Occasionally, in your photographic life, you will find that creativity comes to a grinding halt. A bit like writers’ block! You are bored of looking at super sharp, over-saturated, perfectly grainless travel images and your creative soul longs for something more. As amazing as digital is, it can be too perfect and our humanity likes imperfections. Of course, maybe you just want to try something different. Possibly you yearn for analogue film days but have a digital camera, or sometimes a specific subject just cries out for the vintage look. Whatever the case, we would like to show you how to reinvigorate your photography with 5 professional techniques to make a photo look old.

Here are the techniques we will cover so grab your software and follow along.

1 – Sepia or blue tone (cyanotype) using black and white Adjustment layers
2 – Split toning using raw files or raw filters
3 – More accurate tone types using Gradient Maps
4 – Adding grain
5 – Adding a photo border

What software can you use?

Although for these techniques to make a photo look old are done in Photoshop Creative Cloud, you can do most of them in any other software. We recommend either Photoshop, Lightroom or Affinity Photo, but there are so many different image editors available to you at different price points. Most tend to work in a similar way and use the same terminology.

1 – Sepia or Cyanotype tone using Black and White Adjustment layers

What is it?

A Black and White Adjustment layer allows you to non-destructively colourise your image to a tone approximating a Sepia or Cyanotype photograph.

How to do it

• Open your image in Photoshop. It doesn’t matter if it is a colour, black and white or even a scan. You will need to then apply an Adjustment layer so go to the Layers panel and click the new Adjustment layer at the bottom. From the list chose Black and White.
• Click the tint button and choose a suitable colour.
• If you are adding this adjustment layer to a colour image then adjust the sliders to lighten or darken various colours in the image to taste.

Choose Black & White from the Adjustment drop-down menu

Click the small tint button above the sliders to choose a toning colour

Why are we using an Adjustment layer rather than doing this from the image and adjustments menu? If you use Adjustment layers and save as a PSD file you can always come back and adjust your settings later, as nothing is set in stone. You can also delete or hide the Adjustment layer to get back to your original image.

This black and white tint process enables you to do a very rough approximation of a Cyanotype or a Sepia image. Later in this post we will do a more accurate version of toned images. See our previous post on how to make a digital cyanotype including making the background! 

2 – Split toning using raw files or raw filters

What is it?

Split toning is a technique that allows you to tone the highlights of the image with one colour and the shadows with another.

How to do it

• If you have a Raw file then open the image in the Raw file converter and switch on the Black and White convert button.

Convert colour to black and white in Raw by choosing button in basic tab

• Open the tone tab and lighten the colours to taste.

Adjust sliders to lighten and darken original colours for authentic old vintage photo feel

• Open the split tone tab and choose a colour for the highlights and for the shadows. You can then dial in the saturation and even change the balance so you get more shadow colour or more highlight colour.

Yellow highlights

Blue shadows

Mix of yellow highlights and blue shadows for a greenish look

Mix of yellow and cyan for old photo look of vintage traction engine

A mix of yellow highlights and a reddish  shadow can give a very beautiful warm sepia feel.

To do the same to a non-Raw image, open it in Photoshop and then go to the filter menu and down to Camera Raw. Follow the instructions as above. If you are using this technique to make a photo look old you might wish to convert the image to a smart object first. This means that you can double click the filter on the smart object layer and go into the filter to change any settings.

3 – More accurate tone types using Gradient Maps

What is it?

A Gradient Map allows you to map colours to various tones (light to dark) in an image by applying a gradient with the new colours in. If this last sentence sounded like Geek Speak then just look at the examples to see what we mean.

How to do it

• Open the image in Photoshop and find your layers panel.
• Click the Adjustment layer button at the bottom and choose Gradient Map.
• In the Gradient Maps panel go to the gradient map and choose the drop-down menu and add in the Photographic toning maps.
• Choose a tone to apply to your images.

Choose Photographic Toning from the Gradient Map option menu

Cyanotype gradient colours mapped to image

Gradient map with a heavy sepia so the highlights go orange/brown

Of course you can just go wild

Our favourite tone is the Selenium no 2 tone. See more on Gradient Maps in our how to photograph like Michael Kenna tutorial.

4 – Adding Grain

Why do it

Adding grain can cover a multitude of bad-retouching ‘sins’. It can also augment an image. What it cannot do is to make a bad image better.
We like to add a bit of grain to some digital images to give them a more analogue feel.

How to do it

Grain can be added either in Raw (from the effects tab), from the Raw filter (in Photoshop) or from the add noise option (in the noise filter in Photoshop).

5 – Adding a photo border

A scanned border can make all the difference to the authenticity of your old photo technique. Scan in and old image, put it above your image in the layers panel.

The first thing to do once you have both images open in Photoshop is to drag your toned image into the border image as a layer. (We flattened the toned image before dragging it onto the border image to keep things simple.) We used ‘overlay’ from the Modes drop-down menu in the layers panel to mix the toned image with the border image below.

Here are 2 before and after examples

Original tractor before ageing process

Tractor with old photo look – Zante Greece

Original books before old vintage photo treatment

Original books after old vintage photo treatment

Your own look

These are just a few of the many techniques you can use to age a photo and give it that old treasured image look. We use the Gradient map with Selenium tone on most of our Black and White images to give them a warm feel.
Experiment with these techniques and come up with your own unique look.

The post 5 Professional techniques to make a photo look old appeared first on ImageExplorers.

Learn from the Masters

Some days we look at well-known photographers images and something in us just cries out “I wish I could create images like that”! At first I thought it was just me but I have discovered that the majority of photographers feel like this about certain other photographers some time. If you have ever seen the beautiful black and white zen-like work of Michael Kenna then you will probably know this feeling really well. If you don’t know Michael Kenna’s work, have a look at his web site. Once you have finished weeping with inadequacy come back and let us look at how to photograph like Michael Kenna so you too can create similar style images.

Have a look at our other  ‘How to photograph like…’ series that includes Edward Weston and Ansel Adams to see how to create images like they have.

Now before we get started there are a few things to know.

• Michael Kenna creates images on a medium format Hasselblad.
• He uses film
• He has a very zen-like nature about him
• He is a photographic genius
• He is a darkroom super-craftsman

So now the bar has been set so spectacularly high, let’s see what we can do with our DSLR or Mirrorless digital cameras – no pressure then!

I photographed these cranes at the Bristol harbour, UK in a Kenna style with simple shape and no shadow detail

Analysing the Master

When trying to imitate anybody’s style we start by analysing their techniques, so when looking at Michael Kenna’s photography, this is what I saw.

Composition:

Michael Kenna looks for simplicity in his composition, moving closer or framing the subjects to get rid of extraneous objects. He uses a lot of symmetry and rule of thirds but is not afraid to break rules if the composition calls for it. As he photographs on a Hasselblad which has a square format, a vast number of his images are square.

• Pro tip – Michael will often put the horizon on almost the centre of the image. He uses a technique called the optical centre. This is about 10% above the centre of an image and is where the eye naturally rests.

The images have a timeless quality about them, which suggests a photographer who is in no rush, and analyses every scene and possible angle before creating the image.

Black and White film:

In an interview with Procameraman.jp Michael talked about his favourite film as Kodak Tri-X 400 ISO. This is a very forgiving / flexible film and well suited to the long exposures he does. Some are as long as 10 hours. It also has a very distinctive and pronounced grain structure.  See our post on what black and white film to choose to find out more.

ND to blur clouds or water and other filters to darken skies:

In order to create the long exposures, to get the milky water during daytime we need to assume that Michael uses an Neutral Density filter and the camera on a tripod. See our how to photograph with ND filters tutorial.

We can also assume he uses a red and or polarizing filter to darken and lighten parts of the image. We have written extensively about using filters in black and white photography in other posts.

Quite a lot of contrast and high key:

Michael Kenna’s images appear to have large tracts of almost black and almost white in them. The middle tones are there but are in the minority. A lot of his images are also high-key, meaning most of the image is really light although almost every image has something nearly black in it. As a master craftsman Kenna is probably using a combination of film development chemistry and darkroom techniques to augment the original stark image. For more ideas about black and white, see our post on what makes a good black and white image.

I photographed this high key image in Wivenhoe near our home on a misty autumn morning. Not quite Kenna style as it doesn’t have any very dark areas.

How to Photograph like Michael Kenna Step-by-Step guide

Find your Perfect Composition

This is the hardest part of the process but with a little patience you will achieve extraordinary results. Don’t rush things. Leave your camera in your bag until you have found the perfect spot to create an image from. Try to pre-visualise the final image before you touch the camera.

Look around for simple details, structures or shapes. To photograph like Michael Kenna, try to ignore the colour aspect that can be overwhelming.

To help us compose we set the Sony A7R camera to black and white mode so the images appear in the viewfinder as black and white (most mirrorless cameras have a similar feature).

If we’re using Ally’s Nikon D600 DSLR or a film camera that doesn’t have this feature then we view the scene through a strong coloured filter. This gives you one colour, and even though it’s not black and white, it helps to show the shape and form of the scene.

Exposing the Scene

To photograph like Michael Kenna, use long exposures with the camera on a tripod to get movement in clouds and water. Make sure you’re using a solid tripod, as even the slightest movement on the camera during a 30-second exposure can ruin an image. Use a Neutral Density filter to help you get the very long shutter times you need. Our 10-stop filter usually allows us to achieve 30-second shutter times in normal daylight.

We use Manfrotto and Gitzo heavy duty tripods with robust heads. They are a pain to carry but so worth it when you images are stunning. We recently tried out a travel tripod from Manfrotto but it was much to wobbly in even the slightest breeze so it’s going on eBay soon. Don’t forget your red or orange or polarising filter to darken the sky. These will also help to give you longer shutter times.

Not all of Michael Kenna’s photographs are long exposures though but they are all about simplicity. Taking the essence on the scene into a beautiful composition. Michael once referred to his images as a Haiku rather than a literary work.

The Digital Darkroom

Michael is known as a darkroom master artist and artisan and so it comes as no surprise that he does a lot of dodging and burning on his images. He also mentioned in an interview with Camerawork magazine that he uses Ilford Multigrade paper so he can dodge or burn areas at a variety of contrasts.

All of this we can do in our RAW files using adjustment brushes.

Finally, a how to photograph like Michael Kenna post would not be complete without talking about toning. Michael uses sepia tone on his images to give the highlights a bit of colour. We can easily do this to our RAW files in the RAW converter or, (and we prefer this method), use a Gradient Map adjustment layer in Photoshop.

Final and original image from our Michael Kenna style photographic trip. Drag slider to see more.

Putting it all into practice with a trip to the North Norfolk coast in the United Kingdom

The Photographic Process

Ally and I live in a county called Essex, which is about an hour’s drive from central London (or 2 if the traffic’s bad). About 2 hours drive north of us, is the beautiful undeveloped coastline of Norfolk that offers plenty of scope for interesting images. After a long hot summer we set off for 2 days photography knowing that we wanted to create something simple and stark.

The first day was stunning, bright blue sky with small puffy clouds, long sandy beaches with sand dunes, photography heaven. The second day was rainy and overcast and just awful. So how did we do? Well, the first days’ images were ‘pants’. (This is an English expression meaning rubbish!)

Tim looking for the perfect composition on the rocky pier

It was the overcast sky that gave us the beautiful stark and simple images (without harsh shadows) that we were looking for. I find this very annoying as I (Tim) am a sun worshiper and hate overcast days but there we go.

Ally trying a different angle

Once I had viewed all the potential photographic vantage points for the pier I wanted to photograph, I set up the Manfrotto tripod on the rocks and made sure it was secure. I wanted to do some longer (30 sec) exposures to give the water movement so I attached our ND filter. The exposures ranged from 10 to 30 seconds and even though I had a sturdy tripod the wind still gave me a bit of camera shake on some of them.

This is what the bit of wind did to my long exposure when it buffeted the camera

When composing I used a combination of symmetry and the rule of thirds for my horizon.

Rule of Thirds

In the Digital Darkroom

I am using Adobe Photoshop Creative Cloud (2018) however this technique will be very similar in any software that enables RAW file editing including Affinity Photo, a favourite of ours on the iPad.

Cromer contact sheet in Bridge including some edits

In Raw, the un-retouched original

In Raw with very basic edit 

The first thing I did when opening the image in Raw was to convert it to Black and White. I also set the options to sRGB (not greyscale) and the channel bit depth to 16.

This gives me an image with smooth gradients that I can add colour to in Photoshop. If you open it from Raw into Photoshop in greyscale mode you will have to convert it to RGB colour to add the toning adjustment layer. Having it as 16 bit rather than the default 8 means that there are thousands of shades of lightness per channel rather than just 256. This gives you smoother gradients without as much ‘banding’.

I then took down the highlights as some of the clouds were overexposed.

Raw gradient to get the dark sky Michael Kenna style

Along the top of the camera Raw window you will see a little gradient icon. I clicked the icon to get to the gradient area and added 2 gradients to darken down the clouds a bit.

Raw dodge and burn edit like Michael does in the darkroom

Clicking the little paintbrush along the top again, takes you to the adjustment brush area. I added a brush, painted the area I wished to adjust and then adjusted the settings on the right. Not only can you lighten and darken but also change contrast, sharpening, clarity and a host of other properties. As you can see by the dots on the picture I did 13 different brushes. Some to lighten the water, some to increase contrast and detail on the rocks. The little mask button at the bottom allows you to see the areas you are painting. I switch it on and off to see what I’m doing.

Overall on the image I lightened the highlights and darkened the shadows to get that distinct Michael Kenna look.

Lastly I added a selenium tone adjustment layer

I opened the image in Photoshop as a Raw smart object. You do this by holding down the Shift key while clicking the open image (object) button in Photoshop Raw.

If you wish to learn Photoshop on the iPad or Affinity Photo on the iPad have a look at our Udemy courses below.

Click here for amazing money off deals to Learn Photoshop or Affinity Photo v2 on the ipad with Tim’s Udemy course

Having my image in Photoshop as a Raw smart object allows me to double click the smart object any time and go back into Camera Raw to make adjustments. If you’ve never converted to black and white before, check out our post with technical and geeky explanations!

I added a Gradient map and chose the Selenium tone Gradient Map. Even though Michael Kenna uses sepia tone over selenium I thought it looked better on this particular image. The difference is that a sepia tone works on the highlights first and selenium toning works on the shadows first.

Final Image

Go Forth and Create Like a Master

As you can probably tell by the tone of this post, Michael Kenna is one of my favourite photographers and although I don’t go out to copy his work, it has always had a great impact on my personal style. Anybody can copy anybody else’s technique; however you need your own personal vision to really create you own image of he world. Learn all you can from all the master photographers but then turn all that knowledge into your own unique vision. See our post on photographing like Edward Weston  and Ansel Adams.

To sum up a post of how to photograph like Michael Kenna we need 2 things. Beautiful simple composition and lots of shadows and highlights in a toned Black and White image.

Try it out. You might find that your own style, added to this technique creates some amazing images you’d never thought of doing before. Mostly, have fun doing it.

The post How to photograph like Michael Kenna – Tutorial appeared first on ImageExplorers.

So you have bought your first ever film camera and want to get a new box of film ready to pop in so you can join the world of analogue photography. Let us show you how to load film into a camera. This guide is for traditional 35mm SLR (single lens reflex) cameras rather than the rangefinder (Leica) style body. If you’re not sure what camera to get, see our guide here.

So what film should I buy?

Photographic film comes in 3 main types. Colour negative, colour transparency (known as “tranny”) and finally black and white. The films also have various sensitivities to light. These are measured in ISO. The higher the number, the more sensitive the photographic film is to light but the more grainy the image will appear. Most black and white film starts from around ISO 50. This is known as a ‘slow’ or a ‘low grain’ film. At the other extreme there are ISO 3200 films. These are very light sensitive but have a very pronounced graininess in the image. These are called ‘fast’ or ‘high grain’ films. Most people tend to choose a ‘normal’ film of around 125 or 400 ISO.

35mm film brands

So what film brand? Well there are quite a few brands available and each has there own subtle characteristic but I would suggest starting with one of the main ones. Kodak Tri-X or T Max, Ilford FP4, Ilford HP5, Ilford Delta or even Fuji Neopan. Any of those will be an excellent start.

How to load film into a 35mm camera

Open the film from its iconic little black plastic container.

Pull the film just a little – about a couple of inches. Now open the back of the camera by pulling up the winder (rewind knob) – normally on the left hand side of the camera. It will give you a satisfying click and the back will pop open.

Now look at the sprocket on the right hand side inside your camera. You will see that there’s a slit in it. Place the cut-off end of the film, into the slit.

Then with your thumb, wind the bottom of that sprocket to the left, or using the film advance lever, just a little to ensure that the film has ‘caught’.

Place the film canister into the slot on the left hand side – you may need to pull it a little more to the left for it to reach.

Close the back of the camera – ensure it ‘clicks’ shut and ensure the winder is down. It’s a good idea to very gently wind the winder clockwise a little, to take up any slack of the film.

Then make sure that the winder is pushed back down in its place.

Now you need to move the film on a few shots to ensure that any exposed film is out of the way. Do this by pushing the shutter and winding on with the winder until the counter shows ‘0’. This will usually be about 3-4 clicks.

So now you know how to load film into a camera, get out there and create some awesome images! And remember … you can’t check the back to see how your image looks! If you’re not sure what makes a great black and white image, read more here.

How to unload film from a 35mm camera

When your film finishes, it will tell you as you won’t be able to wind it on anymore. Depending on how you loaded, occasionally you could get thrifty and manage to get an extra image out of your 35mm film.

To unload your film from a 35mm camera, turn it upside down and push the small button on the bottom right in.

Now wind the rewind knob clockwise until you feel the film release. You can now open the back and remove the film. You can wind the film all the way back in if you wish. BUT, if you do decide to leave a small tail, it’s best to fold it over, so you know it’s been exposed. Leaving a tail can help you or the people who process your film.

If you do shoot any film, do let us know. If you stick with digital, check out our post on converting colour to black and white.

The post How to load film into a camera – 35mm film photography 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.

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