For the past year or so, I’ve been doing a special experiment with the way I shoot photos: I’ve been working almost exclusively with daylight white balance. Crazy, right? Especially when these days the auto white balance setting seems to do such a great job. Plus, when you consider how easy post-production is these days, it almost makes no sense. But indeed it does. Shooting a bit more restrained lets you think in a different way.
One of the things that many portrait photographers and headshot photographers struggle with is figuring out whether they should get a 135mm or 85mm focal length for their portraiture. It’s a tough question if you don’t understand how one lens works vs the other option. In truth, they both do different things, but I’m not sure that there’s a great reason why a photographer would want to have one vs the other option. They’re both lens focal lengths that can do very specific things and do them very well.
So we break down which ones are best for you.
Fujifilm’s 23mm F2 is one of their newer lenses, the only newer option being the 50mm F2. It is a lens that offers Fujifilm shooters that classic 35mm field of view in a small package with a fast aperture. So what should a new owner of the Fujifilm 23mm F2 ( $449.00 )know about this lens in order to get the most out of it? We’ve got a bunch of tips for you here.
PS: We know this is very Fujifilm specific, but we’ve got a lot of Fujifilm readers as our audience. So we’re doing this tutorial just for you folks.
Screenshot taken from the video.
Some of the biggest questions on the mind of every film photographer has to be how different black and white films perform in a similar setting. So with that in mind, the crew over at Brooklyn Shooters Channel have done a comparison of some of most popular 400 speed Black and white films out there. The films mentioned are Ilford Hp5, Ilford Delta 400, Kodak Tmax 400, Kodak Tri-x 400, and Rollei RPX 400. They’re all shot in medium format; which means that for lots of photographers out there who create vs capture this will be very interesting.
When I first got started in medium format film photography, I found it pretty confusing. But I, like many of you, was basing it off of the digital photography formats available. This can get even more confusing for digital photographers getting into film. So we’ve got a tutorial video that should sort it out.
And don’t worry, it’s actually all fairly simple.
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.
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?
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.