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Lomography Agfa CT Precisa 100 Film product image 1

Back by popular demand, Lomography has a new stock of Agfa CT Percisa 100 film. The 35mm color slide film is designed to help shooters capture rich, deep blue skies without overlaying the entire image with a cool blue filter allowing the film to produce render warm colors as well. At the same time the film can resolve nice and sharp details. Another advantage of the Agfa CT Percisa film is it creates extremely fine outlines at every gradations of light and shade making cloudy skies pop with a unique look.

For a small history lesson Agfa films originally come from a small Germany company started in 1867 that has as strong ties to medical imaging systems as it does photography. Eventually the company folded and when into bankruptcy in 2004. A surviving branch continues to produces film for aerial photography.

Agfa also sold may of its remaining coated film rolls to Ferrania, a third party supplier of consumer film to many others selling under their own name. Meanwhile, Agfaphoto film is also produced by Fuji in Japan, Kodak in Mexico, and Lucky in China; so the film could have come from any of these companies.

As with most things in the film world the Agfa brand become diluted and attached to completely different types of film. Lomography stock itself has even been rumored to carry the same film chemistry as Afga, which would explain the rich color tones of many of the company’s film stocks.

You can pick up a roll of Agfa CT Precisa for $8.90 a piece. Check past the break for more images taken with the film.

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All photographs taken by Tom Chambers. Used with permission.

Growing up on a farm in Lancaster, Pennsylvania, photographer and image manipulation artist Tom Chambers developed a fascination as well as a special connection with animals, both wild and domesticated, in his early years. This curious and almost mystical bond is one that he seems to naturally form with animals carried over into adulthood–and it has become inspiration to and a persistent theme in his fascinating work.

Kids co-existing and interacting in the same small but wildly fantastical space with animals, some of which are predatory and dangerous, seemingly dominate his work, his enigmatic images reminiscent of exotic British India or even glorious Renaissance Italy and subtly but effectively exploring the harmonious relationships between humans and animals.

Tom confronts and explores this theme even deeper in his series, Animal Visions, whose enthrallingly magical images are influenced by the magic realism style employed by early 20th century Latin American artists and feature birds, wolves, elephants, and even a beautiful white Bengal tiger. And while these animals are only composited into the images in actuality, his meticulous skill successfully help him create a sense of realness in the photographs, convincing his spectators on the authenticity of his fabled storytelling.

Magnificent and overall enchanting, Tom’s Animal Visions series will mesmerize even the most unyielding unbelievers. See the photos from it after the jump.

For more of Tom Chambers’ work, visit his website or follow him on Facebook.

Via Feature Shoot
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A flash can be an invaluable tool for improving the look of your photographs. Its use doesn’t have to be relegated for situations which are lacking light. In many situations, it can be the means to reveal important shadow detail, increasing color saturation and controlling contrast. So, while there may be an abundance of light around, there will be times when you may want to engage your built-in or external flash to improve the look of a photograph.

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Amanda Bellucco The Phoblographer - Reflections in Water, Landscape Photography

If you’re looking for a way to add an abstract, dreamy, sometimes surreal quality to your photos, you may want to consider trying your hand at shooting reflections. Reflections offer a unique perspective and composition when shooting landscape, urban, or even portrait photography. The possibilities are as limitless as your imagination. Some experimentation is usually involved, but don’t let that scare you. A few of these helpful tips can take out the guesswork.

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Kevin Lee The Phoblographer Canon PowerShot SX500 HS Product Images-1

Canon has introduced two new hybrid camera additions to its superzoom family. First up the PowerShot SX520 HS digital camera, which incorporates a 42x Optical Zoom lens for an absurdly wide equivalent focal length of 24-1008mm. To help keep all your shots steady at the camera’s longest focal length Canon claims it has come with an incredibly robust image stabilization system with eight different modes.

Behind this long, long zoom lens is a 16 Megapixel High-Sensitivity CMOS sensor and Canon’s DIGIC 4+ Image Processor. With these parts in tow the PowerShot SX520 HS can record movies in Full HD 1080p.

Canon also introduced the PowerShot SX400 IS, a compact superzoom hybrid camera designed for carrying around in your jacket pocket. The SX400 IS trades in some reach for a slightly smaller body size but the 30x zoom lens still provides a full range of focal lengths spanning 24-720mm.

The Hybrid camera also packs a 16 Megapixel CCD sensor (which sadly can only shoot videos in 720p), the DIGIC 4+ image processor, plus Canon’s intelligent IS system. Canon promises both cameras have been programmed to help beginners take photos effortlessly with Smart AUTO mode, which chooses between 32 pre-defined scene modes for still and 21 for video.

The PowerShot SX500 HS digital camera will be available this September $399.99. Shortly this next month the PowerShot SX400 IS will come out in black or red for $249.99. Until then hit past the jump for more images of the cameras.

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julius motal the phoblographer fujifilm xt1 review-2

What’s the difference between a full-frame and APS-C sized sensor? You might think it’s quality but according to famous photographer Zack Arias it’s really just about having a sensor that’s just a tiny bit bigger. Arias put out a new humorous and biting video that debates the advantage of full-frame sensors over the course of 11-minutes (plus two and half minutes of bonus gear porn).

Arias does not mince words and points out the size difference between sensors pales in comparison to film days when image sizes became exponentially larger. Going back in time Arias gives us a history lesson on how film photographers though bigger was better. Medium format was better than 35mm film, large format was better than medium, and then real large format users took pictures with 8 x 10-inch frames, not that baby crap 4 x 5-inch paper.

Arias said people think bigger is better applies to digital sensors in the same way. Sure APS-C sensors used to have poorer high ISO performance, but technology has advanced to the point where a Micro Three Fourth sensor backed Panasonic GH4 can perform amazingly at ISO 12,800. Otherwise the only other advantage full-frame sensors have is the ability to resolve slightly more bokeh.

To sum up the video, Arias says the difference is negligible. To illustrate this he chooses to use the Fujifilm X-T1 over the Nikon D4s for his next shoot. Lastly the famous street photographer points out cameras from full-frame DSLRs, to APS-C mirrorless cameras, and even Go-Pros are amazing cameras, but at the end of the day they’re just pieces of gear. What really matters is the “moron behind the camera”—that’s you by the way—because you’re the one who knows about composition and lighting.

Make sure to watch until the end of the video for all the gear porn set to trance music.

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