Breaking Out of the Bubble: Embracing Diversity in Photography
Welcoming Different Perspectives and Growing as a Photographer
“Golden Hour Over West 5th”
As photographers, we must understand that our views and beliefs impact how we approach and present our work to the world. Except, you know, that’s just common sense. But with the abundance of media that often has biased political motivations and target audiences, it’s easy to become trapped in a bubble of information that only aligns with our beliefs. This can lead to a refusal to accept differing opinions and ultimately result in offensive remarks that can harm our reputation.
Yeah, because we all want to be known as the photographers who can’t handle a differing viewpoint.
Photography is subjective, and disagreements will always be about the merits of different styles, techniques, and equipment. However, it’s important to remember that everyone is entitled to their own beliefs and that engaging in a respectful debate and agreeing to disagree is crucial for personal growth and the advancement of the art form.
Ugh, can’t we just all get along?
It’s essential to recognize that not accepting others’ points of view goes against the very nature of photography. As photographers, we aim to present the world uniquely and compellingly, showing life’s strange, unusual, and exotic aspects. We strive to find new ways of presenting the mundane and captivating our viewers with our unique perspective. We limit our ability to grow and evolve by rejecting others’ opinions.
Because who doesn’t love being stuck in their bubble?
It’s important to be aware that our words and actions impact our reputation, both in the photography community and beyond. Employers, customers, and even friends and family are likely to see our online comments, and negative or insulting comments can harm our professional image. While internet trolls may hide behind false personas, their bile is best ignored, and we should focus on promoting a respectful and accepting environment within the photography community.
Because, you know, it’s not like we want to be seen as rude and unprofessional.
The very essence of photography is to show the world in a new and different way, to challenge people’s perceptions and beliefs, and to provide a unique perspective. If we, as photographers, cannot accept and embrace different opinions, beliefs, and perspectives, how can we hope to achieve this in our work?
Talk about irony.
It’s time to let go of our entrenched beliefs and be open to new ideas and ways of thinking. We must be willing to listen to other photographers, view their work, and understand why they have taken the approach they have. We must be open to constructive criticism and willing to embrace change. By doing this, we can continue to grow and develop as photographers and push the boundaries of what is possible in the medium.
Because who doesn’t love a good change-up once in a while?
It’s time to move beyond the narrow-mindedness that often characterizes the photography community and embrace the diversity of opinions, beliefs, and perspectives within it. We must be willing to engage with others, understand their points of view, and respect their opinions, even if we disagree with them.
Because isn’t that just the cherry on top of a well-rounded and inclusive photography community?
Striking the Right Balance
Navigating the Fine Line between Enhancement and Artificiality in Image Manipulation.
“Sunset Over Yoho”
The use of Photoshop in landscape photography has been a hot topic of debate among photographers and photography enthusiasts alike. While there’s no denying the incredible power of this software and all the fantastic things you can do with it, there’s also a valid argument that too much Photoshop can ruin the magic of landscape photography.
Let’s face it; landscape photography is all about capturing the raw beauty of our planet — the stunning sunsets, the majestic mountains, and the breathtaking beaches. When we start getting all heavy-handed with Photoshop, we end up with overly-stylized, artificial images that take away from the natural essence of the scene. It’s like taking a perfectly baked pie and drowning it in sugar. Sure, it might look good, but it’s not the same anymore.
Another problem with Photoshop is that it can set impossible expectations for viewers. When someone sees a photo that’s been heavily edited, they might assume that the real-life scene looked just like that — and when they go see it for themselves, they’re left disappointed. It’s kind of like how Instagram filters can make us think that everyone else is living a more glamorous life than we are. Not cool.
That said, Photoshop can still be valuable in the landscape photographer’s toolkit. Used in moderation and with intention, it can help you bring out the best in your images, making them shine in all their natural beauty. It’s all about finding that balance between creativity and authenticity; when you get it right, the results can be stunning.
So, let’s keep it real, folks. Let’s use Photoshop to enhance our landscape photos — or any photos, for that matter — not take away from them. Because when it comes down to it, it’s all about capturing the true beauty of our world, and that’s a mission worth pursuing.
Settling the Film vs. Digital Debate
The Pros and Cons of Film and Digital Photography
“Death Stare”
Oh boy, where do we even begin with this age-old debate?
Film vs. digital is a topic that’s been beaten to death since the dawn of the digital era. And yet, here we are, still talking about it like it’s the most pressing issue of our time.
Well, buckle up, folks, because we’re about to take a wild ride through the world of photography and try to settle this debate once and for all… or not.
Personally, I, the writer of this article, prefer film photography for its realness and tangibility. Digital images are so easily manipulated and faked it’s almost comical. But with film, what you see is what you get. And the unpredictability of film, with its grainy texture and unpredictable color shifts, is like a breath of fresh air in a world of cookie-cutter, perfect images. And let’s not forget having a physical copy of the image is like a warm hug from your grandmother. How can you beat that?
Film photography, the classic medium that’s been around for centuries, is like your grandpa’s old chair — comfortable and familiar. It involves exposing light to light-sensitive chemicals on a strip of film, producing a negative that can then be used to produce a physical print.
Film photographs are known for their distinct visual appeal, characterized by a grainy texture and warm color palette that gives photos a touch of nostalgia and organic charm. If you’re a classic look and feel fan or want to hold your memories in your hands, film photography is the way to go.
On the other hand, digital photography, the new kid on the block, is like a shiny new toy that never gets old. It operates through a digital sensor and captures images as digital data, which can then be manipulated to produce the final product.
Digital photography offers several advantages over film, including the convenience of instant playback and review, the ability to shoot an unlimited number of photos, and the ease of editing, sharing, and storing images in vast quantities. If you’re all about convenience and flexibility, or if you like to play God with your images, digital photography is the way to go.
Despite the pros and cons of film and digital, the question of superiority ultimately comes down to personal preference. And let’s be honest, personal preference is subjective, meaning there’s no right or wrong answer.
Some photographers prefer the classic look of film, while others prefer the convenience of digital. It all comes down to what you value and what type of photography you’re pursuing.
The film vs. digital dichotomy is about as settled as the age-old question of whether the chicken or the egg came first. Both film and digital have unique strengths and weaknesses, and it’s up to each individual photographer or filmmaker to decide which is best for them.
And if you’re still on the fence, flip a coin and call it a day.
Wineol: Developing Film Using Wine
A Boozy Way to Develop Film
“Checking Me Out” by Author; Rolleiflex 3.5A Type II Tessar 75mm f/3.5; Kodak TMAX 100; developed with wineol, 30 minutes/10-second agitation each
Photography has come a long way since the days of the camera obscura. And while digital technology may have taken over, film photography continues to be the chosen medium for those of us who like to keep things old school.
But let’s be honest, the cost of constantly developing film can add up faster than you can say “analog is the future.”
But wait, what’s this? A solution to all your financial woes?
Well, not really. But it’s fun, anyway.
Developing film with WINE. That’s right, folks: fermented grapes can bring your negatives to life.
Let us delve.
“Wreath for Hanging” by Author; Rolleiflex 3.5A Type II Tessar 75mm f/3.5; Kodak TMAX 100; developed with wineol, 30 minutes/10-second agitation each
Developing film with wine is known as “Wineol” and is a unique process that uses the organic acids, tannins, and other substances found in wine to bring your negatives to life.
However, the key ingredient in this process is caffeic acid, found in red wine (and coffee, hence, caffenol) and responsible for the distinctive look and feel of images developed with wine.
Wineol development is relatively simple and can be done with a few essential tools and supplies. Whether you’re a seasoned photographer or just starting out, developing film with wine is a fun and affordable way to add a unique twist to your photography.
“The Ladies Just Chilling’” by Author; Rolleiflex 3.5A Type II Tessar 75mm f/3.5; Kodak TMAX 100; developed with wineol, 30 minutes/10-second agitation each
Let’s collect the materials:
Film negatives (obviously)
500 ml red wine (preferably a cheap, low-quality wine—otherwise, it’s alcohol abuse)
30g Washing Soda
5g Vitamin C powder
Funnel
Graduated cylinder
Film processing canister
Film Fixer
And here’s what you do:
Pour 500 mL of the wine into a beaker or measuring glass. Mix in the washing soda and vitamin C powder. Let rest for 5 mins. The mixture should turn blueish and smell . . . ungodly.
Pour mix into film processing canister and agitate for the first 30 seconds.
Set the timer for 30 mins.
Each minute, agitate for 10 seconds.
Pour out mixture and rinse the film thoroughly with water.
Add fixer for 8 mins, agitating every 50 seconds for 10 seconds.
Dry and hang as usual, then enjoy the winery effects.
The final images will have a unique look and feel compared to traditional film development methods. The wine developer can produce a soft, dreamy, and almost surreal effect owing to its reduced contrast. It’s a great way to experiment with different film developing techniques and produce unique and exciting results.
In conclusion, developing film with wine is a cost-effective and simple alternative to traditional film development methods. It’s a fun and creative way to experiment with film photography, and the results can be truly stunning.
So next time you have a bottle of cheap red wine lying around—if there’s such a thing—why not try wineol and see what unique images you can create?