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This was one that was easier to do back in the film days (film images do not have noise), but it can be done with a digital camera by stacking several shorter duration exposures to get one long exposure. Have you ever seen a photo of a waterfall where the water looked white and fluffy? Ever seen a photo of a road where the light of the cars going past are streaked, like a river of light? Those are two examples of long exposures. It is hard to do this with a digital camera because, generally speaking, even with low ISO settings, they start generating artifacts (noise) after about 30 seconds. While this will work fine for waterfalls, for many other types of subjects, 30 seconds is kind of on the short side for long exposures. To shoot waterfalls, one of the first things you are going to want to get is a neutral density filter. This will reduce the amount of light entering your camera and allow you to take a longer exposure. The next thing you are going to want (for longer exposures) is a cable release. You are not going to want to stand there with your finger on the shutter button for 10, 15, or 20 minutes, and a cable release will allow you to lock the shutter button down for the requisite amount of time. Of course a tripod is an absolute necessity, because you will not be physically able to hold a camera steady enough to take long exposures.
Next, you will want to find a good subject, and a good position to shoot from. If you are living in a city, the top of any tall building at night will do. Put on your neutral density filter, put the camera on the tripod, set the shutter on B and the aperture on f/8 or f/11, aim, focus and shoot. The brilliantly lit buildings will look like islands of light in a river of flowing light. Waves breaking on a shore might be another good one. That would look like masses of cotton candy all along the shore. Stars are always good. Those are all clichéd though. The fun part comes when you can use your imagination and think of other things that might look nice when shot this way, and that no one else has tried. That will give you a sense of accomplishment that you won't believe.
Next, you will want to find a good subject, and a good position to shoot from. If you are living in a city, the top of any tall building at night will do. Put on your neutral density filter, put the camera on the tripod, set the shutter on B and the aperture on f/8 or f/11, aim, focus and shoot. The brilliantly lit buildings will look like islands of light in a river of flowing light. Waves breaking on a shore might be another good one. That would look like masses of cotton candy all along the shore. Stars are always good. Those are all clichéd though. The fun part comes when you can use your imagination and think of other things that might look nice when shot this way, and that no one else has tried. That will give you a sense of accomplishment that you won't believe.
My Hands
Mine are the hands of your best friend, filled with love for you. Mine are the hands that will be holding yours on our wedding day, when we promise to love each other today, tomorrow and forever. Mine are the hands that will always be there to lend you strength and comfort when you need it. Mine are the hands that, even when wrinkled and aged, will still be reaching for yours, offering undiminished tenderness with their touch. These are my hands, and yours.
Vintage Camera Restoration - Welta Perle
The easiest way I can think of to explain how to restore a vintage camera is to restore one, photographing each step in the restoration process. To that end, I went on eBay and bought a Welta Perle that was in pretty bad shape, but that didn't look like it would be hopeless. Here are a few of the "before" photos, detailing the damage: Okay, now that I have a fairly good idea what is wrong with it, I can start making repairs. It will be a beautiful and fully functioning camera when I am done. First, I am going to clean the glass (lenses and viewfinder). To do this, I am going to use distilled water (to remove general crud), a 50/50 mix of ammonia and hydrogen peroxide (to kill and remove fungus), and naphtha (lighter fluid) to remove grease and oil. I'll apply each solvent, in turn, with cotton swabs and remove it with them too. I'll put t on with a wet end and then mop it up with the dry end. I'll twist each swab slowly, so it lifts dirt away from the glass instead of rubbing
Someone poisoned my wife's dog last night.
We were talking and we were happy. Then she heard her dog making weird noises. He was staggering around and fell down. She went to check on him. He started bleeding from every orfice. Someone had poisoned him with rat poison (warfarin, which causes massive internal bleeding). His insides pretty much liquified. He was in great pain and must have been like that for some time before she found him. He died quickly after that, with my wife petting him. It takes a very special kind of asshole to do that to a dog.
Advanced darkroom techniques -- grain manipulation
There is a film called T-Max 100 and it is incredibly sensitive to agitation and temperature during development, as well as to the choice of developing agents. If you develop it in T-Max developer, in cold water, with very gentle agitation, it will give you slick, smooth, almost grainless images. Develop it in D-76, in warm water and shake it hard though, and you get grain from hell. This does NOT mean that you should always use T-Max in cold water and baby it. What this means is that you have another tool that you can use when deciding what kind of image you want to make. You can make its sensitivity work for you. If you like surrealism, for example, you can boost the contrast and really shake it and you will get an image that almost looks like a pointillist painting or drawing (pointillism is what happens when you get a fine point pen and do a drawing made up of tiny dots). This is an example: Here's another: With less contrast, you get something like this: The trick is to
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Another cool use for long exposures: emptying out tourist attractions of annoying tourists. Of course, you may end up needing to use exposures even longer than 20 minutes, but it's a pretty cool trick.