The Phoblographer Answers: Why Does Instant Film Not Work So Well in Cold Weather?

If you’re one of those photographers who uses Instax film, Impossible Project film, or have your hands on a little bit of Fujifilm Peel Apart, then you’ve probably noticed just how frustrating it can be to use instant film in cold weather. This is an issue photographers have been facing for a really long time, but if you consider it carefully you’ll realize how much it makes sense.

In this short article, we’ll explain exactly what happens.

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A Simple Mind Hack to Always Keep You Motivated to Shoot Photos

This post is short, sweet, and to the point: if you want to ever stop being dominated by creative ruts as a photographer the best thing you can possibly do for yourself is to surround yourself in positivity and creative energy. Sounds crazy, right? You could say that, but it’s the truth and every business owner who has weathered being within inches of bankruptcy will tell you exactly that.

So how do photographers surround themselves with positivity?

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How to Shoot Better Photos That Need Less Post Production

I want to get something very clear before I begin this article: there is absolutely nothing wrong with post processing and photographers should always shoot with RAW modes if possible. But at the same time, there is something absolutely very liberating about not needing to spend more time on your computer or any device working to get the images you ultimately want in the end. Some photographers are better at processing while others are better at shooting. I’ve personally spent a lot of time working in Capture One and felt it to be therapeutic–but I also acknowledge that too much time staring at a computer screen can be bad for your eyes.

So instead, shooting an image perfectly in-camera is always an option.

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Tougher Than You Think: How to Shoot in a Studio Style With Film

Shooting in a studio or studio style with film changes a lot more of the photography game than you’d think. You see, there’s no taking a photo, chimping, and saying you like the image or not. You have to get it right the first time around. There’s also a major difference in what can be done with color correction and a lot more. But the biggest thing is the fact that you and your subject will have a much greater sense of connection due to how you need to communicate a whole lot more.

In this post, we’re going to focus a bit more on the technical details.

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DIY Hack: Pop Photo Puts a Candle Jar on a Flash; Gets Experimental Results

Ever heard of a Gobo? Strobist photographers have been using them for years and years–essentially a GoBo is a go-between that modifies the light output to shape it and define it in a certain way. An umbrella and a softbox are gobos: but so could a piece of plastic or a strange glass. In fact, the utterly bored yet imaginative folks over at Pop Photo tried to do just that. But in a new series that they’re starting called “Random object lighting modifier challenge” they decided to slap a glass candle holder on the business end of a flash.

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Street Photography and Kodak Tri-X Film: 62 Years of Going With The Grain

This is a syndicated blog post from our premium publication La Noir Image. For more stories like this, sign up for a subscription at a fantastic price. All images and text by writer Mason Resnick.

In recent years, thanks in part to social media and the ease with which participants can share images, street photography has enjoyed unprecedented popularity. A generation of digital cameras, inspired in part by the classic tools of street shooters, has combined with the power of social networks and easy image sharing to empower a new generation of photographers to embrace street photography. The results: A glut of photos: many of them mediocre, some good, and some of them really good.

But even the best of digital street photos have a problem. Digital street photos are too smooth. They’re too clean. They seem clinical. They have very little noise, and certainly no grain. That grittiness, dirtiness that reflects the chaos of the street is missing. And so, software tricks are employed to emulate the graininess of classic films. Click a button, and your grainless digital image suddenly looks like it was shot with the film of choice for many street photographers throughout the years: Kodak Tri-X.

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The Difference Between an F-Stop And a T-Stop

Screenshot taken from video.

The most popularly known imaging parameter to measure the amount of light coming through the lens is an F-Stop, referring to the aperture of the lens. However, not many people know what a T-Stop (the light transmittance rate) means and how that is significant in comparison to the F-Stop. We have found this short and simple video by Channel 8 explaining the difference between F-Stop and T-Stop, and why that matters.

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