As an experienced photographer I would have laughed about using my smartphone as a camera a few years ago but all this has now changed. Although it’s not ideal some very good images can be made with an iPhone, iPad or Android phone camera. Here are our 6 phone camera tips to quickly improve your photography.

So what has changed our minds about using smartphones?

Well a number of things. Firstly the quality. Although not DSLR or even point and shoot camera quality, it is still possible to get an acceptable image from a cameraphone as long as you’re not going for very low light, or want to enlarge or crop part of the image.

Secondly when we have been out, sometimes it’s the only camera we have with us. The photograph of Tower bridge in London was only done on an iPhone because I didn’t have my mirrorless camera with me.

Lastly and sometimes most importantly: You can create photographs and nobody minds as it is seen as part of life. Try pointing a pro-camera at a scene and you’ll sometimes attract lots of security trying to stop you that you won’t get using a smartphone.

All the images below were created using our iPhone 7 phones.

So lets start looking at awesome phone camera tips

1- Choose an unusual angle – go high or go low

I photographed Tower Bridge with the small water feature from down low to give more foreground detail and interest to a subject the has been photographed millions of times before.

2 – Use contrasting subjects – vegetation vs steel – soft vs hard – tall vs short

For the photograph of Lloyds in the City of London, UK  we went down low to get the foliage in the foreground. This worked in 2 ways. It firstly hid the unsightly traffic but more importantly the matt living wild plant life was in total contrast to the shiny dead repetetive steel of the building.

3 – Photograph low light by resting the camera on stable objects

To create this image of Tower bridge (London, UK) at sunset, I rested my iPhone on the very sturdy railings to get rid of any camera shake. I just waited for the sun in the clouds to be in the correct position.

4 – Have your phone ready to take a quick photograph when your camera is put away in your camera bag

We were photographing the Paris graveyard and I had the camera. (Ally and I were traveling super light with just one camera body and a single lens. A Sony A7r and a 24-70 mm Zeiss zoom.) We find the distance we can explore is inversely proportional to the weight of our camera gear. Ally saw the Raven sitting on a grave stone – so very Edgar Allan Poe – and just used her iPhone to get the image.

5 – Photograph in Raw using software like VSCO and edit your images to bring out colours and contrast in photoshop, Affinity or VSCO

While images directly from your phone look okay we will always edit them a bit to bring out the best. Using Raw images gives you so much more latitude in your exposure and then more confidence to try more adventurous (darker, contrasts or even directly into the sun) photos. We would sharpen and in the image below, we removed a reflection of Ally in the glass. For editing we use Photoshop, but any good package is an option – see our thoughts on Photoshop vs Affinity, and the free online Photopea.

6 – Finally use as much symmetry, repetition and reflections  as you can possibly get.

The image above with the dirty glass of a mausoleum in the Paris graveyard is a perfect example of interesting reflections as well as symmetry. The image below of Saint Chappelle is a perfect example of both symmetry and repetition. See here for our low light in churches and cathedrals tips.

Almost symmetry of the Eiffel Tower from below. Unfortunately there was some construction equipment directly under the tower so we didn’t quite get the perfect symmetry we hoped for. You can’t win them all! (So we created some other unique images of the Eiffel Tower on the mirrorless!)

Never be too proud to pull out your phone to create an image. When your work is displayed online after a bit of editing nobody will be any the wiser and you might just get a memorable image you treasure that you could never have got with a traditional camera.

Hope you’ve enjoyed these phone camera tips. Now, go forth and  enjoy yourself.

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“TOAST! Tim and Ally…. Really?” “Erm yes…It really does help with Dodge and Burn tools. We’ll get to that later but first things first.”

Dodge and burn tools have become a bit old hat to many photographers. With so many quick and easy digital ‘fixes’ it’s easy to see why, but these tools, although going back to traditional printing times, are some of the best ways to make your black and white images (and colour too) look amazing. We can safely say that there is not an image on our blog that doesn’t use at least one of these in some way or other. See our tips and geeky explanations for what makes a good black and white image.

Dodge and burn in traditional printing

In traditional printing, you have an enlarger which projects your negative onto paper. The more light you expose the paper to through the negative, the darker the print will be. After you’ve done a test strip, which helps you work out the required exposure, you would then expose the light from the enlarger onto your paper. Depending on the exposure, there can often be areas of the image that would be too dark or too light. You would then do another test strip over those areas to work out that exposure time. Dabbling or jumping into film photography – see our post on the best film for travel photography and filters for black and white photography.

Dodging

When it comes to the final exposure of the print, you would expose for the final image with adjustments, but for the area that was too dark and needed less time, you would use a piece of card, normally attached to a piece of wire to wave madly over that area to prevent light getting to it – well maybe not madly, but moving enough to prevent a hard edge being projected onto the paper. This lightening technique is called dodging.

Dodging the print with cardboard ellipses on sticks

The further away from the paper you manipulate the light, the softer the dodged or burnt area edges will be.

Burning

For the area that needs more light, you would expose the image with the normal exposure, then you would give the area the needs more light, the extra light that it needs. How do you do that? Well, depending on the size and shape of the area, you can use your hands cupped together to block out the light and only allow certain areas to get extra light, or you could also use a piece of card with a hole cut in it to give that area more light … directing (or burning) the light. Again you wave it gently between the enlarger and the paper (to prevent getting a hard edge).

Burning in areas by giving them extra exposure through the cardboard hole

Pro tip:

Now one of the advanced traditional techniques used by traditional film printers is to dodge or burn with a different contrast. This is done by using multi-grade paper and changing the grade filter on the enlarger lens before dodging or burning. This technique allows you to have a combination of high and low contrast so for example in your scene you might need more contrast in the sky to get awesome looking clouds but the foreground needs sensitive shadow and highlight detail so a lower contrast.

Dodge and burn in Photoshop or Affinity photo

Now digitally, the darkroom effect can be applied in Photoshop. In your toolbar, normally down the left-hand side, you should see what at first glance looks like a lollipop. This is in fact a version of the round piece of card on a piece of wire or stick, used in dodging. Click and hold that and you’ll see 2 other icons and the text. We’re not going to look at the Sponge tool but the Burn tool has a hand with a hole made with the fingers and the thumb. This is depicting one of the options you can use when burning in!

When you choose any of these you will see your options along the top menu change to something like this.

This means that you can control how much dodging / burning you will do to your image with the exposure, and what tones you will affect, such as Highlight, Midtones or Shadows.

Most of the time you will need midtones, but if the area you wish to adjust is in the highlights or shadows, you then choose the appropriate Range from here. Choose a brush size and click and drag around the area you wish to lighten / darken. Be careful not to overdo it and use a brush bigger than you think. Undo is your friend here!

So where on earth does toast come in?

Well a lot of people get confused with which one darkens and which lightens.

The easiest way to remember this is:

If you burn the toast it will go darker – hence Burn darkens – easy to remember now.

Dodge and Burn in Raw (adjustment brushes)

There are a number of reasons to dodge and burn using adjustment brushes in the Raw file converter but the 2 main ones ore these.

• This is a non-destructive technique so you can always come back and re -edit the image at a later stage.
• You can use the dodge and burn with contrast adjustments like the advanced traditional film technique mentioned above.

In Adobe Photoshop (CS6 or CC) Open your Raw image in the Raw file converter and navigate to the adjustment brushes. It’s along the top.

Paint the area you wish to dodge and burn and then adjust the settings on the right hand side. We usually use the clarity slider to add contrast when needed and the contrast slider to reduce contrast.

Do a new adjustment for each area you wish to work on. (Not sure about Photoshop or Affinity – see our post which gives the lowdown on them). See also our Top Photoshop shortcuts.

Putting it into practice

We photographed the tower on the City wall in Dubrovnik, Croatia, but the original looks so uninspiring that a bit of Dodging and Burning was required.

• The sky was quite tricky as while the whole area needed darkening, some parts needed less contrast and some more. We did this with 2 large burning in areas with adjustment brushes. Both darkened with the Exposure slider but one added contrast with the Clarity slider while the other reduced contrast with the Contrast slider. See our post about dramatic skies.
• The sea was burned in and had added clarity
• The tower was dodged to lighten it but with added clarity to show detail in the texture.

Original image

Areas we adjusted with the brush

Final result

Revolutionise your new images and give new life to old ones

Dodging and burning has been used by film photographers since photography was invented and it’s still one of the best ways to get what you want from an image. Give your new images that exquisitely beautiful look you have admired in the masters printers work or add new life to old photographs.

Mostly, enjoy what you do.

If you are in the London / Essex / Suffolk area, we run training at your office / premises in Photoshop. Want to buy Photoshop – click the Adobe image at the bottom of this page from this link.

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Everyone has seen the images of scenes where the sky looks really dark and the clouds stand out and look awesome. From a slightly darkened down adjustment to an almost black sky these skies just bring out the cloud formations beautifully. We’d like to show you how you can also make the sky dark in a photo, whether it’s black and white film, black and white digital, colour film a or colour digital. Each requires a slightly different technique but by the end of this post you will be a “dark sky photo-ninja”!

Black and white film

Black and white film uses a full range of colour to create a full range of tones on your black and white negative. What we need to do, is to stop some or most of the blue in the scene from reaching and exposing the film. To do this we use a filter. The filter we need to stop blue is the opposite to blue on the colour spectrum, so a filter that is yellow, orange or red will do the trick. Try out different colours to achieve different amounts of darkness. See our post on what makes a good black and white image. New to film photography? See our guide on best film cameras for beginners.

To make the sky dark in a black and white film image use a yellow filter – Hoya make really good quality filters

A few things to note:

• Anything blue in the scene will also go darker.
• A filter stops light from getting to the film so if you are using a hand held meter you might need to compensate for the exposure. A through the lens meter should give you an accurate reading.
• (You can also use a polarizing filter like in colour film. See below.)
• Experiment with other colour filters. A colour filter in black and white photography will lighten the same colour and darken the opposite one.
• If you are printing your own photographs you can also ‘burn’ in the sky in the darkroom.

Colour Film

You can’t use a red, yellow or orange filter to make the sky dark in a colour film photo, as it will just give you a colour cast. So how do we do it? We use a polarizing filter.

Here is the techy-geek explanation first, and then I’ll do the normal human one after that.

Light reflected from a non-metallic surface becomes polarized. A polarizer allows light to pass in only one direction. This allows us to reduce reflections on non-metallic objects.

Light from the sky is also polarized, so a polarizing filter will polarize the light and reduce how much light enters the camera. As a result this will make the sky dark in a photo.

The normal persons explanation!

A polarizer will darken down blue sky but not affect clouds. (The effect is most prevalent on the area of sky that is at 90 degrees from the sun – Look at the sun and then the darkest sky will be at 90 degrees.). It will also reduce reflections which can make trees etc seem rather vivid in colour. To use the polarizer just turn the filter until the sky goes dark or the reflections disappear.

To make the sky dark in a colour film image use a polarising filter

A few things to note:

• This polarizing filter technique will work with both film and digital, colour and black and white.
• There are 2 types of polarizer. A linear and a circular. A circular CPL polarizer is best for modern cameras as linear polarizers can affect exposure meters and autofocus adversely.
• In case of a photographic emergency you can even use your polarized sunglasses in front of the lens to achieve a dark sky.

Black and white as well as colour digital

Lightroom or Camera Raw converter to the rescue. Find the HSL / HSB (Hue, Saturation and Lightness/ Brightness) tab in either software package. Choose the Lightness or Brightness tab and move the blue slider over to the left to darken down the blue of the sky. (This technique will also darken down any other blues in the image.) Not sure whether you want to colour or black and white? See our video on how to change colour to black and white in just 30 seconds.

Using Photoshop? See our Top 10 favourite shortcuts.

Use camera Raw to make the sky dark in a photo like this one of the Vatican statues

Anything else?

Do remember that a dark sky, whilst looking awesome, can also give the post–apocalyptic feel to some images that you might not be looking for. Photograph the same image with and without filters to give yourself more final options. If your sky exposures are a little out with the highlights and shadows, check out how you can rescue them with Camera Raw.

There you have it. A few ways to make the sky dark in a photo. Most of all – have fun doing it.

The post How to make the sky dark in a photo appeared first on ImageExplorers.

So often when we photograph places of interest, we look solely at the aesthetics of the scene. How does the light make it feel? What interesting shapes appear in the final image to draw the eye in? Which details shall I leave out to create a stronger composition? These are usually the things going through a photographer’s head. Occasionally though, there is a subject that is so much more powerful and important than our everlasting search for spectacular and beautiful images. Nelson Mandela’s cell on Robben Island was just such a place.

Robben Island Maximum Security wing yard wall

Background for context

I, Tim, am a South African and British hybrid. I’ve spent half my life in South Africa and half in the United Kingdom near London. I had an English father and a South African mother. I grew up in the apartheid South Africa (Durban) as a typical privileged white male.

Apartheid

Nobody really spoke of apartheid issues at our (all white) school. Apartheid was deemed a good thing by most white adults as it meant prosperity for the few, cheap labour, and it kept people, who were made out to be ‘slightly less human than us’, at bay. It was only in my last years of schooling and starting college that I started to question the evil status quo.

I started hanging around with friends who were anti-apartheid and questioning the government’s policy and lack of human rights if you weren’t white.  During this time, I met a number of people who had been targeted by the apartheid government security police (BOSS – Bureau of State Security, later NIS). Some of them had been tortured, whilst some had lost loved ones who had been killed by the state. One friend had a bomb go off in her office and it killed a fellow worker. The parcel bomb was believed to have been sent by the government security services. Another friend’s boyfriend was murdered by the army when he fled to a neighbouring country. These friends were white but supported anti-apartheid organisations. It was even worse if you were black. I heard many accounts of pain and death at the hands of the state. This turned me into a highly cynical individual when it comes to government and corporate behaviour, as Ally will testify to.

South African Army

When I was called up to go into the South African army (all white male South Africans had to do 2 years in the army then) I had to make some choices. The army at that time had two main roles. To fight the ANC, who are now the government, and to keep black people in subservience with a strong military presence in the townships. (Townships were black only towns with few amenities and situated far away from the affluent white areas. Apartheid is an Afrikaans word meaning apartness. Whites lived in white areas, Black people in black zoned areas etc. Different races each had their own area. This was the law and severe punishments were metered out for breaking it.)

The Choice

I could not agree with any of those horrific policies so just before I was due to report for duty I hatched an exit plan. I wrote a letter to the army intake officer telling him that I was out of the country and was unable to get back to report for duty. Explaining that that I would let them know as soon as I returned, I posted the letter to a friend in London who then sent it on to the army so it arrived back in SA with a UK stamp. This bought me time. By time I mean a number of harrowing months of worrying that I would be arrested. I finally managed to leave the country almost 6 months later.

Why couldn’t I just be a political objector?

The price for political objection was 6 years prison and as I was only in my mid-twenties I didn’t consider that as a viable option. This is always something that has always left me feeling guilty, as I was fortunate enough to leave, while millions of South Africans had to stay and endure.

Before anybody thinks that I am just anti-authority (well… maybe I am a bit) I must point out that I was in the London Metropolitan Police (Scotland Yard) as a forensic specialist photographer for 7 years.

It is through this lens that I viewed Robben Island, the maximum-security prison island for political prisoners.

Trip to Robben Island

It was a beautiful Cape Town summer’s day, but Ally and my hopes to visit Robben Island had been dashed the night before. It turns out that you have to book weeks or sometimes months in advance. We decided to go down to the booking office in case there were any cancellations. As we arrived one of the booking staff had just got a few cancelled tickets so we were on our way.

A half an hour boat trip across the sea with spectacular views of Table Mountain in the background does not prepare one for the heart-breaking yet inspiring visit to come.

Prisoners were forced to dig rocks in this quarry. The cave is where they sheltered from the harsh sun during breaks

Arrival and the bus trip

Whilst you are not allowed to wander around by yourself you do get a very knowledgeable guide on the bus tour. Very often this is a former prisoner from the island. On the tour you visit the quarry where the prisoners broke rocks, see the light house and staff village and find out interesting facts like that Robben Island was once a leper colony amongst other things.

Here is also where there is now a significant pile of rocks. This was started by Nelson Mandela, who after being elected President, attended a reunion on Robben Island. He walked off to the side dropped a rock onto the ground. He was followed by many of the former prisoners who added their own rock to the pile. This formed a rock memorial to their time on the island.

It is because of the bright sun off the rocks, the alkalinity of rocks and constant exposure that Nelson Mandela’s tear ducts were damaged. Press photographers were asked not to use flash when taking photographs of him.

Once into the maximum security cell area we had a new guide who was once an inmate with Nelson Mandela.

Robben Island ex-prisoner guide

Maximum security wing

From a purely photographic point of view, the maximum security wing, with its grey cells, barbed wire and sparse vegetation is nothing to write home about. Then you hear the stories about how Africa National Congress activist Nelson Mandela with help from Ahmed Kathrada and Walter Sisulu wrote the book ‘Long walk to freedom’ under the noses of the guards and hid pages in the garden in tins, the whole place comes alive. Stories from somebody who was there, about how they hid secret messages in a tennis ball and threw it over the wall ‘by mistake’ so they could communicate with other inmates, just leave you in awe of these men who were beaten but not broken. What impressed me most about these heroic individuals was their overriding hope in even the darkest times of their lives.

Nelson Mandela’s cell

Whilst the tiny cell no 5 that was Nelson Mandela’s (Madiba’s) home for so long initially leaves an impression of sadness. That a man can be caged for such a large part of his life because he fought for human rights is no small thing.  This feeling however soon evaporates. It is replaced by the incredible hope that if a man imprisoned and mis-treated for 27 years can forgive his captors, and then become one of the worlds greatest leaders and Nobel Peace Prize winner, then anything is possible.

Nelson Mandela’s cell on Robben Island

Cells on Robben Island Maximum security wing

I would have loved to go into the cell to photograph from Nelson’s point of view but unfortunately the cells are locked. So, I had to hang back until the crowd had gone,  then photograph the corridor to try to show the loneliness of it all.

Nelson Mandela’s cell and lock with plate and toilet bucket

The prison yard and garden

Outside Nelson Mandela’s cell in the prison yard are a few bushes that seem to survive in waterless environments. This area is where, later in his incarceration, Nelson tended the garden and hid the manuscript pages for his book. I often try to hang back during any guided tour to get images of the place without tourists. This didn’t work this time so I had to settle for the close up view rather than the large expanse of the yard I was hoping for.

The bright light against the walls, calls for creative exposure. You can’t rely on your camera’s internal light meter for this.

Robben Island Maximum Security Wing garden and exercise yard where manuscript for “Long walk to freedom’ was hidden

Why Black and White?

I have converted many of the images from Robben Island and Nelson Mandela’s cell into Black and White. I feel that the lack of colour helps to reflect the stark and colourless living conditions these South African heroes endured. The high contrast also reflects the intense brightness of the sun beating down onto that little island. Although we photographed with digital cameras we would really like to return with film cameras, with black and white film. See here if you want to see how to convert colour to black and white.

Photograph from the soul

This trip was a very different and special one for me. I am usually very excited about shapes and contrast and textures, but during our visit to Robben Island and Nelson Mandela’s cell my creative photography took a back seat.

Most of the time I photograph subjects from the creative part of my brain. There comes a time occasionally however, when I’m so overwhelmed by the subject. Here, the only thing to do is to look at the scene in wonder, and hope that my photographic auto-pilot will take care of the technical side. This is so my soul can do justice to the final image. Robben Island and Nelson Mandela’s cell was that place for me.

Cape Town from Robben Island

Whilst you’re in Cape Town, don’t forget to take a trip up Table Mountain and the best coffee shop in the world, Truth Coffee.

The post Robben Island and Nelson Mandela’s cell appeared first on ImageExplorers.

Before we consider the best film cameras for beginners we need to ask a question. Why would you wish to shoot with a film camera when digital is so relatively cheap and immediate, and the quality is second to none?  Well there are so many reasons. Maybe you are of the generation that grew up with digital and want to experiment with analogue. Possibly you’re a wannabee Hipster and are tired with the immediacy of digital. Maybe you’re as old as dirt and remember fondly the days of taking your colour film to the local chemist for developing and printing (D&P as it was known as).

Whatever your reason, you need to get the right film camera for you.

Our 3 Nikons – what could be your best film camera for beginners?

Buy a manual camera

The first thing to look at when deciding on a film camera is the camera’s ability to do manual. Although one might think that the best film cameras for beginners would have an auto function to help you, you will not learn nearly as much about the finer points of exposure if the camera does it all for you. Not only that, but the light meters on older film cameras were not nearly as sophisticated as today’s digital cameras. They could get fooled by tricky situations very easily.  What do I mean by a manual camera? The camera must allow you to choose your own aperture and shutter speed.

What brand to buy

There are so many second-hand cameras on the market with varying prices, but the best thing to do is to stick to well-known brands and models that people and blogs recommend. The following list that I titled “best film cameras for beginners” is not definitive. These are just the main ones I recommend at varying price points.

What to look for in second hand cameras

Firstly I would recommend you buy from a local camera store. Not only will you get a small guarantee on the camera but the staff should be able to demonstrate its features. If you get an assistant who is a little over 35, you may even see a bit of a nostalgic glint in their eye. They may also be humming, “Those were the days my friend, we thought they’d never end …”! Bit more expensive than eBay but it takes the worry out the purchase.

Obviously eBay is the cheapest way to get a good deal. When the camera arrives, check all the controls work smoothly and look at the battery compartment for any past battery leakage. Remove the lens from the camera and make sure the aperture works smoothly and snappily. Look through the lens and check for any fungus growing on the elements. Finally check the front and rear elements for scratches or wear on the lens coating. Many people will tell you beforehand that there is a slight scratch on the lens “but it doesn’t affect the quality”. This may be so for most photography but if you are photographing into the sun (contre-jour) you will, at the worst get flares in the image and at the very least have reduced contrast. Stay away from these lenses if at all possible.

What lens to start with

A best film camera for beginner guide wouldn’t be complete without some lens guidance, so here it is. Most camera bodies will come with a ‘standard’ lens. This is a 50mm non-zoom lens (non-zoom lenses are called prime lenses) that is very close to the view of the human eye. They are usually very good quality with a wide aperture and an excellent lens to get started with before you start investing in wide angle, telephoto and zoom lenses. Start with the 50mm.

Some recommended cameras

Nikon FM

Nikon FM By NEDM64

The Nikon FM came out in 1977 and was manufactured for 5 years before being superseded by the FM2. This camera is totally manual (not a single automated setting to be seen) and is also mechanical. This means the tiny battery in the camera only operates the very basic light meter. If your battery fails then everything else will keep on running. This was invaluable to a pro and the FM and FM2 were workhorses that kept on running. My own personal FM (I got it at college in 1982) has seen thousands of rolls of film through it and been subjected to all sorts of camera un-friendly environments and it has kept on going.

During a photographic job where I was photographing an aluminium smelting plant, there was an extremely large generator with powerful magnets. I couldn’t use my Nikon F3 hp, which was my main working camera, in the same room because of its shutter being affected by the magnetic field. The FM continued to work without missing a beat. I do have to admit having the shutter replaced a few years later but that was because the attached motor drive had worn it out.

There are plenty of lenses available and it takes any Nikkor lens, except the latest versions that don’t have a physical aperture ring. Ally still has her original FM2 camera which saw hundreds of rolls of film go through it on the cruise ships she worked on, as well as her very first few weddings before moving onto medium format and being very well travelled after that. I still have my original FM and a Nikon F3hp too.

The other Nikon that is very similar is the FE and FE2. These have an auto setting on them for aperture priority (you choose the aperture and the camera sets the shutter speed automatically). Unlike the FM range these cameras have electromagnetically controlled shutters that need batteries to operate.

Image of FE by Edgar Bonet

Canon AE-1

When I was at college, this was the alternate camera to the Nikon FE . The AE-1 has an electromagnetically operated shutter and Shutter priority (you choose the aperture and the camera sets the shutter speed automatically). There was a second model called the AE-1 Program that had a full automatic mode (both aperture and shutter were controlled automatically). Obviously these cameras require batteries to operate.

These beautiful little cameras use the Canon FD range of lenses. Despite still going strong, they can be picked up for very little money.

The pro camera of this time was the Canon F1. A heavy duty camera that looked beautiful but weighed a ton. If you can find a good F1, they go for a lot of money, as most have had a hard professional life.

Image by WikiAndrea

Pentax k1000

The Pentax is very similar to the Nikon FM in that it is totally mechanical and manual and only needs a battery for the light meter. This camera was manufactured from 1976 to 1997 so there are rather a lot of second hand ones around in very good condition. Pentax lenses, while being of a very high quality, don’t attract the premium prices of Nikon or Canon. Therefore, the camera will cost you less in the long run when more accessories and lenses are required.

Look out for a good condition model as there are plenty to choose from.

Pentax K1000

Olympus OM1

The Olympus OM1 has a beautiful and tiny body and was originally compared to the Leica for size and quality. The OM series runs from the OM1 (totally manual) through to the OM4 (all singing and dancing program modes) as well as a basic OM10.

The OM1 MD model is the same as the OM1 but has been modified to take a motor drive.

The Zuiko lenses are excellent quality and like the Pentax system don’t attract the premium prices.

A lot of people with smaller hands prefer the ergonomics of the Olympus system.

Pic OM1 MD  By Steve Martin

Processing your film

You’ve got your camera, found your way through the tricky film loading, taken some awesome images and figured out how to rewind the film so you can open the back. Now you are ready to get your images developed. The best and most satisfying way to go about this is to process Black and White film yourself. I will be doing a how-to blog post tutorial on this very soon. I can smell the chemicals already!

Of course when you first start out you might want to concentrate on getting your photography technique and exposure correct and let somebody else sort out the processing for you. Of course you might have created the photographs using colour film. Either way, you would need to send it to a lab.

Most photographic labs will offer a service of scanning your film after processing. That way you can then just work on your images digitally.

In conclusion

The above, best film cameras for beginners list, are only my suggestions. Therefore, I would advise you to try a few cameras out if possible at local camera stores. Different cameras feel differently in your hands because everybody’s hands are different. Go with the one that feels right to you.

Buy a system you can grow with. Check out the availability and cost of lenses and other extras like motor drives and flash fittings etc. Are they easy and inexpensive to come by?

Decide on your budget but remember your biggest outlay will be your long-term film and processing cost.

In the end it just boils down to enjoying your photography. This and using a tool that you can feel is working with and not against you.

The post Best film cameras for beginners guide appeared first on ImageExplorers.

When you are looking out for editing software the usual choice is Adobe Photoshop. The industry standard is everywhere and image manipulation is now even known as “Photoshopping”. But what are the cheaper options and are they any good?

I have put together this blog to give you some more insights on the main competition that photoshop has, namely Affinity Photo. In this Photoshop vs Affinity photo blog, I would like to show you the pros and cons of each so you can have a clearer idea of which to invest in.

Software Costs

You might have noticed I used the word invest in the previous paragraph rather than buy. The reason is that whatever software you buy, you still have to invest in other things. It could be training courses cost, new hardware to run the power hungry app or your time learning the software. The actual cost of the software is just one thing to consider.

Photoshop is by far the most expensive and has made a lot of people angry by going to a subscription model. This is when you pay monthly to ‘rent’ the software. If you don’t keep paying then your software will stop working.

• Adobe Photoshop is £9.98 per month – This will go up every year or so.
• Affinity Photo is £48.99 – forever including all updates.

Other things to consider in the Photoshop vs Affinity Photo debate

• There are far more training courses (paid as well as unpaid) available for Photoshop.
• Photoshop is the industry standard so if you are using it professionally you can work at most places. Most companies will have Photoshop as part of the Adobe Creative Cloud suite as they will also use Illustrator and InDesign or other video editing app like Premier pro or After effects. Far fewer companies use Affinity Photo. This however, will probably change over the next few years as Affinity introduce their version of InDesign. They already have a version of Illustrator called Designer.
• Photoshop is bundled with Lightroom and Bridge.

The software itself

Both programs will do the job and they both have similar functions for photographers. Raw file corrections, Layers, Cut outs, masking, selections…. it’s all there. If you are confident in one program you should be able to find your way around the other without too much of a problem. Adobe Photoshop has got some extra abilities like handling and editing video and 3D, but Affinity has a slightly easier-to-navigate interface.

Raw panel in Affinity photo

Raw file converter in Photoshop

Other Versions

• Adobe sell a cut down version of Photoshop called Elements. It’s a one-off payment of £86.56 but upgrades are charged for. Elements is like Photoshop but lacks CMYK support so if you’re doing anything for commercial printing then don’t even think about it.
• Affinity has Affinity Photo for the iPad. This is a very well thought-out app with everything you could wish for on your iPad including Raw support and CMYK. (I will be looking at this in a later post.)

iPad affinity photo screens showing full layers palette.

Final thoughts in the great Photoshop vs Affinity Photo debate

I have been a long time user of Adobe Photoshop and started when it was version 2.5 and layers didn’t exist. Also I am and Adobe Certified Expert and Instructor. An Adobe fanboy however I am not. I have seen it go from a small digital darkroom program to the monster it is today. I was horrified when Adobe announced their subscription model and even though I subscribe to it I would still rather buy it outright. The interface also seems very clunky compared to Affinity.

Adobe Photoshop is however, all things to all people, it is “Jack of all trades and master of all”. I still turn to it every time I need to edit or create a bitmap image. It really is a brilliant piece of software!

If I was starting out however and I didn’t have to work commercially with the software (only editing my own photos) I would probably go for Affinity Photo!

There you have it – The winner in the Great Photoshop vs Affinity Photo debate is………

Well it just depends…..

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If like us you can’t photograph enough of mechanical vehicles, then this is the place for you.

A very English pass-time is to wander around a farmer’s field whilst grease and soot covered people display their beautiful, and often shiny, machines. The one we went to was Aldham Old Time Rally. However, the exhibitors move around, many of them week to week, over the course of the summer.

So what is it?

This is essentially an exhibition of a variety of steam and mechanical vehicles.

So what do you do there? What we love and that’s to take photographs. However some people are there for lesser reasons but we’re going to ignore them, and concentrate on the photography!

Train Handle Glow

Tips for photographing steam

The first thing about photographing a steam machine is obvious, but so often overlooked. You need to have steam in the photograph. Steam engines seem to have a life of their own breathing fire and smoke and this is what we want to capture in our photographs.

We both have different ways of shooting. Tim tends to create images by getting up as close as possible and photographing wide, usually with a 24 mm lens, but I tend to zoom right in using my 24-70 mm lens at the 70 mm end to get the compressed perspective that these short telephoto lengths do so beautifully. If there is anything with a flame we try and show the flame in the image as this is the heart of the engine.

Steam Rally traction engine close up

Brecon Beacon Railway

Very often, with a stationary object, you need to set up your image and then wait, with your finger poised until the appropriate steam cloud breathes into life!

Once in RAW, you can also augment the steam by using an adjustment brush and increase the lightness of the steam using Exposure, and really bring the steam to life by increasing micro-contrast by sliding the Clarity up to the right.

We’ve found that wherever we go, owners are so proud of their machines and if you strike up a conversation with them, they are often very happy for you to climb aboard and photograph their pride and joy enabling you to get photographs that the other photographers aren’t able to.

Steam rallies aren’t the only place to get your steam fix. Wales (UK) especially, has some beautiful steam railways where you can get up close and personal to your heart’s content of pipes, pistons and steam.

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