Podcasts about velvia

Winter has a way of slowing things down. Certain comforts stand out in the quiet of these colder months—a warm drink in hand, the familiar weight of a well-worn sweater, and a mix that carries the depth and warmth of something tangible, something analog. That very sensation defines the work of our next guest in the “Delayed with…” series: Velvia, a multidisciplinary artist from Paris whose love for analog textures runs through his photography and music. Whether capturing light on film or digging through his ever-expanding collection of records, his approach is driven by a deep appreciation for detail, process, and the imperfections that make things feel alive. Marking a special milestone, Velvia takes the reins for the 150th edition of the series, guiding us through the submerged world of dubby house and techno, where atmosphere dictates movement and groove follows instinctively. The transitions unfold with an understated elegance, weaving together sounds that resist rigid categorization. Somewhere between structure and spontaneity, this mix lingers in the undefined spaces, embracing the beauty of subtle shifts and evolving textures. Much like the film stock he takes his name from, Velvia's work is all about depth, contrast, and a heightened sense of reality. This mix is no different. It doesn't just fill the room; it sharpens the details, deepens the shadows, and brings the moment into focus. https://soundcloud.com/velvia50 https://www.instagram.com/alexandremkfilm/ write up by @gilleswasserman Follow us on social media: https://soundcloud.com/itsdelayed https://linktr.ee/delayed https://www.delayed.nyc https://www.facebook.com/itsdelayed https://www.instagram.com/_____delayed https://www.youtube.com/@_____delayed Contact us: info@delayed.nyc

Better Fuji Photos Episode 19: How Accurate are Fujifilm Film Simulations? Some time ago, I went down some rabbit hole on the Internet and came across an argument about the "accuracy" of Fujifilm film simulations compared to the analog equivalents. How close are PROVIA, ASTIA, VELVIA, etc to the real deal? But does it really matter? Film is all about which subject you're photographing, which light you're in, and how you want the photograph to look. Film simulations are a digital equivalent of the same concept - they're not meant to be a 100% replica of the chemical-based film. But with that said, they're still pretty darn close! Objective comparisons are nearly impossible anyways, based on variations in both darkroom and RAW processing techniques. Just get out there and photograph! Learn more about Fujifilm's film simulations in this free film simulation course: ⁠https://photocourses.link/filmsims⁠ Accompanying web article: ⁠https://www.jmpeltier.com/how-accurate-are-fuji-film-simulations/ Fujifilm Photographer Membership: ⁠https://photocourses.link/fujimembers⁠. Use the code "POD20" for 20% off. Please subscribe, rate, and review wherever you prefer to listen to your podcasts so we can keep this show going. If you ever have any questions that you'd like to have answered in an episode, please send me an email at mail@jmpeltier.com. End music: Dylan Sitts - Tahoe Trip

早安，我是叶梓，今天是摄影早自习陪伴大家的第2079天。我收到了一个非常有趣的问题，有人问：为什么有人会喜欢饱和度很高的照片？我从几个不同的角度来回答这个问题。© 叶梓首先第一点，有人喜欢清淡的食物，但就一定会有人喜欢重油、重盐、重辣的食物，比如说我。在食物方面或许我们还可以说清淡一点比较健康，还有好的和不好的之分，但是在摄影里面，在艺术领域里面我们就很难这么讲了，谁是对的，谁是错的？你可以有自己的喜好，但是对别人而言，别人可能会更喜欢那一种跟你完全不同的选择。© 叶梓第二，根据审美经验的不同，每个人会发展出自己的审美倾向，也就是说你的人生经历和你看到过的那些东西、那些风景或者那些作品都会影响你的喜好。我举一个例子，在我学画画的时候，我们的老师就跟我讲，你去观察北方的画派，他们在画画的时候倾向于使用一些比较饱和度低的颜色，画出来的画有点灰扑扑的。我当时很不理解，直到我到北京读书并且留在了北京我才发现：哦，原来从十月、十一月入冬以后，一直到四、五月份，很长的一段时间里面，天地之间就是一片比较灰的颜色，饱和度很低。稍微往京郊开车去玩一玩的时候，你会发现：哇，真的是有一种苍茫和悲壮感。我就理解了为什么会有那种比较灰的画，也理解了那种画里面所蕴含的力量感。© 叶梓那与之相反，我在湖南的时候，湖南一年四季的树都是有绿色的，而且夏天的时候花啊、叶啊颜色都非常鲜艳，饱和度比较高，所以我们画的画算是比较鲜艳的。再往南方走的时候，比如到了广州，花的颜色就更加鲜艳、更加的多样，所以很多南方画家画的画的颜色用色更为大胆。© 叶梓除了南北方的差异以外，其实我们还可以看到有一些少数民族，他们保有自己的一种审美倾向，大红、大绿、大黄、大紫、大蓝，是吧？用在衣服上，用在布料上，那是相当的好看，非常非常的有那种淳朴的民族化的这种用色风格。为什么会这样呢？因为他们从小看到的就是这样的风景，就是这样的配色，就是这样的设计风格和用色风格。所以这是第二点，你的成长经历和审美经验影响着你的审美倾向和用色习惯。© 叶梓第三，色彩鲜艳与否其实只是画面的一个表象。我们什么时候需要鲜艳，什么时候需要灰，其实也跟我这一组照片的主题有非常明显的关系。比如说我昨天提到过我拍了一组杀猪的照片，我用的就是富士相机里最鲜艳的色彩模式——Velvia，这是一个极其鲜艳的胶片色彩，然后我在后期处理中进一步加强了对比度，使得颜色看起来变得更鲜艳。为啥呢？因为我想凸显我想要的那种血腥和暴力感，这是我在杀猪的现场所感受到的情绪，我要把它记录下来以后，我自己看到的时候才可以重新感受得到，传达给别人看的时候别人也才能感受到我的感受。所以所有的摄影的表象它最终呈现出来的样貌，包括构图啊、光线啊、色彩啊等等，其实都是跟主题相关的，是为主题服务的。从这个角度上来说，我们很难说鲜艳好还是饱和度低好，但是我们却可以去评判说：唉，这个鲜艳用在这个主题中恰不恰当，所以具体问题要具体分析。© 叶梓除此之外，其实还有一些比较小的原因，大家也可以稍加讨论。比如说我发现年纪偏大的人可能比较喜欢鲜艳的色彩。我猜测这有两个方面的原因：第一个就是随着这个年纪越大，他对这种鲜艳的、年轻的、充满活力的东西会愈发向往。比如说我小时候就喜欢偷穿我爸的皮鞋，穿西装、留胡子，显得自己成熟一点，但是现在我就要把胡子剃得干干净净的，显得年轻一点。另外我有一个完全未经证实的猜测，是不是年纪大了以后，随着视力的下降，我们对色彩的感知能力也会下降。如果下降的话，我们肯定会在调片上更喜欢更鲜艳的色彩，这个也有可能，但是未经证实，大家就听一耳朵就好。© 叶梓还有一种情况，就是他的手机屏幕或者是电脑屏幕严重发灰，比如说以前那种银行里用的非常老式的简单的十几寸的显示器，用它来看照片的时候，你会发现所有的颜色都偏灰了。所以如果你基于这种显示器来调色的话，那你调出来的所有照片的颜色都会偏艳，因为你在那个显示器上怎么调都觉得还不够艳。好，那么以上就是我从这位同学的问题里所想到的一些答案，供大家讨论参考，你也可以在留言区说说你的看法：为什么有人会喜欢饱和度偏艳的照片？你喜不喜欢这样的照片？你怎么看待这个问题？好了，今天我们就聊这么多了，更多摄影好课在“阅读原文”中。更多提升审美的讲座，就在语音下方的黑色卡片里，欢迎你成为我们的超级会员。今天是摄影早自习陪伴大家的第2079天，我是叶梓，每天早上6:30，微信公众号“摄影早自习”，不见不散。

If you're looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here. If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here. If you want to look at my photography, my current portfolio is here. If you want to purchase stock images by Billy Newman, my current Stock photo library is here. If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com. If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here. If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free. Want to hear from me more often?Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here. If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here. You can find my latest photo books all on Amazon here. Website Billy Newman Photo https://billynewmanphoto.com/ YouTube https://www.youtube.com/billynewmanphoto Facebook Page https://www.facebook.com/billynewmanphotos/ Twitter https://twitter.com/billynewman Instagram https://www.instagram.com/billynewman/ About   https://billynewmanphoto.com/about/ 0:14 Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast. Today we're looking at a video or excuse me, a photograph that was taken on film on avatar film. It's one of those Kodak films, there's portrait there's actor, I'm sure there's probably a whole bunch out there like Kodak gold or whatever the cheap stuff that used to get for your, your disposable camera used to be or your little point and shoot back in the 90s. But this was shot on acti I think it was one of the professional-grade films. I have not never known too much about film or film stocks or like the difference between slide film or was it Velvia or porch, or active. But I knew I got into acting because I liked that contrast II just had a crisp look to it and pulled out a lot of blues and a lot of greens that I had trouble getting in some of the other film stocks I was using, like, like I think if you use Fujifilm, you get a lot of all of the tones, that sort of thing. So I liked a lot of the crisp look that I got into color reproduction using this film stock. And this was back in, I think 2014 when reality when we were out at Loma lo like in Central Oregon, or kind of the central cascades of Oregon, maybe sort of north of Crater Lake, but a cool spot up there. And I just kind of like the silver lining of the clouds and the width of the light sort of diffused amongst this photo. It was kind of cool. But I think everything in this role turned out. Pretty interestingly, I think it was from a trip around the token e falls area, which will probably run through a few more photos up. 1:49 You can see more of my work at Billy Newman photo comm you can check out some of my photo books on Amazon. I think if you look at Billy Newman under the author's section there and see some of the photo books on film on the desert, on surrealism, camping, and cool stuff over there. So 360-degree photo work over the last couple of weeks has been cool. And I enjoyed it a lot. I liked doing the 360 stuff. I think back in June of 2018 we had done a bunch of podcasts about some of the 360 photography stuff that we were trying to do and some of the video stuff we were doing with the GoPro fusion at the time. And that was all cool and I liked that video a lot this time I was working with a Ricoh Theta zone. And I was going around to a few locations to try and get the photographs. Specifically, I think photographs are a lot in this circumstance, but not so many videos. But yeah, really interested in 360 photography, stuff that I was able, to edit together and capture during that time. So that was cool. But I went out to an area in, Central Oregon, that was pretty cool and went up on like a hillside to do some 360 work. And it's cool out there because you can see the topography of how the Great Basin was formed at the well I guess like during the whole era of the Pleistocene as it was for a long-standing period. Like a lake, it was just a big lake out there. And then as things started changing at the end of the Pleistocene, I think there were huge changes that ended the Great Basin stuff that ended a lot of the megafauna that was in the area. And that kind of changed the topography of the landscape over the last 10,000 years to be something much more of the high desert sagebrush Juniper tree exposed rock landscape that we see today and a lot less of the forested temperate kind of mountain climate that we have through the Cascades and three part of Oregon, I'm sure it was always more dry, given the rain, shatter the Cascade Mountains there. But I think for a long period, as according to signs posted on my drives, in areas where I go hiking sometimes but you know, like when you go up to someplace and it says, you know, this area so such and such time ago had these animals in it, where you see like giant beavers, or you see, like camels, or giant sloths, I guess, out of the area, too. There are all sorts of stuff that they had. That ended up being wiped out 100,000 years ago, 60,000 years ago, 210 20 10,000 years ago, or something like that. There are a lot of changes that happened throughout the Pleistocene, I guess, during what they call the quarternary period, a period of glaciations that the Earth has been involved in for the last 100,000 or 200, maybe million years. I'm not sure it's its last couple of 100,000 years we've been going in these cycles of glaciations, or you know, we're in an ice age period. So we go into an ice age like we have ice on the Earth right now. It'll be more ice at a point and then less ice at a point. More ice at a point less ice. So the point, I guess that's been going on for what they say somewhere around like 200,000 years, these 30,000-year periods of glaciation to nonglaciation, where like, I think we're coming, we're like on the far end of the Glacial Maximum now. So we had the, with the Glacial Maximum about like, what, 11,000 12,000 years ago? Or is that right? No, I must have been, like 15 20,000 years ago that we are the maximum, then it started receding. I suppose. That's when we were able to know that does it make sense we had like the land bridge, like the Beringia stuff where people got over that was probably 15 to 20,000. sea levels were low, or they were like, 400 feet, they squared along the coastlines. They came over through the land. So that was a pretty long ago. Why anyway, at some point, like I was there, like I'm gonna figure out Wait, let me remember. Let me think back to 15,000 years ago, where was I? Yeah, I wasn't here. So I don't know what happened. But apparently, there's been some recorded evidence that I was learning about. And I think it's like Montverde down in Chile. And that's a location where I think they carbon dated something to 15,000 years old, like human remains, the human element remains, there's, there's like a few locations here in Oregon, where they I guess, have evidence of the Clovis people that sort of around like the 1112 13,000 year mark. And then there's other evidence of things that are I don't know within like it's time it's like anything from like 7500 years to 15,000 years ago seems to all kind of be in flux have a date, because there's not many, 6:47 not many perfect ways to date that. And if it's a cultural artifact, like, an arrowhead, or a pot shard, or a scraper, there's some indication of how those things are going to be created, or how those artifacts are going to be created and how there's are going to remain like Folsom points or Clovis points are pretty distinct from each other, but they're not culturally distinct from each other. So it could be like a variation of many different tribes and languages and peoples. All well unrelated to each other but related with a similar vein of technology for a few 1000 years of you know, their tool use shape was kind of similar because they're all kind of from a similar descendency. But I think when you get like more than 100 miles away, your language is separate over like a couple of generations, you just got to speak different languages. But man wild stuff anyway. So I don't remember where we started with this. But I was out in Eastern Oregon, exploring the Great Basin, I went up on a hillside and public land and I was doing some 360 photography work with the Ricoh zeta Oh, Ricoh Theta zone. That's what it is. And yeah, I was capturing some stuff on a hillside really beautiful areas up there where those ridges kind of drop in and out. And so it's cool when you get like up to a higher elevation, you can kind of see the pockets of where these lakes and pools of water and kind of sat and rested for what seems like I think I was saying something about recording some 360 photographs up on some public land in the high desert, in the Lake County in Great Basin area of Eastern Oregon, beautiful spot over there. I enjoy it. And yeah, it was awesome to use the Ricoh Theta zone to be capturing some images up in that area, it's cool when you're at a higher elevation. And with a 360 camera, you can kind of it provides a little bit of a different perspective is seems silly to see like wider, but when you re when you kind of replay those images, and you're able to sort of look around in the context of what's the left and to the right of you, you're kind of able to put together the context of the landscape a little better, a little faster than you could if you just had a series of individual photographs that had segments of the wider landscape captured in it. So it's cool at that higher elevation, you can you can kind of look down to areas that we had been hiking around earlier in the day through some of the ridges and troughs that would be over in that area. And you can look down you know, it's like 500 feet down in elevation to what we thought was kind of the mountain top pass and then pass that as another maybe 1000 foot or a couple of 100-foot drop in elevation as it goes down toward the lake basin area. So all that was pretty cool. And what was also cool about it is just sort of visualizing how populated that area had been in the past, I think, you know before the Western expansion of the United States and as 1000s of years passed by, and This region of land and the Northwest that had been populated and that region specifically been populated by nomadic tribes that had been able to travel and subsist off of the wild game that was there, I think a lot of like antelope and deer, and it looks like bighorn sheep by some of their planning some kind of sheep, but it looks like that from some of their, their pictographs and petroglyphs information that they left then the dynamics of some of those populations of animals have changed in the time. Now given like modern day, I don't know, I don't know if we're gonna see a lot of sheep out there in Lake County. But there's one drawn on a rock out there. So they must have been trying to look for it. There's a lot of them in the southwest as he moved into the I think the Mohawk tribes. For him, that's more of a 3000 to 25 2000. I don't know, it's probably bad. It was 3600 years ago, so everything but 100 years ago I think it was like Captain jack over there Captain jack's stronghold for the Murdoch Indian Reservation area. That was like in the Indian Wars of the 1850s. So the last to tell them but yeah, there's some information about some of the pipe, the Piute Indians, I think the Northern piute that were in that area of Southern southeastern Oregon, Nevada, then into Utah, Arizona, and New Mexico if I kind of understood, right, but I know there's some fluctuations in there. And differences in timing and stuff. But yeah, dollar, is pretty cool stuff. 11:35 It was, it was awesome to get out there, it was cool to get out and kind of walk around in some areas of some public land, where we still have some access and still get out to try and do some photography stuff, even in this period where you're supposed to stay home and there's a lockdown it was, it was cool to kind of get out and try to do some exploring and some social distance conscious. I mean, that's fine with me, I don't, I don't have to be around a lot of people, it's better to do landscape wildlife photography work while you're sort of in some type of isolation. I'm sure like a lot of hunters are kind of considering something like that to you know, hunters, fishermen, people like hiking or you know, a lot of those solo activities, it's cool that you know, this kind of this time, sort of is provided a little bit of a reset for probably a lot of people out there to have a bit more time to invest in some of the things that they'd want to, I suppose a lot of folks are probably stuck more in their local area but it's a great time too, to get to invest in some things that seem more important to you. So that's what I've been trying to do. I hope you guys are doing well. Thanks a lot for listening to this episode of The Billy Newman photo podcast. You can check out more at Billy Newman's photo calm I'll be doing a ton of updates over there. The airplane is taking off. Sounds like prop plans are about to fly over my head. It's like that scene in North by Northwest or Cary Grant starts getting run down by that biplane. That'd be scary. 13:04 So that's that in the future. You can check out more information at Billy Newman's photo comm 13:14 you can go to Billy Newman photo.com Ford slash support if you want to help me out and participate in the value-for-value model that we're running this podcast with. If you receive some value out of some of the stuff that I was talking about, you're welcome to help me out and send some value my way through the portal at Billy Newman photo comm forward slash support you can also find more information there about Patreon and the way that I use it if you're interested or feel more comfortable using Patreon that's patreon.com forward slash Billy Newman photo and I'm happy with the seminar so far I've been looking at trying to pick up a battery grip for it you know I did a wedding this weekend which is great shooting a wedding and those are really fun events to go through and a seven I did a pretty good job in almost every capacity I love the low light of it. The way the sensor works is great and super high quality all of those things fit the mark for what I need, but it was interesting I was noticing that in low life the autofocus for that camera doesn't function in a way that I need it to or I'm missing some stuff that I want and that's where I see the real benefit and in some of the older systems I mean even like Can't I contrast base autofocus systems that were in the Nikon or Canon systems for the last like 15 or 20 years are superior to what I'm seeing in some of the expression of what the early Sony autofocus stuff can do. You know it's like in focus, right you're looking at a frame it's in focus your autofocus point is on the thing. It's a contrast point, there's plenty of light on it. You go to auto focus and then your lens just spins out and it does not for like four seconds just spins out to infinity and to see just blurriness you lose the moment completely it comes kind of back in maybe it finally grabs focus and then you take the picture but you kind of miss everything or you just I don't know like there's a lot of times where you're waiting for the camera to focus who really should just be like pull up to your eye it sees focus hit it grab it click it go I'm having a harder time with that than what I thought I might and I think some of that could be because of the lack of the phase detection autofocus system that like the the newer a seven r two has the a seven to a seven as to a nine or a nine right yeah that's a that's a Sony one and like a lot of the new Canon cameras they have this phase detection system is supposed to be some better multiplexing system of finding autofocus but there used to be systems that worked pretty good like my d3 at 53 autofocus points and they can pull up I think I don't know something like that but you know, plenty autofocus points and they can grab your autofocus point even in pretty low light they could kind of get oh that's at infinity or that's pretty close to right next to me so I'll stay there so it's interesting kind of learning how that behaves. But overall the photos from the wedding came out really well a lot of this stuff worked out very nicely I've been really happy with it but another thing that I noticed is with running was running a camera as a device like more like an iPad or like more like your phone you know where it's got it's got some screen on a lot of the time it's got processing stuff going on it's moving gigabytes and gigabytes of data to a card it's just drawing from the battery almost constantly I mean like during a wedding I guess to kind of think of power consumption like this I wrote 48 gigabytes of data to SD cards and so that's going to take some amount of battery energy you know stored energy to write all that data to a card and so in that capacity I kind of do get that it would take a good bit of power to write that much information down to capture it and then write that much information if you think about everything that has to do so in that way and then run a screen and you know run the processing and run it visually and all that so I kind of forgive it and it capacity but what I noticed though is that I really did go through a couple batteries shooting and just sort of a regular fashion at this wedding for for most of the day is like a full day shooting but it really was burning through those batteries pretty quickly like you look at it like oh Whoa, I just I just use like 10% in a pretty short amount of time. And so with that, I was kind of thinking and as it's been the plan for a long time for just I don't know the kind of like a best use case for professionalism what I want to do is get the battery grip that goes in accompaniment with the seminar and the battery grip I think it's it's you know it's like a Sony piece that fits yeah I haven't seen a battery grip before but you know the one where you can throw the two camera batteries into the battery grip you can get an extended amount of life from your camera that way and you get like the portraits or what is it like the vertical shutter release? You know so you can flip the camera up and shoot in portrait mode and try yeah like the size of it the look of it, it'll be an awesome kind of compact professional 18:14 What is it not SLR I keep wanting to say professional SLR but it's an Interland interchangeable lens camera that's rolling right off my tongue isn't it so yeah, it's gonna be interesting I want to go for the battery grip though and I think that could kind of solve some of the problems that I'm having with battery usage issues of the camera kind of coming up dad after two or three hours or whatever it is? So I don't know I've heard plenty of other people about wedding photography kind of complain or grass a little bit about some of the features that are associated or some of the things that make the workflow of a wedding work of a wedding shoot go by a little bit more difficulty with a featured camera like the seminar, I've heard of people that are really into it, too. So you know, it seems like a couple of different things. But low light autofocus is an issue on that camera, I can tell that some stuff doesn't do now. So with that, and with the concept of like what I like to shoot or you know, like, kind of still moving things or landscapes, low light firearm stuff, if I try and get into that more, I wouldn't run into that same kind of problem with as much repetition because you know, you're not shooting a high volume of frames, you're not shooting an event based situation. So it's kind of a different sort of scenario and you don't seem to you're you're wanting to manually focus and take time and take multiple frames of the same thing. And in some of those, some of those more set up Fine Art situations or landscape situations like you're trying to take your time and those squares in with event and wedding photography, that kind of process. It's just it's really fast. You're trying to move different moving elements into different places and get photographs of You're just doing a lot all at one time over a short amount of length of the amount of time that the, you know the event. So not enough is all right. I did great and had a great time at the wedding. How about you are, you know, savage people out of it your food, got a bunch of great photos, brought them home started processing them. That's a really interesting part of me. I've gone through like a big batch of photos and I've gotten kind of used to that over time of getting through a big batch of photos, but it is always sort of overwhelming when you're like wow, that's a lot. That's like a whole big data project I got to go through now again, you don't realize how much it takes to get through a bunch of stuff when you finish it. Thanks a lot for checking out this episode of The Billy Newman photo podcast. Hope you guys check out some stuff on Billy Newman photo.com a few new things up there some stuff on the homepage, good links to other outbound sources, some links to books, and links to some podcasts. Like these blog posts are pretty cool. Yeah, check it out at Billy numina photo.com. Thanks a lot for listening to this episode and the back end. 21:08 Thank you

For more stories like this, please subscribe to the Phoblographer. I'd like to believe that the photo industry has advanced quite far, despite still being behind phones somehow. I think that we're now at a point where cameras can do even more. For example, a bunch of cameras try to do high megapixel modes and lots more. And years ago, they did panoramic modes as JPEGs. But I genuinely feel like it's time they took that further. My idea: a panoramic RAW file that stitches together using similar tech as the high megapixel and multiple exposure modes. A while ago, camera manufacturers started saying that they've maxed out what's possible with still photography and that they'd focus more on videos. But I sincerely disagreed. Modern cameras are competent tools, but camera manufacturers aren't imaginative. That's why it's shocking that the panoramic raw photo mode hasn't become more commonplace. You're probably sitting there wondering why manufacturers haven't made this yet. Well, for the past two decades, they've all been telling us that we can do that in post-production instead. But lots of us don't want to sit in front of a computer slaving away to combine an image. However, if I needed to, I'd surely bring a panoramic raw photo that's ready for me into Capture One to do some minor edits. The best part of this is that so many brands can do this differently. Canon can do this using the same multiple exposure technology that they've had for years. You're just blending the photos together left to right. Sony doesn't have a multiple exposure mode anymore. But they had a panoramic mode. Nikon can have panoramic RAW and apply its cool creative effects. The Sunday and Somber look are bound to make the mountains render really cool! Panasonic can do panoramic raw and apply their L Monochrome or Cinelike profiles to the images. Just imagine something genuinely looking like Panovision? Leica has the durability in their cameras to really encourage this. I'm not sure why Olympus doesn't have this. They're the brand I'd most expect to do panoramic raw. Fujifilm is where this would probably be the best. Imagine a panoramic RAW file in Velvia or Classic Chrome? It would look just like those old Nat Geo spreads in magazines. Naturally, these would be huge RAW files. So I'd expect the imaging processors to take a bit of time to line everything up. But Sony used to make this the easiest with their Sweep panorama mode years ago. For some odd reason, everyone got rid of it, and it hasn't been back since. Yet, most modern cameras can do things like apply clarity, high dynamic range, etc. So just imagine a high dynamic range panoramic raw image with clarity bumped up a bit. And you'd get both a Raw and a JPEG. Wouldn't that be awesome for landscape photography? And what about cityscapes? Some of the closest I've gotten to this is with a 16:9 photo aspect ratio. But that gives us a smaller image. Why can't I have a bunch of raws combined in-camera? Just also think about the beautiful prints you could make. Further, imagine when the camera gets older, you convert it to infrared. Now you can get infrared panoramic photos. You're more inclined to stay with the camera system then and won't want to switch. Camera manufacturers want people to stick with their system more than anything else.

Konstantin & Becky bring to you the latest Nikon news and photography related announcements. Rebecca Danese: https://www.instagram.com/rebecca_danese Konstantin Kochkin: https://www.instagram.com/konstantinkochkin Production: Konstantin Kochkin The Nikon Report #30 Nikon Zfc was officially released in Japan on 23rd of July. Nikon Z fc camera and Nikkor Z 28mm f/2.8 lens kit release postponed https://bit.ly/3C0hbc6 Map cameras published a Zfc interview. https://bit.ly/3zHyzQQ Nikon's not yet announced camera N2014 registered in Indonesia https://bit.ly/3l55tXF Xitek published an interview with Nikon discussing Micro lenses. https://bit.ly/3j0Vyj9 Nikon updated the Micro Lens information. https://bit.ly/3rGUDYR Nikon Released the firmware updates for Z5, Z6 II & Z7II cameras Z 7II Firmware https://bit.ly/3zMwCmm Z 6II Firmware https://bit.ly/3BSOmxW Z 5 Firmware https://bit.ly/3f1DKTB Further firmware updates for Z6II & Z7II cameras are rumored to be released in September https://bit.ly/3jdlEj9 In anticipation of Nikon Zfc release the company updated a few bits of software with support for the camera and updated some other features. NX Studio https://bit.ly/2Wjs2xd Wireless Transmitter Utility https://bit.ly/3xgo1qo Picture Control Utility 2 https://bit.ly/37cHfSR Webcam Utility (Windows) https://bit.ly/3yaxjp9 NIKON RUMORS PUBLISHED THE PHOTOS OF Nikon gear room at the Tokyo Olympic Games 2021 shot by Vincent Kalut @vkalut https://bit.ly/3f5kbd4 Nikon product spare parts in the UK are now sold by Fixation ONLY. https://bit.ly/3rBIqVy Nikon and Sharp Announce Joint Development Agreement https://bit.ly/2VjNdP9 Nikon opened "Nikon BioImaging Lab". https://bit.ly/3rCMNzH Chip Shortages Are Starting to Hit Consumers. Higher Prices Are Likely published by Wall Street Journal https://on.wsj.com/3f5D7IJ Capture One released version 14.3. Here are the main improvements. https://bit.ly/3BSXhPZ Film News Fujichrome VELVIA 100 Discontinued in USA as it Contains Prohibited Toxic Substanceshttps://bit.ly/3BMGn5E Price adjustments incoming from the UK's ILFORD Photo https://bit.ly/2WlV7YS Kosmo Foto recently announced their Kickstarter for a new film stock https://bit.ly/2UOAyEh Reviews: Nikon Z7 IBIS performance test. https://bit.ly/376NOXi Best Full Frame Landscape Camera – Sony a7R IV vs. Nikon Z7 II by DPreview YT channel. https://bit.ly/373ufiu And finally THOM Hogan published his review of Nikon 105mm f/2.8 Lens https://bit.ly/37cI4ep Unlock the future with the power of light https://bit.ly/3BS4Tm0 Designer's Voice Vol.3 article was published by Nikon. https://bit.ly/2TJBskS Nikon Z 85mm vs 105mm vs 70-200mm Royal | Matt Irwin https://bit.ly/3ibxoDs Thanks for listening! --- Send in a voice message: https://anchor.fm/grays-of-westminster/message

In questa Riflessione fotografica voglio parlarvi del colore e soprattutto del grande valore aggiunto dei profili pellicola fujifilm. Quante volte ti sarà capitato leggere sui forum discussioni infinite sull'autofocus, sulla resa alle alte sensibilità, sulla nitidezza di una lente, sui megapixel, ecc..Ma quante volte invece hai sentito parlare di quanto sia importante avere colori eccellenti già in camera? Penso raramente... In realtà la resa cromatica di una fotocamera è importantissima, sia per la fedeltà del colore, ma soprattutto perché ci permettono di evitare ore ed ore davanti al computer cercando di sistemare file con un bilanciamento del bianco o una resa cromatica non eccellente. Fuji grazie ai suoi profili pellicola ed ad un bilanciamento del bianco eccellente, in tutte le sue fotocamere riesce a restituire delle immagini con colori davvero convincenti. I colori sono pieni ma mai troppo saturi (fatta eccezione per il profilo pellicola Velvia). Ma soprattutto i profilo pellicola fujifilm lavorano in modo fantastico soprattuto in condizioni di luci miste e difficili. Questa capacità è un enorme valore aggiunto e permette al fotografo di risparmiare ore e ore davanti al computer...E voi cosa ne pensate dei profili pellicola Fujifilm e dell'importanza di avere colori ottimi gi al momento dello scatto? VUOI UN CORSO COMPLETO E CHIARO CHE TI AIUTI A MIGLIORARE LE TUE FOTOGRAFIE ED OTTENERE STAMPE PROFESSIONALI?

Jordana, Steven, and Bill meet back up to discuss the photo news and Bill shares his experience interviewing and photographing Clyde Butcher. Photo News: Polaroid releases a new duo-chrome film. The film community reacts to the silver 35mm caps. Negative Supply Light Meter Kickstarter The EPA cancels Velvia 100 Reddit wants to do a Silver Squeeze

Hi everybody I’m so thrilled to bring you yet another first – an underwater photographer for episode 99! I was sat reading my copy of the technology/science magazine WIRED and came across some different photos. It was all about reefs and a project involving them with some beautiful photographs by a gentleman called Lorenzo Mittiga. After checking his work I was really impressed and contacted him. Lorenzo was nothing but intriguing and fun to communicate with, he must have been as excited as me Lorenzo’s work is known around the world for his images and works in documentaries, like natural history. By trade, his is a marine biologist but left that in Italy to work more in the field. He’s an intelligent guy who can speak 3 languages and luckily one of them was English. Lorenzo lives on the Dutch island of Bonaire in the Caribbean. He also talks about living and working as a photographer, so its a tale of weddings, portraiture, food, and anything else! Lorenzo talks to us about his start in photography and shooting film, all the way through to digital. He gladly provides details of his kit and how hard it is underwater. He’s got some lovely split over/underwater projects too, which are very different photographically speaking. In this one we talk about: Issues with film underwater Ektachrome & Velvia working with Jack Cousteau working with windsurfers issues with sand camera housings how depth can affect u water & natural filters underwater flash lemon sharks the iguana shot LINKS Aqua lung - http://www.aqualung.com/uk/ Nimar - https://www.nimar.it/en/ Flexarm - https://www.flex-arm.com/en/ Lorenzo website - http://lorenzomittiga.com/ Lorenzo Instagram - https://www.instagram.com/lorenzomittiga/ --- Send in a voice message: https://anchor.fm/photography-insights/message

Ben Horne is an amazing Large Format film photographer that literally puts the FILM in Fujifilm, using large formats of Provia and Velvia for landscape photography. Find Ben Horne's YouTube Channel: https://www.youtube.com/channel/UCtiLZhefLrm4CEMrctJyzUQ

Nu är tiden över då vi hänvisar till gamla fotoböcker från sjutti- och åttiotalet för de som undrar om det finns nån bok på att börja med analogofoto, en ny stjärna har tänts på bokhyllan i och med boken Analog … Läs mer →

Terese är en nyfiken filmfotograf som med sin 35mm kamera utforskar sin omgivning, hon fotar med svart/vit, C-41 negativ och dia film och har också tagit det stora steget att lära sig alla dessa filmtyper själv hemma! Nu senast har … Läs mer →

Tjo! Då går året mot sitt slut o vi vill tacka för detta år med en intervju där en tidigare gäst, se Marknader & Bulkloading-avsnittet, återvänder för lite mer djupgående samtal. Foto: Anna Edlund Dom säger att goda män är … Läs mer →

Hej och välkommen till ett nytt avsnitt av podden! Jag har varit sugen på detta tema länge och nu är det skönt o börja naffsa på det iaf -Ryska (Ukrainska, allmänt östblockiga) kameror o grejjer! Här ser ni Pierre med … Läs mer →

Hej och välkommen till ett nytt avsnitt av podden! Det var ett tag sen men här kör vi ett avsnitt med tre pers på en gång, säg gärna hur ni tycker det funkar. Det är iaf som utlovat i youtube-avsnittet, … Läs mer →

Hej och välkommen till ett nytt avsnitt av podden! Denna vända är det inte jag själv som håller i mikrofonen utan än en gång min ständiga medarbetare, Sina Farhat. Sina har denna gång fått tag i Joakim Ahnfelt för en … Läs mer →

Steven and Bill interview fashion inspired and film portraiture photographer, Jordana Dale. We talk about her background in fine arts and why she shoots film. We then select three images from her portfolio and break down the core components of her shots. This podcast episode does have visual components. Please, safely, go to the Facebook Page or the YouTube Page to see the images she has shared with us. Follow Jordana Dale: www.jordanadale.comInstagram: @jordanadale   Photo News: FujiNOTfilm plans to kill off more film in 2018. March 2018 Fujicolor Superia X-Tra 400, 24 exposure, 3 packs Fujicolor Superia X-Tra 400, 36 exposure, 3 packs Fujichrome Velvia 50, Professional, 36 exposure, 5 packs Fujichrome Velvia 100, Professional, 36 exposure, 5 packs Fujichrome Provia 100F, Professional, 36 exposure, 5 packs May 2018 Fujicolor Natura 1600, 36 exposures, individual rolls Fujicolor 1600 Single Use Cameras (39 and 27 exposures) Neopan 100 Acros 4×5 (20 pieces) Neopan 100 Acros 8×10 (20 pieces) Steven gets his Scala black and white slide film from DR5 and it's GLORIOUS! Silberra has started an Indiegogo with their new Panchromatic and Orthochromatic black and white negative film. Silberra PAN 50, 100, 160 Silberra PAN200 and Ultima200 (Limited Ed.) https://www.indiegogo.com/projects/silberra-b-w-photographic-films#/ Kodak TMAX 100 120 Film is back on the shelves after resolving a paper backing issue. http://thedailygrain.co/?p=49   A source at Kodak confirms with Studio C-41: Ektachrome will NOT be a VS (Very Saturated) emulsion.   Music Credit: Johan Lilja - The Improv http://bit.ly/2ueQlK1  

Steven and Bill jump into E6 Processing (Slide Film). We talk about our favorite slide film, how E6 compares to color negative (C-41), and why you should shoot E6 film! Photo News: Yashica releases the Y35 that uses digiFilm cartridges. Despite the successful kickstarter, the film community has been very critical of its release. 'I'm Back' is a Raspberry Pi powered digital back for your 35mm camera. Not exactly a new idea. Kodak had something similar to this built on the Nikon F3. CatLABS has a teaser announcement about Deardorff large format cameras. The Reflex camera is one of the first film cameras to be built in over 25 years. Polaroid Originals has shipped out the highly anticipated One Step 2 and Steven got one! Referenced Material:Zack Arias' eBook: 'Get to Work: DEDPXL Business Primer' http://dedpxl.com/product/get-to-work/ Music Credit: Johan Lilja - The Improv http://bit.ly/2ueQlK1

Hej och välkommen till ett nytt avsnitt av podden! Denna vända är det inte jag själv som håller i mikrofonen utan min ständiga medarbetare, Sina Farhat. Sina har själv ett intresse av fotoutmaningar och har i Pierre Wilén funnit lite av en själsfrände tror jag. Lyssna in för att höra om deras tankar angående att utmana sig själv med små foto- ja, utmaningar. Läs mer →

Hej och välkommen till ett nytt avsnitt av podden! Denna vända är det inte jag själv som håller i mikrofonen utan min ständiga medarbetare, Sina Farhat. Sina har själv ett intresse av fotoutmaningar och har i Pierre Wilén funnit lite av en själsfrände tror jag. Lyssna in för att höra om deras tankar angående att utmana sig själv med små foto- ja, utmaningar. Läs mer →

Hej och välkommen till ett nytt avsnitt av podden! Nu drar vi igång med nåt som nog dom flesta av oss varit inne på mer eller mindre, filmfoto relaterad förströelse via youtube. Vid min sida denna gång har jag Victor … Läs mer →

Våren är här och åter vart det ett besök på Kameraloppisen i Stockholm. Denna vända fick jag undan Jonas Vikström, mannen bakom service och reparationsfirman Analoga Kameror, för ett samtal om hur han startade upp. Foto: Jonas Vikström   Prenumerera … Läs mer →

  Nytt år, ny podd! Eller ja, samma podd som vanligt fast ett nytt avsnitt. Denna gång har vi lyckats få tag i våran eminenta ljudtekniker och pratat om leksakskamerornas underbara värld, från Diana till Lomography international och andra obskyra … Läs mer →

Gissa vilka som är tillbaks! Jag och Sina bryter tystnaden efter en lång sommar och snackar lite om vad vi haft för oss. Vad har ni gjort då? Ring gärna in på telefonsvararn här på sidan. Prenumerera via RSS/itunes Eller … Läs mer →

Åter i etern kommer eran favvo svenska analogfotopodcast

Välkomna till ett nytt avsnitt med er favorit bland svenska analogfotopodcaster! Denna gång så är vi med gäst igen och det är herr Mattia Marchi som vi har på linjen. Det är Mattia som står bakom den nystartade Kameraloppis som nyligen hade … Läs mer →

Nytt avsnitt med tema skattjakt! Och vad menar vi då? Jo, att fynda och ta hand om film och kameror som ligger bortglömda någonstans. Många utav oss har nog fått en eller flera kameror när släkt och vänner förstått sig … Läs mer →

Nytt avsnitt med dubbeltema! Vi närmar oss jul och Joakim Sundkvist leder vägen… Sen filosoferar jag och Sina kring filmkorn lite också. Reglerna för den alternativa julkalendern ”24exp” som Joakim presenterat: Leta fram en gammal eller nyare analog kamera. Ladda … Läs mer →

Jepp, dags att gå igenom grunderna lite med att sköta sin egen framkallning av svartvit film. Men först, ett litet snack med Simon Bengtsson som dragit igång en fotoutmaning -lyssna in för att veta mer!   Prenumerera via RSS/itunes Eller … Läs mer →

Crowdfunding, en god väg för nya analogfotoprodukter? Vad finns där ute? Och vad kommer att komma? Lyssna in för att veta mer

Sommaren är över och vi är tillbaka! Under sommaren besökte jag Emmaus kamera och fotodag så vi börjar med det lite snabbt. Sen spenderar vi resten utav podcasten med att prata om bulkloading, köpa film på metervara alltså. Prenumerera via … Läs mer →

Så var det dags igen! Vi får nu bekanta oss med en god vän till Podcast teamet: Johan Lund Temat denna gång är: bandfoto Prenumerera via RSS/itunes Eller lyssna direkt här på sidan: Direktlänk för nedladdning

Så var det dags igen! Vi får nu bekanta oss med våran första gäst: Fredrik Andersson Foto: Alexander Olsson Och ämnet för detta avsnitt är: Nålhålskameror Detta inför den stora Worldwide Pinhole Photography Day, eller Nålhålskameradagen på svenska. Prenumerera via … Läs mer →

Så ser Mellan Skärpa och Korns första podcast dagens ljus! Inspelat inne på Palmhuset i Göteborg. Lyssna direkt här på sidan: Notera att podcasten ej hade fått sitt riktiga namn, Mellan Skärpa och Korn, förrens efter denna inspelning(!) Det går … Läs mer →

Welcome to episode 42 of The Circle of Confusion, the professional photography podcast. He's back again. We talk about the axing of Fuji Velvia again. Peter got himself a new camera which has a Velvia button. Canon release their mirrorless camera, the EOS-M but the design is not what we hoped for. Reuters News Agency are using camera on robotic frames to capture the Olympics. We talk about the leaking of camera info before the launch date. Good or bad? And we talk about what we were up too this past week and the reason why the podcast is a day late.