There are most likely as many ways to achieve a beautiful B&W look as there are photographers. Maybe I am exaggerating it a little, but then I am in love with B&W. It is not as if I don’t like colour, oh no. It’s just that I like the “classic” look that much. So today, instead of doing some general article on B&W conversion and trying to cover several different looks, I am going to pick out a photograph and just work on it until it is exactly how I pre-visualized it a second before pressing that shutter. First of all, though, we need a photograph. I think I have just the right one.
An in-depth Nikon D750 review with image samples, ISO tests, detailed real-life analysis and comparisons to other DSLRs
Like many couples, my wife and I talked about going to Greece for many years. Fortunately for us the stars aligned this fall and we […]
It seems that many photographers go through a certain cycle of mistakes and errors during their photography journeys and careers. Some of these mistakes and […]
I get asked very, very often how I process my photographs. And it is no secret – most of the time, I simply use VSCO. It suits me so well, coincides with the way I see and pre-vizualise my work, my style and my taste so accurately, only rarely do I need to dive deep into the post-processing closet to pick something else on my own. And yet despite me saying it, I get asked this one question really rather often – how do I achieve that look? It took me a while to figure out what do most people mean by that look, but I have. It’s not the colour or the light or the composition that a lot of you are so interested in when you ask me that question, it turns out. I also figured out why it’s so hard to describe properly – there really is no term for it (a reader has told me it is called “matte” and while personally I’ve not come across it before, we will see if the term will stick for good). It’s a sort of… vintage-retro-dreamy-low-contrast-film look. Sounds vague? It is. That is why any help on the matter is so difficult to find. And yet I am pretty sure you understand – or at least imagine – what I mean. Basically, a lot of you are wondering how to make the photograph on the left look like the photograph on the right.
You will be glad to know it really is rather simple.
I have a rather peculiar confession to make, something I’ve not spoken of loudly to all that many people before. Here goes: whenever someone asks me what I do in life, what I do for a living, I always cringe slightly. Now, I do not mean Photography Life – I am very proud to work here and enjoy writing interesting articles immensely (whether I manage to write something interesting is a different matter altogether, but I dare say I do every now and then). No. I always cringe before saying I am a wedding photographer. Mind you, I do not actually consider myself a wedding photographer – I am curious about people more than I am about weddings, and that is what I am interested in, people and their being. That is part of the reason why the “get to know me” section on my website is the way it is. But if someone asks me just out of curiosity or politeness, they’d be bored to death if I’d go on and dive into all the philosophical debates about how people photography during weddings and wedding photography are different. The time and place for such debates is on a comfortable couch among friends and with a glass of red wine in your hand… if you have patient friends. And so the easy way to answer is – I am a wedding photographer. You’d think that, after I say that, the question’s answered and it is my time to ask that person what he does. It should be that simple, for as soon as I answer I blush and am instantly overcome by the need to explain. And so I still end up diving into all the philosophical monologues trying to justify and explain my work, and consequently bore everyone to death.
I hate that.
A side note: if you suddenly feel the urge to scroll down to the comments section and tell me how I’m a hypocrite for doing what I hate and lying about it to my clients, hold on for just a second. There’s obviously a little bit more to it and I am afraid you are going to have to read all I have to say to get my meaning.
With most Photokina announcements behind us, it is a good time to look back and overview some of the new products we have not yet covered, namely Leica. As I expected, the new Leica M Edition 60 spawned quite a lot of differing opinions. But it’s not the only camera the legendary German manufacturer has brought to our attention and, whilst none are cheap, the other products are considerably more affordable. There’s the film Leica M-A, a new Summicron-S 100mm f/2 lens for the medium format S system and a few smaller format digital Leica models. Let’s glance through them in more detail.
About a month ago, Canon Australia posted a short film titled “To The Ends of the Earth”, where adventure photographer and Canon Master Krystle Wright is shown taking pictures of rock climbers and divers in different conditions. I decided to share this video with our readers, because I found it to be beautiful and inspirational. I loved Krystle’s opening line “my biggest fear is regret”, because that’s exactly how I feel about many things in my life. Krystal lives and breathes photography and you can feel her deep connection with the craft in every second of the video, which is amazing. Very few of us can truly follow their passion and make it their way of life, so seeing someone not only achieve it, but also be very successful at it is truly inspirational for me personally. I hope you will enjoy the video as much as I did!
The Nikkor 200-400mm f/4G VR is a very versatile and sharp lens and those that own it or previously used it know that is a great choice for close action photography, such as photographing bears in Alaska. I recently saw a comment by a photographer, who claimed that the lens gets even sharper if its front protective filter is removed. Both the Nikkor 200-400mm f/4G VR and its newer VR II version have a removable front protective element, as well as a 52mm drop-in filter that most other super telephoto lenses have. While I was testing my 200-400mm f/4G VR in my Imatest lab, I decided to compare the performance of the lens with and without the front protective and the 52mm drop-in filter to see if the above claims were true or not. It turned out to be an interesting study. I apologize for the geeky nature of this article!
This summer’s adventure brought us to the Grand Tetons and Yellowstone National Park. We almost went back to Banff National Park for the third year in a row, but wildlife and landscape photos from 500px and flickr, as well as conversations with fellow travelers, convinced us that it might be worthwhile to explore the beautiful state of Wyoming. We were also aware that some of Hollywood’s western classic films, such as “Shane” and “Spencer’s Mountain,” had been filmed in the area. By April, we decided to make plans for our August adventure.
Instead of creating separate articles that show buffer capacity of every newly announced Nikon DSLR, we decided to gather and compile all the available information into a single location. The below table outlines many of the current and discontinued Nikon DSLR models, along with such information as sensor resolution, continuous shooting speed (fps) and RAW / JPEG buffer capacities. While we have included most of the RAW buffer information, we decided not to bother with smaller JPEG sizes, since most cameras presented below can accommodate 100 or more of smaller JPEG images in their buffers.
A fortunate event took place a couple of weeks ago – my wife Lola lost the eyecup from her Nikon Df camera (see our in-depth review of the Nikon Df). She wasn’t sure how, but it most likely just got unscrewed while she was busy photographing a wedding. Why fortunate? Because I started to look for a replacement, something I have never done before. Indeed, those eyecups usually stay attached securely on cameras and practically never come off, so this was the first. During my search, I came across the Nikon DK-17M magnifying eyepiece – something I have seen before, but never cared to use. As I was ordering the replacement eyecup for the Df (and I was getting the superior “Anti-Fog” version), I decided to also get the DK-17M and give it a try. Since I enjoy using the Nikon Df with older Nikkor prime lenses, I thought it would be a good idea to try it with those manual focus lenses. When the package arrived, I mounted it on the Nikon Df that already had Lola’s favorite Nikkor 50mm f/1.8G lens attached and I was immediately blown away! The 1.2x magnification made the viewfinder appear much larger and I could see everything so much clearer, that I wondered why I had never even tried one of these before. After a couple of days of using the DK-17M, I ordered a few more for each of our cameras and now I cannot imagine using my DSLRs without these handy little magnifiers!
As our readers know, we love Think Tank products. We have reviewed a number of their bags and cases and have highly praised them for their durability, quality and features (to see a list of our in-depth Think Tank product reviews, please check out this page), so when we found out that Think Tank is adding even more great additions to their existing line of strong products, we got very excited. Previously, the biggest rolling gear bag was the Logistics Manager 30, which can fit a lot of gear for a working pro. And now Think Tank added even a bigger bag, the Think Tank Production Manager 40, which is specifically designed for transporting professional lighting equipment. It is spacious enough to fit a large amount of lighting gear such as flash heads, power packs, monoblocks, softboxes and light stands. And just like other Think Tank rolling bags, we can expect the Production Manager 40 to be of superb quality.