How to Get Film-like Warm Skin Tones With Daylight White Balance

One of the reasons I use specific white balances like Daylight when shooting photos is because it tends to take the guesswork out of editing and colors. Daylight white balance is balanced to be fairly warm and to counteract the already very cool light that daylight is. Though many times there are situations where you’d rather have warm skin tones in the scene. For the most part, what people tend to do is just work with the white balance to make the skin warmer but then in the process just make the whole scene warmer.

This happens a whole lot when working during the blue hour, in overcast weather etc.

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Film Emulsion Review: Kodak Portra 160 (35mm and 120 Formats)

When you work with a film like Kodak Portra 160, you get a pretty fine detailed film designed to be used more or less with controlled lighting. Though interestingly enough, I’ve personally had much better results working with many other films using controlled lighting and instead found that this film is one of the best to be used with natural light. Designed for skin tones in portraiture, Kodak Portra 160 has a very muted color palette but not as pastel as Fujifilm’s Pro 160 NS–its closest competitor which is now discontinued. Like many other films, it is available in both 120 and 35mm. But if you’re reading this website, then you’re probably only using it in 120.

I’ve been using Kodak Portra 160 for years; and even though I prefer to work with 400, 160 is surely a nice film in the right settings.

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A Film Photographer’s Introduction to the Kodak Portra Family

We love a good party and when we found out that the Portra line is about to celebrate its twentieth birthday next year (introduced in 1998!), we thought we would take the time to cover some ground (and after, perhaps raise a glass) when it comes to Kodak’s Portra line. Kodak Portra has put out a variety of film stocks from this line, some of which are discontinued, but three of which are now a staple to film photographers like those of us at Carmencita and yourself. We’re gonna cover some ground on those three that take the cake when it comes to Kodak’s Portra line: Portra 160, Portra 400, and Portra 800 ISO.

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Film Review: Lomography Color Negative 400 (35mm and 120)

Lomography Color Negative 400 is one of those alternative color films that unfortunately isn’t spoken about enough. And for some of us, that’s perfectly fine. I’m okay with all the haters of Lomography refusing to understand what the company is doing and saving more film for me. Walking into the West Village store in NYC to be greeted warmly by the employees and always having the ability to buy some simply makes me happier. And all the folks who only shoot digital and only care about shooting digital can keep doing so. They’ll never understand the awesome secret that the rest of us know that is ironically being published on one of the biggest indie photo blogs on the web.

That’s all just fine.

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Review: Tamron SP 70-200mm F2.8 Di VC USD G2 (Canon EF)

The Tamron SP 70-200mm F2.8 Di VC USD G2 is an entry point into one of the most popular telephoto zoom lens options out there–and it’s actually a damned fantastic one. Tamron has always created lenses that are high quality, affordable, and built pretty well.But with the Tamron SP 70-200mm F2.8 Di VC USD G2, they’re seriously taking the cake here. This lens offers weather sealing, the same top notch image quality that they’ve been pushing with the new SP lineup of lenses, and image stabilization to boot. So if you’re a portrait photographer, we’re already well aware that you’ve been eyeing a 70-200mm f2.8 lens of some sort.

And if you’re looking for an affordable option, then this is it.

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The 7 Best 35mm Lenses for Portrait Photography

While the 35mm focal length isn’t always considered to be prime (pun not intended) for portraiture, it’s still fairly popular and a very versatile focal length. In fact, because it’s got a field of view that is the way that so many photographers see, it’s bound to be a favorite focal length. Luckily, over the years a number of those lenses have improved to simply just become better. So if you’re looking for a 35mm lens for portraiture, look no further than our favorites in this list.

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Review: Zeiss 35mm f1.4 Milvus (Canon EF)

The Milvus lineup of lenses from Zeiss are more or less their workhorses; and with the addition of the new Zeiss 35mm f1.4 Milvus lens, I’ve never been more convinced that they’re the absolute best lens maker on the market. Yes, Sigma–that mean even above what you’re capable of. While Zeiss’s mentality has always been about MTF charts and curves, in the past few years they’ve been working on a transition that’s catering not only to that crowd, but also to those who care more about the stuff that can’t be measured in a lab. For example, Zeiss lenses have always had a special character about them–I’ve seen folks on our Facebook page talk about it fairly often when their optics come up.

So what’s even more appealing about the Zeiss 35mm f1.4 Milvus lens is that they’re targeting at portrait photographers.

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When Shooting Portraits, Primarily Expose for the Skin Tones

One of the things a lot of people don’t understand about portraits is this: when you’re photographing a person they are the absolute bigger priority in the image. Even in environmental portraiture, their environment is important but the primary object is still the person you’re photographing. For that reason, a whole lot of portrait photographers will shoot in aperture priority because all they care about is the depth of field in the scene. But honestly, there’s a whole lot more to it than just that. You should be exposing your scene based on your subject’s skin tones as a priority and everything else should be secondary. Luckily, modern cameras are so good that you can do just that.

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