossible images in which the light rays "bend," changing from a telephoto to a wide angle as they go through the scene.

Achieving the custom composition is a three-step process. First, the photographer must capture a "stack" of multiple images, moving the camera gradually closer to the scene between shots without changing the focal length of the lens. The system then uses the captured image stack, and a standard structure-from-motion algorithm, to automatically estimate the camera position and orientation for each image. Next, a novel multi-view 3D reconstruction method estimates "depth maps" for each image in the stack. Finally, all of this information is used to synthesize multi-perspective images which have novel compositions through a user interface.

"This new framework really empowers photographers by giving them much more flexibility later on to compose their desired shot," said Pradeep Sen. "It allows them to tell the story they want to tell."

Computational zoom allows for the manipulation of composition elements, such as magnification and perception of depth of a scene. Credit: University of California - Santa Barbara

"Computational Zoom is a powerful technique to create compelling images," said Gallo, NVIDIA senior research scientist. "Photographers can manipulate a composition in real time, developing plausible images that cannot be captured with a physical camera."

Eventually, the researchers hope to integrate the system as a plug-in to existing image-processing software, allowing a new kind of post-capture compositional freedom for professional and amateur photographers alike.

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Source: Researchers develop a new technique that enables photographers to adjust image compositions after capture

Couple’s terrible photographer wanted ad causes outrage

What's really, really frustrating is when people try and use your services for free. This is exactly what this couple just tried to do when looking for a professional wedding photographer.

Photographers are skilled people. They charge prices based on their knowledge, experience and skill level. It's completely ridiculous for someone to ask for free wedding photography. Sure, we can take some snaps on our smart phone, but don't expect a DSLR.

BUT, that's what this couple have done. They've advertised for a wedding photographer and as payment, have promised to provide the photographer with some really great experience and exposure. If you're enraged just reading this, you have some idea of how the internet reacted.

Besides experience, the couple also offered to pay the lucky photographer in food and gas money. Oh, and they offer their eternal gratitude and love. Awwww, how kind of them!

The ad said:"Weddings are expensive! duh right? well photographers for weddings are equally expensive as well! (duh again!) so here is my proposal…For any photographer with enough talent to shoot (product, fashion, macro, landscape, portraits) and any other requisite to wedding photography these days to shoot our wedding in exchange for the experience, the photos and the chance to say to your potential next client 'I've shot a wedding before!.'"

We really despise you right now, you happily engaged folk.

They then went on to list all the benefits of doing this huge favour, including a pool of 300 potential clients, and itemised everything the lucky photographer would need – including a lot of expensive equipment, an understanding of composition and lighting and a portfolio of prior work. Y'know, kinda like a real photographer…

Naturally, Reddit had a field day responding to the ad. Here are some of our favourites:

"I think I'll ask a car salesman to give me a free car so he can tell future clients, 'I've sold a car before!'" wrote BrolestBrolin.

"I like how they have enough self-awareness to know that people are going to be pissed off by something like this, but not enough to realize that it's a stupid and unreasonable thing to be asking for," said Sulfate.

"300 potential clients? So they invited 600 unmarried people to their wedding?" added FreeRangeAlien.

Welcome to the world of idiots.

Via PetaPixel

Source: Couple's terrible photographer wanted ad causes outrage

Laced Up: A Boudoir Photographer's Guide to Lingerie Shopping for Your Sessions

Take a look at any boudoir image and a trained eye will see the lighting, posing, and of course the wardrobe. Attention to detail in how each look flatters your client will go a long way. This guide will list where to shop whether on a budget or having the ability to stock your studio with high-end lingerie.

A list of lingerie stores and boutiques is right here at your fingertips to help either stock your own studio, or create it to send to your new clients prior to their session for shopping purposes. Some clients prefer to bring their own, however having a closet on hand will help those sessions where you needed a little extra.

As soon as someone books in my studio they receive a list of places that are everywhere from budget friendly to high-end luxury, and everywhere in between. The majority of items in my own studio reflect the style that I shoot. At one point I tried to stock it with various sized heels but always found myself asking the client to remove the shoes for a more natural look. So now it is more about robes, bedsheets for those implied looks, or flowly skirts to add to a topless image.

Tamara Paskey of Paskey Boudoir has a passion for lingerie in her images. Some of her favorite brands are Honey Birdette, Agent Provocateur, Love Haus, Bordelle, Kiss Kill, Gossard, Dita von Teese, Flur de Mal, and Playful Promises. Paskey's closet consists of over 400 pieces sizes XS up to 4X that has taken over three years to complete. She provides lingerie for all of her clients including robes, jewelry, accessories, shoes of all sizes, etc.

All they are to required to bring are their own underwear for sanitary reasons. Most boudoir photographers such as myself ask for clients to bring thongs of nude, black, and white to hide under the garments in the studio. There are also some photographers that offer disposable underwear at the studio for this same reason.

These images below are a few examples how the product looks on actual clients rather than an eBay find you hope will be true to size and quality. These choices in brand, style, and form are chosen by the some of the top boudoir photographers in the industry.

Luxury Lingerie Choices

You may have clients who want the full experience regardless of pricetag for their boudoir session. The choices for high end lingerie shops are generally in the hundreds. The look below for Honey Birdette is around 250 while the looks for Agent Provocatuer run in the six to seven hundreds. Agent Provocatuer even has romantic inspired sets that range in the $1500 as well.

Honey Birdette: Agent Provocateur:

Clients may even go for a nude bodyscape if paired with the red signature pumps of Louboutin ranging from six to seven hundred dollars. This type of shot will help with wall art sales from client who prefer to have the artistic anonymous side rather than show faces.

Budget-Friendly Brands

While many clients may love online shopping for other brands, or even if they are in distance from these boutiques, many still prefer the tradition of department stores such as Victoria's Secret and Macy's for an in-person shopping experience. The range of wardrobe prices usually start around $40 and go up from there. Jennifer Smith and Beth Claire show how these stores finds can create bold and beautiful final images for their clients.

Victoria's Secret: Vintage Sears: Macy's: JCPenney Cosmo Line: Asos

Cover image courtesy of Paskey Boudoir.

Source: Laced Up: A Boudoir Photographer's Guide to Lingerie Shopping for Your Sessions

“Focus and Filter” Book Review: This book offers many useful tips for photographers of all skill levels

by Jeremy Gray

posted Friday, July 28, 2017 at 3:00 PM EDT

Longtime photographer and educator Andrew Darlow recently released "Focus and Filter: Professional Techniques for Mastering Digital Photography and Capturing the Perfect Shot." This new book offers 50 assignments for photographers to tackle and covers a wide array of subjects and photographic techniques. What helps this new book stand out is that it is aimed at intermediate to advanced photographers rather than pure beginners. Beginners will benefit greatly from the book, but it's nice for a book to target more experienced users.

The topics covered include various camera settings, gear-centric topics like how to choose the right lenses and more advanced topics such as using external flashes wirelessly. For photographers who want to save money but still have access to useful gear, Darlow offers many DIY tips for making things like your own backdrop stand and sandbags.

Copyright Andrew Darlow

With such a wide variety in topics, there is no need to move through the book from front to back. I would recommend finding topics that interest you and reading the book in whichever order you choose. There are four overarching sections, however, including: mastering your DSLR, shopping smart, studio mastery and shooting in the field. In each of the subsections, which are organized as fifty "tips," there are "pro assignments" which lay out a relevant task for you to accomplish to help hammer home Darlow's tips and advice. It's a cool way to make the book an interactive experience.

While most will be familiar with some of what Darlow has written, the bite-size nature of the layout and the large breadth of knowledge he offers and topics covered means that there is something for everyone here, from beginners to perhaps even working pros. The digital version and paperback versions are available on Amazon for around $13 and $14 respectively. "Focus and Filter" would be a worthwhile investment for anyone looking to improve their photography. You can learn more about the book here.

"Focus and Filter" is published by Ulysses Press and is available in digital and paperback versions from Amazon and Barnes and Noble.

Source: "Focus and Filter" Book Review: This book offers many useful tips for photographers of all skill levels

Capitol Hill photographers asked to delete protest images, claim journalists

Journalists photographing a protest in the US Capitol building report that they were told by Capitol Police to delete photos and videos of arrests. The events unfolded yesterday in the third floor Senate wing of the building as demonstrators protested the vote that would begin an effort to repeal the Affordable Care Act.

As police handcuffed and removed protestors from the hallway outside of the Senate chambers, journalists were reportedly told by police to stop taking photos, and were instructed to delete photos and videos they had captured.

Official policy for press in the Senate Gallery states that photography is indeed prohibited in that area. However, the ACLU spoke up to remind press that police may not force anyone to delete a photo or video without a warrant, no matter the circumstances.

Source: Capitol Hill photographers asked to delete protest images, claim journalists

New TSA Rules Could Mean Major Headaches for Traveling Photographers

As a rule, photographers tend to carry-on their gear. New rules announced today by the Transportation Safety Administration (TSA) could make that process a whole lot more cumbersome.

The rules will require travelers to remove all electronic devices larger than a cell phone from their carry-on for screening in their own bin–much like you have to do with laptops currently. If you're toting along a gear bag, it means you'll be removing camera bodies, lenses, external drives, monitors–basically, a lot of stuff. (If you thought people grumbled at you while you fumbled with your belt and loafers, just imagine packing and unpacking an entire case of camera gear.)

The new procedure is already in place in ten airports, including LAX and Logan International Airport. It will be introduced to all other airports in the U.S. in the "weeks and months ahead," according to a TSA statement.

The good news, however, is that photographers and filmmakers can avoid having to unload their gear by enrolling in TSA Pre-Check. Those enrolled in that program won't be subjected to the extra electronics screening. You can enroll here.

Via: DP Review.

Source: New TSA Rules Could Mean Major Headaches for Traveling Photographers

2 photographers arrested on top of 400-foot-tall bridge

PHILADELPHIA (AP) — Two thrill-seeking photographers who climbed to the top of the nearly 400-foot-tall (122-meter-tall) Ben Franklin Bridge were arrested after setting off motion detectors during their middle-of-the-night ascent, officials said.

The photographers, who wore all black clothing and carried backpacks full of camera gear, surrendered when a rescue team surrounded them atop one of the bridge's towers around 1 a.m. Tuesday, said John Hanson, CEO of the Delaware River Port Authority, the agency that operates the bridge connecting downtown Philadelphia and Camden, New Jersey.

Hanson identified the climbers as Martin J. Romero-Clark, of New York City, and Andrew Lillibridge, of Toledo, Ohio. A search of their social media profiles shows multiple high-altitude images from around the world, including pictures from the tops of other bridges.

Hanson said they got to the top of the tower via the bridge's suspension cables.

Romero-Clark and Lillibridge were charged with multiple felonies, Hanson said. Attempts to reach them through Facebook messages and by phone were unsuccessful. It was unclear if they had hired attorneys.

The road and the rail line that run along the bridge were closed off for more than an hour and a half, Hanson said, adding that he couldn't recall another time when someone climbed to the top of the Ben Franklin Bridge to shoot photos.

More than 100,000 vehicles drive over the 91-year-old bridge every day, the Port Authority says.

Copyright 2017 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Source: 2 photographers arrested on top of 400-foot-tall bridge

Shutter Release: Vintage lens, Nikon “firsts,” landscape photo challenge, bouncing light and more

by Jeremy Gray

posted Monday, July 24, 2017 at 11:00 AM EDT

Shutter Release is a regular feature here at Imaging Resource and our way of sharing more news with you than ever before and sharing some of the great content our colleagues around the web produce. We are dedicated to bringing you the best original content we can while also alerting you to some of the many great articles and videos about photography around the web, including things like lighting tutorials, behind the scenes videos and interesting new gear announcements.

Today's topics include a new vintage-inspired lens, colorizing black and white photos in Lightroom, seven Nikon "firsts" from their first 100 years of existence, a list of the top 10 films photographers choose today, a video with a challenge for landscape photographers and how to create the look of off camera flash while using an on camera flash.

New Glaukar lens is a modern take on a vintage lens - Digital Trends

A vintage lens can offer images with a look that is wholly different from those captured using modern glass. You might have noticed an uptick in Kickstarter and other crowd funding campaigns lately for vintage-style lenses, including the Emil Bush Glaukar 97mm f/3.1 lens. The new lens is inspired by a lens that came out in Germany in 1910 and the modern version is a collaboration between a fashion photographer, portrait photographer and optics designer Wolfdieter Prenzel. The new version relies on the three original glass pieces from the early 20th century optic, but includes new coatings for better performance. Learn more about it and get in on the campaign before it ends on August 11 by clicking here. 

How to colorize a black and white image in Lightroom - PetaPixel

Colorizations of old black and white images is often done in Photoshop, but Tutvid has a new video showing how to achieve similar results using only Lightroom.

Seven "Nikon Firsts" over the last 100 years - Nikon Rumors

On July 25, Nikon is celebrating their official 100th year anniversary. To celebrate the milestone, Nikon Europe has published the first of a four-part series about "Nikon Firsts." The new article discusses many important moments in the company's history, including their first Nikkor lens in 1933, the introduction of the F-Mount in 1959 and much more. Go check it out for a fun walk down memory lane.

Top 10 films chosen by photographers - PetaPixel

You may recall the matchmaking game we covered that finds the right film for every photographer. The creator of the game has shared the ten films that most often show up in the results. Go check out the list here.

One camera, one lens, one format landscape photography challenge - Fstoppers

e6 Vlogs, which is run by landscape photographer Craig Roberts, has a lot of great photography videos. His latest video is about a landscape photography challenge wherein he uses just a single camera, lens and a square crop.

Creating the look of an off camera flash with an on camera flash - SLR Lounge

SLR Lounge has published a tutorial for creating the look of an off camera flash using an on camera flash and a silver reflector. The concept of bouncing light is important and one every portrait photographer should become familiar with.

Source: Shutter Release: Vintage lens, Nikon "firsts," landscape photo challenge, bouncing light and more

One Camera, One Lens, One Format: A Landscape Photography Challenge

As photographers, we generally tend to overpack our gear bags, because it feels much better to have too much equipment at our disposal rather than too little. At the same time, though, too many choices can be paralyzing. This great video goes the other direction by limiting the bag to one camera and lens, then restricting the shots to one crop. It's a neat exercise to invigorate creativity. 

I really appreciate the work of Craig Roberts of e6 vlogs. His style is very natural, and his limited post-processing lends his images a very found feel. He also exhibits a good amount of tenacity and resourcefulness, being constantly willing to evolve and rework his shots to match the conditions. In this video, he spends a day shooting landscapes, limiting himself to a single Olympus PEN camera, 17mm lens, and a square crop. As you probably know, imposing artificial restrictions on yourself is a great way to inspire creativity, as the problem-solving that it requires often fosters solutions that might not have come about had it not been for said constraints. If you haven't tried such an exercise before, I definitely recommend it; I think you'll be pleasantly surprised by what you come up with.

Source: One Camera, One Lens, One Format: A Landscape Photography Challenge

The Top 10 Camera Films Preferred by Photographers

When a new film photographer asks the photography community which films are the best, most voices tend to agree on Porta, Tri-X, and HP5… but are these the most popular? In this article, we are going to look at the top 10 films photographers prefer.

Earlier this year, I launched a Film Dating tool for helping photographers find their favorite 35mm film stock. It's been a few months since I launched it and its popularity went way beyond my expectations — over 38,000 people have used it so far!

This unexpected popularity also gave me the opportunity to gather enough information about the films people prefer. That doesn't necessarily mean that these films are the most sold, but it gives us a basic understanding of which looks please people the most.

So without further ado, let's have a look at the 10 films that appear the most in the results, starting from the least favorite to the most:

#10: CineStill 50 Photo by Vincent Moschetti #9: Fomapan 400 Photo by Jaroslav A. Polák #8: Lomography Color 100 Photo by Khánh Hmoong #7: Kodak Portra 160 Photo by Simon #6: Ilford HP5+ 400 Photo by Greg Ramirez #5: Fuji Pro 400H Photo by Matteo Bagnoli #4: Lomography Color 400 Photo by Nick Page #3: Kodak Ektar 100 Photo by Hui Chitlam #2: Kodak Portra 400 Photo by Fahim Fadzlishah #1: Kodak Tri-X 400 Photo by Erika Morais

From this list we can notice a few interesting points:

The Most Preferred Film Stock is B&W

I think that isn't a surprise at all. The first roll of film I personally shot was a roll of HP5, and I'm sure many photographers step into film with black-and-white. There's an aesthetic that's more appealing than digitally converted RAW files, and it's also the "easiest" (or most accessible) film to develop at home.

One thing I wasn't expecting was to see Ilford HP5 so far away from its historical competitor. Clearly, Kodak still has the lead when it comes to monochrome films.

There's No Film Rated Higher Than ISO 400

This tells us people don't like the look of film in low light very much. Shooting film at night can be tricky and the choice of fast film is rather limited. We have, of course, CineStill 800, which does a great job in low light and especially when pushed 1 or 2 stops.

I was just surprised to see that we have its little brother, the CineStill 50, instead of the 800 in the top 10. It's true that the look of this film is absolutely stunning, but the 800 version seems to be so popular that I would have expected to see it instead.

Fujifilm is On the Way Out

While Fujifilm is making huge progress on the digital side of photography and imposing its Instax line as the standard for instant films, they've been letting analog photography fall to the side of the road. Their catalog is getting smaller and smaller, and I don't see them jumping back on the train anytime soon.

Fuji Pro 400H is probably the only Fuji film that I could shoot with, but I'm not a big fan of its colors. Clearly, the Kodak brand is doing a better job here.

Lomography is in the Game

Lomography has played a major role in the resurgence of film, so it's no surprise to see two of their films in the top 10. Over the past several years, they've been bringing new fun cameras and cool-looking film to the market. You may or may not like their products, but we all do have to say a big "thank you" for what they've done to keep film alive.

Kodak Rules

With 3 films in the 3 first places, Kodak clearly leads the market and I'm guessing that's not a surprise to anyone. The market has been driven by this company since longer than most of us can recall. Even if other manufacturers have been trying to compete against them, they still seem to be one step ahead.

In total, Kodak tallied an impressive 40% of the results! Well done, Kodak.

Note: Again, this top 10 list is not an accurate representation of the market sales. It's what people tend to prefer the most in terms of looks and aesthetics, but we can probably assume that it gives a good idea of which films are the best sellers. Also, slide films were left out of my tool and this top 10 list because they are becoming more and more difficult to find and even more difficult to process.

About the author: Vincent Moschetti is an Ireland-based photographer who is in the middle of a year-long experiment where he's shooting only film photography. You can find more of his work or follow along on this adventure by visiting his website or following him on Facebook and Instagram. This post was also published here.

Source: The Top 10 Camera Films Preferred by Photographers

Explorest Lets You Browse the Favorite Photo Spots of Other Photographers

In need of new photo locations? The new iOS app Explorest might be the answer for you. By curating locations from photographers local to an area, the app aims to provide a real insight into unknown photographic opportunities.

If you're stuck for inspiration, and have frequented all your favorite photo haunts a little too often, then open up Explorest and take a look at the hidden gems other photographers have shared.

Once you've chosen a place, Explorest will give you the exact GPS coordinates of the location. No need to endlessly wander looking for a vague location; with this you can go straight to the point.

Until July 31st, all photo locations are free to view. After that, in-app subscriptions will unlock more in-depth descriptions, allowing you to read insights from photographers and information about how exactly they achieved their shots. Such a subscription will cost you $5 per month, or $30 per year.

Why would someone want to share a location? The app shares 50% of the revenue gained from subscriptions with contributing photographers. This is the incentive that will, apparently, persuade local photographers to give up their closely guarded secrets.

For now it's only available in Singapore, but they plan to expand their horizons in the near future. The app is free to download, and is for iOS devices only, from the app store.

(via Explorest via PDN)

Source: Explorest Lets You Browse the Favorite Photo Spots of Other Photographers

Why Photographers Get Hooked on Fujifilm (Like I Did)

I'll premise this by stating that this article is in no way a paid post, sponsored article or branded content. Rather, it is purely editorial sweet-talk driven by personal experience, scrappy tech jargon (not my area of expertise, sorry gearheads), and my enduring love for Fujifilm.

But first, it's important to share a little background on myself. Before working with Resource Magazine, I was solely a journalist with no photography experience. After my first day on staff—and about 10 obligatory whiskey shots (true story)—I was violently thrown into the mix and began not only reporting on the photo world, but cultivating a hybrid skill set that ranges from producing to art directing to shooting and editing. One of my initial, most memorable photo experiences was a one-on-one workshop with a night photographer, which was when I was introduced to Fuji. Since then, I've worked with and tested an abundance of gear, but no matter how great the latest piece of equipment, I always crawl back to my tattered old Fuji. 

That said, I should note that this piece was inspired by a recent Facebook post made by a colleague that reads, "In my experience Fujifilm shooters are the stereotypical vegans of the camera wold; just positively priapic and bursting at the seams to tell you they shoot Fuji and -if you don't slap them in time- why [sic]." I should also note that, for the most part, these words are pretty accurate, except for the vegan part because I'm carnivorous AF (but I am based in Brooklyn, so I guess it's not too far off.)

Anyway, since Fuji shooters are apparently "bursting at the seams to tell you they shoot Fuji," I thought I'd do it right. Here's why photographers get hooked on Fujifilm (like I did). 

How it feels in your hands Form factor is one of the most satisfying innovations of mirrorless technology and Fuji masters it beautifully. If we look at their two flagship mirrorless models, the X-T2 and X-Pro2, the bodies are among the smallest and lightest of almost any camera in its class, yet don't feel cheap or shoddy. This gear is solid and rewarding to carry. Also, the body itself is one of the key differences between these two models, providing more than one option to meet your preference: the X-Pro2 if you're into the old-school rangefinder feel, the X-T2 if you're more accustomed to the feel of a DSLR. (Note: I have yet to test the GFX 50s so will refrain from addressing it in this article).

Dynamic range, you say? Hahahaha. Ha. Ha. HAHA! Attention haters: no matter your qualms with Fuji, I have yet to see files that can be pushed as far as Fuji RAFs. Just expose for the highlights and don't worry about the shadows. You're good, yo. And if you don't believe me, check out this little before and after example by Eli Locardi.

Space Bacon Guitarist Jack Willard photographed live at ISO 5000. © Billy Murray

No light, no prob I know what you're thinking, "but it's not even full-frame!" Well, my friends, I'm going to throw myself to the dogs and say full-frame sensors are overrated. I shoot a lot of low-light concerts as the tour photographer for a high-energy jamtronica band called Space Bacon, and the lighting conditions are often ratchet at best. Totally no worries, though, because I can easily surpass ISO 4000 and still have files that look great not only by my standards, but the client's standards as well. Yes, a full-frame sensor should be—and probably would be—better in these conditions, but is it even necessary? 

You won't break the bank Growing up, I was never someone who ever had a good budget for any type of equipment, whether music gear, a laptop, cell phone, etc, which is another area that draws me Fujifilm. For beginners or hobbyists, a brand new X-T10 can be purchased for $799 (or just $500 used), and it's totally an awesome camera that produces incredible image quality (that last link is a sponsored post, but I threw it in to show examples of what this bite-sized camera is capable of). For the likes of professionals or advanced amateurs, the X-T2 goes for about $1,600 while the X-Pro2 is about $1,700. This is a very reasonable price point for gear in this class. Oh, and if that's not enough, Fujifilm's 35mm F/2 lens is just $400 bucks—an extremely sharp and versatile lens I'd recommend to anyone new to the world of Fuji.

Manhandle away This may be more of a personal issue I need to address, but I love being rough with my gear. The last thing I want is a dainty camera that's too fragile or too expensive to be tossed around a bit. In a way, manhandling my gear makes me feel like it's an extension of myself—the dings, scratches, and imperfections make it mine, similar to the hammer in my father's tool kit that's been alive longer than I have.

With this, Fujifilm gear is built like a tank. I've shot with my X-Pro2 and X-T2 in the rain, snow, the ocean, while snowboarding, with a beer in my hand, and in moshpits. Honestly, the only issue I've ever had is in extreme heat and humidity, in which the camera will occasionally freeze and an error message appears that literally reads, "turn camera off and back on again." I can admit the Fuji does need some work in that regard.

Sharp, sexy glass I would argue that outside the Fuji-verse, the Fujinon XF lenses are the most underrated on the market. Every piece of Fujinon glass I've used has been definitively sharp, crisp and clear—and like their cameras, there's a solid range of price points that don't sacrifice quality on the low-end. I would personally recommend trying the 35mm F/2 mentioned earlier, as well as the 16mm F/1.4.

The magical "film look" I like to think I'm a self-aware guy, so I'll be the first to admit that recreating the look of film with digital technology is trendy these days. But I'll also be the first to argue that Fuji does it best. This is where I lack on the tech side of things, but from a practical perspective, there's something to be said about the way Fuji sensors manage emulate the analog style.

In addition, Fujifilm's free X-Series Presets, which are designed specifically for Fuji cameras and utilize the built-in camera profiles in Lightroom, more accurately depict film compared to nearly any film preset pack you can purchase. I've also heard from multiple Fuji shooters—myself included—that these presets were an integral part of developing their own unique editing styles and workflow.

The community and support Fujifilm boasts an killer lineup of Fujifilm X-Photographers, all of whom create amazing work across a vast range of categories. There's also a great interactive feature on the company site, which lets you browse their work by camera, lens, photographer, country, and more—an excellent source of inspiration, no matter the gear you shoot with (and this is just one of the many resources out there). Even more, Fuji is one of those brands that maybe not everyone is into, but everyone who is is obsessed. There's truly a unique level camaraderie that comes with a love for Fuji, creating a very welcoming, judgement-free community whether you're just starting out or a seasoned professional. 

________

Today, we're #blessed to live in a time where, quite literally, every available camera is great, even the tiny one in your pocket. In no way do I believe that anyone should be defined by their equipment, nor should they ever, for one moment, think they're limited by their equipment. I'm generally a pretty brand agnostic person—perspectively, I work with an iMac and iPad in the office, then come home to my Microsoft Surface Book and Surface Studio. But that doesn't mean I'll refrain from expressing my love for a company that deserves it. After all, the internet can be a rightfully negative place, so a little shamelessly authentic, positive reinforcement every now and then is never a bad thing.

See a few more of my favorite shots captured with Fujifilm gear below.

[All images photographed with Fujifilm X-T2 and X-Pro2]

Source: Why Photographers Get Hooked on Fujifilm (Like I Did)

Meet Vancouver’s Top Wedding Photographers

Learn more about the talent behind the lens.

July 19, 2017

By Dominika Lirette / Photo: Blush Wedding Photography

You only get married once (hopefully), so finding the right wedding photographer to capture all of the day's special moments is a must. And because these seasoned shutterbugs have become known for snapping the most breathtaking images in the industry, we decided to turn the cameras on them (figuratively speaking, of course) to get the scoop on what couples can expect before, during and after the wedding day.

(Photo: Blush Wedding Photography.)

Who: Kristy Ryan and Ken Yiem

Cost: $4,900 to $11,500.

What does your package include?Every package includes two photographers and 750-plus photos. From there, people can add photography hours, albums, parent albums and guest books.

How would you describe your style?We like to say we capture our couples' heart and style. [My husband] captures the moments with a photojournalistic style, and I capture all the details and give the photos an editorial look with a fine art style.

What do you look for when you are taking wedding photos?We look for moments that capture a feeling that years down the road you will cherish—like a look in the father's eye.  When capturing wedding details, I look for a consistent colour story and clean lines so all the shots will look good together.

What are your favourite moments to capture on film?All of them. But, to name a few: the bride seeing herself for the first time in her dress, the first look, when their partner says "I do," and the walk down the aisle.

(Photo: David and Sherry Photography.)

Who: David and Sherry Buck

Cost: $3,500 to $5,000 (photography only); $4,500 to $9,000 (photography and albums)

What does your package include?All of our packages include two photographers and a full gallery of high-resolution, edited, finished digital images. Some packages include printed materials, such as albums.

How would you describe your style?We are best known for our creative fine art photography with moments of photojournalism.

What do you look for when you are taking wedding photos?We look for many things during weddings, the most important being good light. All great artwork through the ages is timeless because of its great use of light. We look for light first, then emotion, composition and style. If the light isn't present, we will create it.

What are your favourite moments to capture on film?I love the look on the groom's face when he sees his bride for the first time in her wedding gown. These moments make me tear up even while I'm photographing.

(Photo: Jozef Povazan.)

Who: Jozef Povazan

Cost: From $4,000 (average client spends $6,000 to $8,000)

What does your package include?I personally photograph every wedding client. All of them receive a handmade Italian leather album and USB flash drive with edited images.

How would you describe your style?Unique, edgy, fun, modern, creative wedding storytelling.

What do you look for when you are taking wedding photos?The story of all people invited. Emotions and expressions, which put these images together in a very personal way.

What are your favourite moments to capture on film?The day will reveal it, as every wedding is unique. So I have no expectations, yet enjoy the whole day and show how it took place in my artistic way.

(Photo: Justine Boulin Photography.)

Who: Justine Boulin

Cost: From $4,100 (custom pricing available for small, intimate weddings)

What does your package include?I have packages that include all the edited digital images only (usually between 800 to 1,000), or digital images plus albums. As of now, they all include a second shooter.

How would you describe your style?Documentary. I love to capture the candid 'realness' of the wedding day—the emotions, the honesty and what it felt like. My goal is not to pose you all day and not to shoot for my portfolio. Instead, I capture the story of your wedding, and who you are as a couple, and what makes you unique.

What do you look for when you are taking wedding photos?Relationships and moments between people—intimate ones, funny ones, ones that tell a little bit about who you are and adds to the story of your wedding day.

What are your favourite moments to capture on film?The unexpected ones. We expect the bride to get her hair and makeup done, the couple to kiss. We expect the first dance and even expect to take posed pictures of the couple in pretty light. But, the unexpected ones are the best moments—the ones you can't predict.

(Photo: The Apartment Photography.)

Who: Jeff Chang and Cat McDowell

Cost: $4,200 to $7,300.

What does your package include?Two photographers are part of every package—they're designed to be simple, uncomplicated and to reward those who choose more services (like an engagement session), albums or more hours of coverage.

How would you describe your style?Our style comes in two parts. The first is capturing the image, which we do in a non-obtrusive photojournalistic way; it allows our images to be both casual and intimate without feeling forced, all while leaving room for a little creativity. The second part is editing, where, fun fact, for every hour of coverage on the wedding day, we typically spend four to five hours in post-production. Our style no doubt owes its roots to film photography, where natural grain, warmth and a sense of nostalgia are strong.

What do you look for when you are taking wedding photos?Authentic candid moments are what we really look for on a wedding day. Cat and I have spent years honing in on our skills and it's become abundantly clear that it takes experience to know where to be to really capture those moments as they unfold.

What are your favourite moments to capture on film?That's a really hard one to answer! It's probably a three-way tie between, kids being kids and doing goofy things, catching mom or grandma being either super emotional or laughing their heads off, and the bride and groom seeing each other for the first time on the day. The latter is a really sweet moment and we are so fortunate to be able to witness and capture it.

(Photo: Shari and Mike Photographers.)

Who: Shari and Mike Vallely

Cost: $4,700 (local weddings); $2,700 (elopements)

What does your package include?Our starting package includes up to eight hours of coverage, two photographers and approximately 800 high-resolution files. We also offer custom albums.

How would you describe your style?Describing our style always proves to be a difficult task.  The words that have been used often to describe our work are honest, fresh, evocative and jovial.

What do you look for when you are taking wedding photos?The two things we look for most on a wedding day are: (1) Light. We are always watching to see how the current available light can enhance our photos and inspire us to create unique imagery; and (2) Human connection. We like to say that we are professional people watchers, constantly aware of what's happening around us, anticipating moments, and being ready to capture them through our perspective.

What are your favourite moments to capture on film?Real, un-rehearsed moments. Like when the bride, while dancing with her dad, bursts into tears when all the guests surrounding them begin to sing along with "You are my Sunshine." Or when the groom cannot contain his excitement after seeing his bride for the first time on their wedding day. Or when the dog walking the bride down the aisle decides the decorative tree is a good place to mark his territory.

(Photo: Jessica Lee Photography.)

Who: Jessica Lee Latone

Cost: From $2,300

What does your package include?Our packages include photography coverage, which varies based on the selected package, as well as a complimentary Welcome Package and access to an online gallery.

How would you describe your style?My photography style is quirky and fun, but still classic and romantic. I take a more photojournalistic approach to my work.

What do you look for when you are taking wedding photos?When I am photographing a wedding, I look for great moments and wonderful light.

What are your favourite moments to capture on film?My favourite moments are the ones full of raw emotion.

For more help planning your big day, subscribe to the Vancouver newsletter!
Source: Meet Vancouver's Top Wedding Photographers

Photographers, Register Your D*mn Copyright

Photographer Max Dubler struck a nerve last week with an article documenting the theft of one of his downhill skateboarding images. After finding a skateboard brand using one of his photos without authorization, he did as he always does: he contacted the offending party and requested a payment of $25 for social media usage.

Dubler's straightforward, non-confrontational strategy has worked in the past, but not this time. The offending brand responded:

"Seriously? We don't pay for Instagram shares and we always give proper credit, I mean, who pays for Instagram shares lol. I will take it off if you wish Max"

Dubler spent considerable effort constructing a line-by-line response, which drummed up photographer outrage. But the central problem remains. Dubler writes, "They still haven't paid me. I doubt they ever will, but in the 48 hours since those posts went up, half a dozen companies have contacted me to pay for for skate photos I didn't even know they'd used. I'm calling it a win."

Dubler scored more than a moral victory given that the piece led to newfound revenue. But his frustration and the outrage that it provoked did nothing for the long term benefit of photographers because of one simple thing: he didn't register his copyright.

When I emailed Dubler about copyright registration, he responded "I didn't [register], mostly because copyright exists from the moment of creation and I rarely ever have disputes about it."

In the US, a photographer does own the copyright the moment he/she presses the shutter. But damages for willful infringement are generally capped at the market value — presumably $25 in Dubler's case since that is the precedent he set. But when you register your image with the US Copyright Office, you can be awarded up to $150,000 per image for a willful infringement plus legal costs.

And according to The Copyright Zone authors Jack Reznicki and lawyer Edward Greenberg, you can still register a photo even after it's been infringed.

"And we advise to register it even then," they write. "You just lose some rights that you would have if registered before the infringement, which is the right to statutory damages and collecting your lawyer fees. In some cases that may be a deal breaker for some cases, but then there is the Alan Paul Leonard case where the photographer was awarded $1.6 million plus $400,000 in interest for a registration done after the fact."

The public doesn't understand copyright

As Dubler incident illustrates, most people have a poor understanding of copyright – an issue that is exacerbated by social media sharing. Most of the major social media platforms have an embedding features that usually falls under a "share" link or icon. Embedding is generally seen as a mechanism that doesn't run afoul of copyright laws because the Terms of Use usually require the uploader to consent to embedding.

But taking posted content and republishing it in one's own account is equivalent to making a copy, and that is illegal. That Dubler's image appeared in Instagram doesn't mean another account can "share" it by uploading it to their account.

The threat of fines are a defense against infringement

Insect photographer Alex Wild noted in Ars Technica, "Most copyright holders are individuals; most infringers are businesses. Things are broken." Content creators don't wield the power of a corporation, but copyright gives them some significant protections.

Reznicki and Greenberg said, "One of the facts about suing and collecting through settlement or trial a large amount, is that it greatly discourages future infringements." Suing is, for better or worse, a check-and-balance on corporate exploitation.

Whether $25 is the "right" amount somewhat misses the point. The market will bear what it will bear, and $25 may very well be the value of a license for use on an Instagram account with a limited following. The larger issue is that a lack of enforcement with punitive damages means that brands will continue to deprive photographers of a way to make a living.

Photo by Allen Murabayashi

Still Reznicki and Greenberg caution against sending an invoice out of the blue, in part because indicating an amount in an invoice reduces your leverage in court. If you're trying to solve an infringement amicably and without a lawyer, they suggest, "send an email (not invoice) which states that 'Rather than consult with my attorney I will accept actual receipt of the sum of $X not later than [date]. If I do not physically receive that money by that date my offer to resolve this matter shall be deemed withdrawn, null and void. I will then turn this over to my lawyer.'"

Register your d*mn images

Photographers can be their worst enemies. The US Copyright Office provides an online mechanism that is simple and relatively inexpensive. Yet, most photographers don't regularly register their copyright despite knowing that infringements occur all the time.

At the urging of some readers, Dubler has set up a Patreon account. But soliciting small donations from strangers is an unsustainable way to make a living.

"I'm thinking of registering some of my more frequently stolen photos, though."

Disclaimer: The information contained within this article should not be construed as legal advice. Always consult a lawyer.

About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.

Source: Photographers, Register Your D*mn Copyright

THE MANUAL PHOTOGRAPHERS SERIES PART 6: Simeon Kolev

Selfie with Mamiya m645 | 80mm 2.8 C @F16 | old ORWO NP22 80ASA B: Hi Simeon, can you tell us a little bit about yourself and how you came to use manual lenses?

S: Hi! I will start with what I do for a living: I am a graphic designer and photographer based in Bulgaria. I started editing photos long before I had my first experience with a camera (and that was as part of my job as a designer). But it was only a matter of time for me to get excited about taking the pictures myself. I started with what gear was available in the companies where I was an employee, but back in those days the Canon G5 was like space technology in my eyes.  Because of the huge depth of field of these compact cameras I was mainly focused on landscapes and macro. When I got bored of landscapes and macro I started to look around for something with a larger sensor.

For taking portraits I bought my first camera with interchangeable lenses. It was the Pentax K200D with one manual SMC Pentax M 50 1.7. It was really hard to focus manually but I am a calm person and with a little bit of practice I started to improve a lot. Also back in those days I was not making enough money to buy AF lenses and I was happy that Pentax was a system with options for cheaper manual glass. Later when the mirrorless cameras arrived I was very impressed with their functionality when using manual lenses.In the end I was forced to leave Pentax because of the unreliable AF, which was a problem when I was shooting events. Also, I was starting to get into video shooting and Pentax was totally out of the game there. So I was switching to Nikon and Sony, the decision had been made.

I was always into manual lenses right from the beginning. There is something about them that makes me buy more and more of them. I do not know for sure what it is, but I think it might be the combination of the vintage feel, awesome focus mechanics and true glass which creates photos with character and depth. Maybe I like them mostly for the character, as a portrait shooter I want my pictures to look different from time to time and I need different tools for the job. Focusing manually was in my workflow anyway, because I hated the AF systems of the DSLRs which weren't able to focus reliably with the off center AF points. Furthermore I had to think about AF points, calibrations, settings etc.Nowadays my Sony can focus by itself with ease on human eyes no matter where they are in the frame, but I still use my manual glass because it is so easy to manual focus with those EVFs. And since I am not in a hurry when I make portraits, I quite enjoy doing it that way.

B: Can you give us a look into your camera bag and tell us a little about your gear?

S: Well what can I say, I am a huge fan of efficiency.  Whatever I chose to use as gear, it is not because the way it looks or the ergonomics, it is because it fits my workflow and delivers. I use the Lowepro Flipside 400AW as my main bag, I find it very convenient while I am out shooting.

About my camera's brand… I do not have one. I am not a fan of brands, for me cameras and lenses are tools and I do not hesitate to mix stuff. For example there was a period in my life when I was mounting Nikon lenses on my Pentax body. Right now I have two systems of digital cameras: the one I use rarely is the Nikon D750 body, it is only for weddings and other events where I need the fast AF and the dual card slots for backup.And this is where it gets complicated: my other system is Sony E-mount and there are a lot of adapters that I use. Most of my lenses are not Sony or even originally E mount. I use the A7r and A7rII bodies and from time to time the A6300. Those are my cameras for now.

Adapters – I have almost all kinds of those. Simple ones, electronic, tilt, speed-boosters and I mix them often too.

Lenses – well I will mention only the ones that get me excited, otherwise this would become a very long article. And I will keep it short on the explanations leaving the shots to speak about the lenses. I will start with the wide angle.

The Sigma 35 1.4 Art, I find it to be quite nice. I use it on Sigma MC-11 adapter with the Sony bodies and from time to time tilted on the mechanical tilt adapter. A7rII | MC11 | Sigma 35mm 1.4 Art A7rII | Tilt adapter | Sigma 35mm 1.4 Art

And then the 50mm lenses. I have tested a lot of them, but only few have made it into my bag. I will start with the cheapest one:

KMZ Zenitar 50 1.7 – I have two copies of this one. It is so special that I can heartily recommend it. If you have the chance to get one – do it. It is different from all other 50mm Planar-scheme lenses from any manufacturer. A7r | Lens Turbo II | KMZ Zenitar 50 1.7

The next 50mm I will mention is my most expensive one.

The Mitakon Speedmaster 50mm 0.95 II – It is awesome, I love almost every shot I take with it. A7r | Mitakon 50 0.95 II A7rII | Mitakon 50 0.95 II | the image is a bokehrama stiched from 14 images

Next I will mention my favorite 85mm:

The Canon FDn 85mm 1.2 L. It is kinda like a mix of all 85mm lenses that I like for a whole different reasons. My copy is in awful shape but still delivers great images. A7r | Lens Turbo II | Canon FDn 85 1.2 L

And there are some honorable mentions:

Sony SEL 10-18mm F4.0 – my wide angle landscape, interior, video, ultra versatile lens. I use it on the A7r bodies with removed rear baffle as a 12-18mm lens. It delivers decent quality that way and is the most compact and lightweight tool for the job.

SMC Pentax M 28mm 2.8 II – ultra compact and quite nice lens for all purposes. Very interesting for tilt.

Canon FDn 50mm 1.2 L – one of the best 50 1.2 even today.

Minolta Rokkor 58mm 1.2 PG – one great lens for portraiture. It is kinda like 50mm and 85mm mix, it is longer then a 50mm and gives more compression but with wider field of view then an 85mm. It is also lovely as a tilt lens with its creaminess.

Canon FDn 135mm 2.0 – I am not a huge fan of 135mm as a focal lenght, but this lens is a keeper. It is so small and lightweight for its wide f/2.0 aperture and the bokeh is soo creamy.

Nikkor 180mm 2.8 ED AIS – my longest lens at the moment. I use it rarely (like the 135mm) but when I need more compression of the background or extra reach for something in a distance it delivers. It is one of the best lenses in its range. Almost no CA, great sharpness across the frame right from f/2.8 and of course: awesome bokeh.

Soligor 85mm 1.8 Preset – a very rare lens. I happen to have it because a friend of mine who was selling it was pushing me around for 2 weeks to go out and test it. I was very impressed and surprised by it from the first test shot. It was WOOW. The lens is like a Petzval with very swirly bokeh and very artistic rendering. But the bokeh is not so nervous like in Helios 40 or others, it is significantly smoother. It just has the perfect swirly bokeh for my taste. A7rII | Soligor 85mm 1.8 Preset

I also have to mention some of my latest toys. Most of the people have started their path in photography on film first and then went digital, but the younger ones (like me) – we have started on digital (most of us) and then we discovered that film is something different. Since I was using 35mm film cameras for a long time I was tempted to try something larger. So I will say something here about my latest passion:

Mamiya C330 with 80mm 2.8 Sekor lens. Awesome 6×6 camera for the price. Since my inspiration during the years was always strongly affected by medium and large format film shots, now I have started to shoot it myself and I am telling you: there is nothing that can make you think and make better pictures than a film camera. The limitations that you get from it combined with the awesome qualities of the film had a great affect on my point of view.

And my second medium format film camera:

Mamiya M645 with Sekor 80mm 1.9 C lens. It is early for any feedback right now, but I think that the future will show only great portraits from this one. I bought this camera especially for using that lens and shooting with natural light outside. For flash photography the C330 has huge advantages with a sync speed up to 1/500sec. If you want to see more from my gear you can check out my flickr profile, where I upload a lot of test shots.

B: Do you have a favorite subject matter?

S: Yes, these days I like to shoot portraits. And my usual subjects are young girls mostly without any experience in being a model. I like the process of working with them to extract some natural poses and looks. If the model already knows how to pose than what am I doing would be what? Only pushing the trigger?So yes – I like to shoot people. Also I am a huge fan of dancers. They have this amazing thing, when they move their bodies they are so graceful and beautiful. Overall I think that the model must have some connection with the photographer while they are shooting, when they talk about their lives or discuss something not related to the photoshoot, that is when the magic happens. If you just pose your subject it shows in the final result, but if you distract him or her with something you can get some real stuff – emotions, feelings that are much more natural and interesting. That is more valuable for me – taking a photo that others will not take.

B: You also shoot weddings with manual lenses which many people would probably never dare to do. Do you think this is a disadvantage or may it in fact even be an advantage?

S: It is a matter of personal choice. My shooting style is not that agressive and dynamic most of the time and I am a calm and patient person, who likes to think more before taking the shot. With some experience I started to know when something is going to happen and how to shoot it. And in that case manual focus is not a problem anymore. Sometimes it is even an advantage, because some moments are hard to be caught with AF. Also not having to think about focus points is making me feel free sometimes. The main point is that I use MF on my mirrorless bodies though, where MF is much easier than on a DSLR.So long story short: it can be an advantage and a disadvantage, it really depends: if you want to have a different look of the image and modern lenses do not have those optical defects that you like, or you want to tilt the focus plane a little, or it is too dark for the AF to work – that is when manual focus will be an advantage. But if you want to catch a moment in a dynamic sit uation when people are dancing or running and the most important thing is to have exactly that moment AF can be an advantage. That is why I think it is a personal choice what tools to use. It is important that you are comfortable with the gear while shooting and if you have the confidence that you can do it – then why not using manual lenses?

A7r | Mitakon 50mm 0.95 II B: Is there a photographer which has inspired you?

S: Yes I get inspired by almost everyone, but in different ways. And yes some people inspire me more. For example my most favorite author to this day might be Artur Saribekyan. Like most of the internet famous, Russian photographers he was first a painter and after that he started shooting with a camera. Knowing the rules of composition, color and etc. those people (painters) can create some great results in photography.

B: Are there certain characteristics that you look for in a lens and do you rather find that in older or newer lenses?

S: When I choose tools for photography I try to follow some personal rules: the lens is a tool, so it has to give me something different, something that will make my photo stand out from the others. If this thing that stands out is going to be more bokeh, or stranger bokeh, or great flares, fast AF, fast aperture or anything else does not matter. Then it has to be affordable for me, bacause if I give all my money for one camera or lens I will be afraid to use it and this is a restriction I will always try to avoid. The tool is a tool, I am neither a collector nor a slave to a brand. If a lens is in my bag that means that it has been selected because it fits my workflow and is meant to be used for taking pictures or shooting video.

A7r | Canon FDn 85 1.2 L B: Do you have a favorite lens at the moment?

S: Well… I am not sure about that. They are so many and sometimes one of them is my most used, sometimes another one. I can't pick one and say: this is the one. Also every time I go out shooting I use at least two bodies with different FOV lenses in order to get two different ways to tell a story.

A7r | Lens Turbo II | Canon FDn 85 1.2 L B: As I have seen you also shoot film, what do you think it gives you compared to digital?

S: Film is something special for me. It captures light in a different way, more realistic, more 3D and very organic and natural. Film is chemistry and physics while digital is more mathematics. They are different. But one thing is for sure – I love film and the results from it are much better in my eyes than digital pictures. I have always tried to mimic film with my digital edits. The evolution of digital cameras made them better in many aspects, but I do not think that they are better in the aspects that really matter to me. We tend to focus a lot on resolution, lack of noise, aberrations and so on. But those things do not matter that much for the final result while the natural colors, realistic contrast (not HDR like) and other things matter and modern cameras are starting to depart from these. I hate that modern cameras do not have really untouched RAW files anymore. We are unfortunately witnessing more and more proccessing in RAW files these days.

Pentax ME Super | Samyang 85 1.4 IF | Fuji Superia 100 Mamiya C330 | 80mm 2.8 Sekor | Kodak PORTRA 400

I am planning to create an article about this with some test shots on different sizes of sensor and film in the near future. That is one of the reasons why I bought some medium format cameras recently.

Some of my vintage gear 🙂 B: What do you think is the best picture you have taken so far and why?

S: This is like the question about my favorite lens :D. I can't decide which one. I like them all.

NEX6 | Lens Turbo II | KMZ Zenitar 50 1.7 | Bokehrama from 15 shots B: Can you suggest a lens we should review?

S: I am curious about the latest Laowa 15mm 2.0 lens. I hope that you will get a copy for testing soon. Also you can check out the speed booster adapters on the market like Metabones, Mitakon, Kipon. Tilt and Tilt/Shift adapters… Those are interesting topics if you ask me.

B: Where can people see more of your images?

S: I post almost everything on my facebook page : Retouch & Photography by Simeon Kolev, also people can checkout my flickr account where I post not that artistic pics when I have an opportunity to test a lens or camera. I also have a domain – snimo.net where I am planning to make a web site but for now there is my behance account. I also post in 500px and 35photo.ru but not everything I do is there.

NEX 6 | Lens Turbo II | Samyang 35 1.4 A7r | Canon FDn 85 1.2 L NEX 6 | Samyang 85 1.4 IF The following two tabs change content below. Latest posts by Simeon Kolev (see all)
Source: THE MANUAL PHOTOGRAPHERS SERIES PART 6: Simeon Kolev