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Dry Glass Plate Photography is Back

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In the era of the “selfie”, of the relentless click-and-publish images on social media, of the mega sensors replete with megapixels, we are witnessing an unpredictable resurgence of many ancient photographic devices and techniques.

Wet collodion (tintypes) and many other alternative photo processes are being keenly rediscovered today and there is an ever-growing plethora of workshop available to those who want to learn and practice them.

A primitive photographer myself, a practitioner of what I like to define “slow photography” for most of my professional life, I observe this phenomenon with great interest, wondering about what its deepest rationale might be.

The amazing and light-fast technology that permeates our lives can become overwhelming at times. Images are indeed one of the most widespread and immediate forms of communication nowadays, when an ever-decreasing attention span makes just reading a few paragraphs a daunting task for many.

At the same time, creating digital images is devoid of the tactile, hand-dirtying, artisanal, alchemic qualities typical of the silver process heritage.

Today lenses and cameras are precisely designed and built by computers, there is no more space for the serendipitous human error neither in the photographic machines nor in the images they produce. Everything is simplified and automated, bringing the original Kodak Brownie advertising promise “ you press the button- we do the rest” to an almost dystopian level, thus hampering some peoples’ vision and their enjoyment of the creative process.

That is certainly my case and, given the choice, I’ll always opt for an ancient glass and wood large format view camera versus the latest digital device.

I suppose there are other factors too: In analog photography the creative process doesn’t end downloading your files to a computer or uploading them to social media, lost in a binary void forever, but it continues in the darkroom, where one carefully chosen image undergoes a complex voyage towards becoming a print, a tactile, permanent, often unique expression of the photographer’s vision.

To sum up, it appears that the impermanence of digital is finally starting to feel uncomfortable to some, hence a reversal to think more, click less, dabble with wet techniques from the past to create images that can actually still exist in the future.

Along those lines, I am happy to report the recent re-introduction on the market of a long gone photographic medium: dry glass plates.

Dry glass plates, invented by Dr. Richard L. Maddox in 1871, were a major advancement for photographers who until then were mostly using the wet collodion process. Wet collodion required to be poured just before taking the photograph and developed shortly afterward, something rather difficult and time-consuming outside of a studio environment.

Dry glass plates instead, being pre-coated with a light-sensitive gelatin could be easily transported to external locations and the photos developed at a later time, back in the darkroom, greatly helping photographers to expand their business in outside locations. You can admire a nearly unknown itinerant seed vendor-photographer exquisite dry plates photos taken on the Italian Alps here.

While I am familiar and have practiced in the past wet collodion photography, I too, a century later, find dry plates portability a great advantage over tintypes. With dry plates, I can even fly commercially, without having to worry about the strict Airlines regulations against the poisonous and explosive wet collodion chemistry.

Shooting these new old dry plates is not completely devoid of problems, yet, but things are improving rapidly. The first batches had some flaws and coating issues but that, by now, has been completely resolved.

The man that made dry plates photography possible again is Mr. Jason Lane, a brilliant optical engineer based in New Hampshire, who has a deep love and understanding of photographic media and techniques from a bygone era.

Mr. Lane’s production is still completely artisanal and made in U.S.A.: he painstakingly hand-coats his dry plates, boxes them and ships them.

A one-man operation fuels this unexpected and welcome renaissance inspired by the past but with an eye to the future, giving us the opportunity to experiment with one of the most archival-stable and fascinating photographic technology from the beginning of last century.

In a world that is often keen to forget and foolishly dismiss as useless many valuable assets from the heritage of mankind, not only in photography but also in everything else, including oral tradition, popular culture, and art, I find Mr. Lane’s work extremely remarkable and inspiring.

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Editor’s note: Jason Lane has been selling his dry plates for several months now. The emulsion has a “normal” sensitivity, so it responds to UV and blue.

“In this way, it shares a lot of characteristics with wet plate, combining them with characteristics of film I really enjoy the look of the handmade plate era, and it seems I’m not the only one,” Lane told PetaPixel back in January.

Lane is selling a few standard formats and is also open to making custom plates of all sizes — he has made and delivered plates as large as 12×20″ and as small as 35mm.

You can find out more about Lane’s plates and purchase you own through his website, Facebook page, and Etsy store.

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About the author: Giovanni Savino is a New York-based photographer and cinematographer. The opinions expressed in this article are solely those of the author. You can find more of Savino’s work on his website and Instagram. This article was also published here.

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April 30, 2018 at 02:48PM

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Photographer Catches a Bird Catching a Shark Catching a Fish

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Florida-based fine-art nature photographer Doc Jon was walking along a beach earlier this month when he captured a once-in-a-lifetime photo showing the food chain: it was an osprey carrying a shark carrying a fish.

Since the sea hawk was some distance away, the photographer initially thought he had caught an ordinary photo of a bird carrying a fish in its talons. When he zoomed in on his photos at his computer, however, he was surprised to find that it was actually a shark in the bird’s grasp and that there was a fish in the shark’s mouth.

“The best photo I have ever taken! (By content not quality),” Jon writes on Facebook. “These are NOT Photoshopped.”

“This is a one-in-a-trillion photograph,” Jon tells FOX 13.

Here are a couple of alternate views Jon managed to snag of the same scene:

The photos were captured with a Canon 6D and a Sigma 150-500mm lens without a tripod, and Fstoppers reports that Jon initially photographed the bird 400 feet above him after a passerby asked him what his lens could capture.

It’s estimated that the shark in the photo is about 1 foot long.

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Image credits: Header photo by Doc Jon. All photos used with permission

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April 30, 2018 at 02:13PM

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Natural light is one of the simplest ways to create beautifully lit portraits, without having too much equipment or worrying about setting up extra gear. However, it limits beautiful light to certain hours of the day and for you to work in the shade. This is where finding and using natural reflectors comes into play.

With natural light reflectors, you can photograph at any time of the day without having to carry any extra gear. It’s really easy to find and use to help give your portraits that extra boost of light.

What is a natural reflector?

A natural reflector is using already built-in or found materials to bounce light back onto your subject. This rids you of having to carry more equipment on location. 

It also helps immensely when you are photographing your subject during not so great hours of the day, like say, noon. When the light is harsh, it makes for great big natural reflectors to bounce that light back onto your subject.

Natural reflectors can come in many different forms, the most useful are big light-colored walls, the pavement, buildings with silver or light colored walls, white/silver cars in parking lots, mirrors, windows, even your white t-shirt. 

They are all found naturally occurring on location and all of them bounce light back onto your subject.

The bigger your reflector, the more dispersed and diffused (soft) the light will be. Keep this in mind when photographing big groups or families, as you want the light to be evenly spread over all of your subjects’ faces.

How to use a natural light reflector

Natural reflectors are used a lot like real man-made or handheld reflectors. Position your subject in front of the natural reflector, for example, a large white wall. 

Parking garages make for great portrait locations, especially for headshots. Make sure to position your subject behind the edge of where the sun is hitting the pavement and the shadowed area. This will keep the lighting on your subject even while maintaining an even background as well.

Using buildings is also a great way to reflect light on to your subject and compete with the sun, offering a different style of portraits. As light is reflected off a big silver wall, the light reflected creates more drama. Adding to the overall effect of your photographs!

If you are out in a field or more of an open space, you can still find natural reflectors. Fields reflect a beautiful golden hue as does the sand on the beach when the sun is brightest.

Natural reflectors can also add a little more drama to your photos if you use them strategically. Placing your subject away from the light can create interesting shadows. Same with reflectors below your subject. Experiment to see which types of natural reflectors work best for you.

Best time for natural light reflectors

The best time to use natural reflectors is anytime the sun is shining bright! 

On cloudy days you may get some bright light, but when the sun is out, that is the best time for maximum reflection. It’s a good rule of thumb to go to the portrait location before your session and observe when is the best time and which natural reflectors will be useful.

To get the most out of a natural reflector, it’s best to photograph your subject between 11 am and 2 pm so that the sun hits these natural reflectors evenly and you can move your subject around to get the best background, angle, and of course, lighting.

If you are photographing in a cityscape or urban area with a lot of buildings, the best time is a couple of hours before sunset. The sun will reflect against the windows of buildings and offer the best strength. 

Don’t stop photographing though. You’ll want to catch the sunset reflecting in the windows as well after the sun goes down a little.

You can also become a natural reflector

Wearing white can bounce some much-needed light off you and back to your subject if you need a bit more light. A simple white t-shirt can do the trick and give you a little boost of light. It especially makes for great catchlights in your subject’s eyes.

White shirts can give your subject a soft dewy look. Just be mindful that you will have to be relatively close to your subject so that enough light can bounce back onto the subject’s face.

In conclusion

When you’re photographing in natural light, these natural reflectors can help make for interesting, beautifully lit portraits of your subjects. The boost of light can get you out of shaded areas and allow you to shoot at all hours of the day without having to carry additional gear other than your camera. 

Have fun and experiment with different types of natural reflectors to add drama to your portraits.

The post How to Find and Use Natural Reflectors for Portraits appeared first on Digital Photography School.

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April 30, 2018 at 02:05PM

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DxO Labs confirms bankruptcy, but promises updates to Nik Collection and DxO PhotoLab

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April 30, 2018 at 09:24AM

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Instagram currently testing slow-motion video and mute features

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April 30, 2018 at 09:17AM

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At a recent meetup with several photographers, during a discussion on composition, one of the beginners commented: “Why isn’t there a composition checklist for all the things we need to think about?” It was a good question and was the inspiration that prompted this article.

It’s not about the gear

You can have the most expensive camera gear and the most amazing light. You could be in a fabulous scenic location, or shooting a stunning model. There are many situations that might provide you with the opportunity to shoot breathtaking images, but if the composition is not spot on, then it doesn’t matter how fancy or expensive your gear is.

The reverse is true also, you can craft amazing images with beginner grade gear (even your cell phone) if your understanding of composition is good. When you know the rules and guidelines, can work them to your advantage, and even push the barriers and be really creative. No one will care what gear you used to get the shot, they will go “Wow, you must have an amazing camera!”

Learn the composition basics

Even though there are many different kinds of photography, whether you do street, landscapes, macro, studio or anything else, there are a lot of basic composition concepts that apply. Not every concept will need to be considered for every image but having a good understanding of the basics will get you a long way.

Truly understanding composition was one of the major steps in my photography making a big step up in improvement. Like every new idea, you have to put some effort into learning the idea, practicing, learning from your mistakes and practicing again and again. When you can frame up a well-composed shot without consciously thinking about what you are doing and why then you can really start to think about new ways to frame and shape your images.

First, you have to master the basics.

Getting Started

First of all, these are not rules. While there are some guidelines you should consider when creating an aesthetically pleasing image, it is entirely possible to ignore them all and still make a stunning image. It is, however, a lot easier to do that when you know what the guidelines are first. So this is a list of concepts you should consider for each image, not rules you absolutely have to follow.

Some things are easy and obvious, or so you might think. Yet the number of images with noticeably crooked horizons you see posted online is a testament to the fact that this stuff is not always obvious, and is hard to learn. Be kind to yourself and take it in stages. Maybe even write your list down and carry it in your camera bag as a handy reminder.

Also, every image will have different elements in it, and different concepts will apply. So pick and choose the ones that work for you and the scene in front of you. As an example, there are things you would do when framing up a landscape that won’t apply when shooting street photography shots.

So be sensible, pick a few that make sense to you or that apply to the way you shoot. Then practice them until it’s like breathing – it just happens automatically when you pick up the camera and frame a shot. When you get to that stage, add some more concepts to your process, and absorb those the same way.

Composition Checklist

So here is the checklist of things to look for in your composition as a starting point.

1. Is the horizon straight?
2. Is the subject strong and obvious within the image?
3. Are the edges of the frame clean? Is anything poking into the frame that distract the viewer? Are there elements of the image that lead the eye out of the frame that could be positioned better?
4. Is the background clean – are there distracting elements like a car parked in the background, or a fence or a house that doesn’t fit? Can you move or change the angle to remove that element?
5. Is the foreground tidy? Are you shooting a landscape or natural scene where there might be branches or leaves or twigs in the foreground that could be tidied away?
6. The position of people in the shot. Do they have a lamp post or a tree growing out of the top of their head? Have you chopped heads, feet, arms, or legs off?
7. Eye contact – when shooting a group of people, do we have eye contact with all your subjects?
8. Camera position – are you at the right height/angle for the best composition?
9. Point of focus – when taking photos of people/creatures/animals have you focused on the eye? Do you have a catchlight in the eye?
10. Is the Rule of Thirds being used effectively?
11. Do you have a sense of scale – particularly valid for large landscape scenes?
12. How does the eye travel around the image? Where does it go first? Where does it end up? Is that the story you want to tell the viewer?
13. Lens choice – does the lens you are using affect the composition in a positive or negative way? Would a different lens be worth considering?
14. Less is more – what truly needs to be in the frame? What can you leave out?
15. Is it sharp? Do you want it to be?

Considering Composition in More Detail

#1 – Is the horizon straight?

It would seem fairly easy to notice if the horizon is straight when you are taking a shot. It is also extremely easy to fix in post-processing, yet so many images are posted online that have crooked horizons, varying from a little bit to quite a lot. Our brains automatically hiccup when they encounter it, so it is a genuine composition issue that needs to be resolved.

You can take the time to set the camera up so it is completely level. When shooting a panorama, timelapse, video and similar things, it is worth the extra effort. For general purpose use, it can be easily edited in post-production.

#2 – Is the subject strong and obvious within the image?

There are some composition concepts that are fairly straightforward and obvious, like point #1 above. Then there are some that are more open to interpretation.

This point could be considered one of those things. However, I then propose this question to you. If the subject is not strong or obvious then how do we know what the point of your image is?

#3 – Are the edges of the frame clean?

Are there things poking into the frame that distract the viewer? Look for elements in the image which lead your eye out of the frame. Could they be positioned better?

Running your eye around the edge of the frame when composing your shot is a valuable step that can save you a lot of time. This is one lesson I personally had to learn the hard way and it applies to most general styles of photography.

Are there things poking into the frame from outside it that impose themselves on the image and distract the viewer? Are there blurry elements in the foreground that you could move or change your point of view to reduce their impact? Is there half a car or a building partially visible in the background perhaps?

Quite often when you are framing a shot, you are focused so intently on the subject, that you may neglect to see the whole image. So you may miss these extra details that can make or break the shot.

#4 – Is the background clean?

Are there distracting elements like a car parked in the background, or a fence or a house that doesn’t fit? Can you move or change the camera angle to eliminate that element from the image?

This is an extra step on top of point #3 above – putting more effort into assessing the background.

Are you taking a nice landscape and there is a farm shed clearly visible? Perhaps there is a truck parked in the distance or a vehicle on the road you need to wait to move out of frame. Are the colors harmonious? Is the sky doing nice things? Is the sun a bit too bright in the clouds?

#5 – Is the foreground tidy?

Are you shooting a landscape or natural scene? Are there branches, leaves, or twigs in the foreground that could be tidied away?

This is particularly relevant in nature and landscape photography, but still worth remembering in general.

Is what you have in the foreground adding to the image or distracting from the subject? Is there rubbish or stuff on the ground that looks messy? Are there twigs too close to the lens so they are blurry? Can you move any branches or things out of the way or do you need to change the angle of shooting instead?

#6 – The position of people or the subject

Do any people in your image have lamp posts or a tree growing out of the top of their heads? Have you chopped heads, feet, arms, or legs off awkwardly?

Often a problem for posed outdoor shots, this is essentially a specific element of point #3 above – checking the background in relation to your subjects.

Is the camera straight, is the angle flattering? Are people squinting into the sun? Is the lighting good? Do you have all their body parts within the frame? Is everyone looking in the same direction or interacting in the desired manner?

#7 – Eye contact

When shooting a group of people, do we have eye contact with all the subjects?

Quite often when shooting people they will generally be looking at the camera. However, if some are and some are not, it has a weird kind of dissonance to the viewer. So make sure you have some way of engaging the people so they look at you and take several shots.

If worst comes to worst you can work some Photoshop magic to blend a few frames together if it’s a critical image.

#8 – Camera position

Are you at the right height and camera angle for the best composition?

Being at eye level with your subject makes a big difference to the feel of an image. When photographing people, the camera angle does have an effect on how flattering the shot might be to the subject.

You may want to push some creative boundaries and do something different for a particular scene. Street photography is one genre where the height and angle can directly impact the story you are telling.

On average most people tend to stand and shoot from that position, but what if you get down really low?  What if you find some stairs or some way to get higher up?  What if you shoot straight down on top of your subject rather than side on?

Start to think more creatively about how you use composition to evoke a mood or tell a story about a scene.

#9 – Point of focus

When taking photos of people, creatures or animals have you focused on their eyes? Do you have catchlight in the eyes?

If you have a subject with eyes in the image that is looking at the camera it is important to have the focus point on the eye. Faces of people, birds, and animals are very dimensional and it can be easy to get the focus point on the tip of the nose or forehead or somewhere else. So if you have a living creature looking at your camera, focus on their eye.

Another trick to make them look alive and engaged is to angle your shot so that there is some light reflected off the dark iris. This is called a catchlight and is important especially for animals and birds that have large dark eyes. Fashion photographers use fancy round beauty dish lights to give a distinctive ring effect in their shots.

#10 – Is the Rule of Thirds being used?

While the Rule of Thirds is more of a guideline than a hard and fast rule, it is a good one for a beginner to take on board. It is easy to remember and does help you create a more dynamic and interesting image when used well.

So if you intend on using it, add it to your mental checklist.

#11 – Do you have a sense of scale in your landscape scenes?

Big mountain vistas are lovely. But sometimes they can become bland and uninteresting because they lack a sense of scale to truly appreciate them.

One recommendation is that a foreground element can be used to both ground the image and provide scale for the big vista behind it. Some photographers like to use themselves as a prop to help add scale as well.

#12 – How does the eye travel around the image?

Where does your eye go first? Where does it end up? Is that the story you want to tell the viewer?

What do you have in the image to engage the eye? Are there different elements or points the eye can travel around? Does it have contrast? Are there elements that lead the eye out of the image? Are there elements that lead the eye into or around an image?

#13 – Lens choice

Does the lens you are using affect the composition in a positive or negative way? Would a different lens be worth considering?

This can cross the boundary between a technical consideration and a creative one. Sometimes there may be a valid reason to use a specific lens, a faraway subject likely to fly away demands the use of a long lens. A tiny flower might be better shot with a macro lens. Telephoto lenses compress the elements in an image, making them seem closer together. Wide angle lenses create a lot of distortion around the edges, especially at minimal focal lengths.

Beyond that are the creative choices. Yes, you could shoot the front of this house with a wide focal length, but what if you put a zoom on and highlighted the fancy door knocker or handle? Is the lens you are using giving a flattering look to the person you are shooting?

#14 – Less is more

What truly needs to be in the frame? What can you leave out?

A mistake a lot of beginners make is to include too many elements in an image. It can be cluttered, messy, and confusing as to the point of the image.

Sometimes that can be used to advantage in things like street photography, but usually, less is more. A strong obvious subject and minimal distraction around it is a very aesthetically pleasing combination but it can be difficult to learn how to frame images up this way.

#15 – Is the image sharp?

Do you want it to be? Not every image need to be 100% sharp. You can use aperture to creative effect by selecting a narrow depth of field. ICM or Intentional Camera Movement adds blur and movement as well. Use of specialty lenses like those from Lensbaby gives you many different ways to add soft focus or special effects to enhance your image.

Many street shots have blurred movement and creative focus elements, either the photographer or the subject (or both) may be moving.

Some people insist that images be absolutely as sharp as they can be, but that is a creative choice up to you, the photographer.

Summary

Some of the items on the checklist are basic sensible things that apply to most images. Some are more advanced technical considerations. Others may only apply if you are considering trying some more creative approaches to your composition

There are many other specific technical concepts that are not covered in this composition checklist. When you are ready for them, you can find plenty of information here on dPS to guide you.

This list is designed to cover the most basic ideas and thoughts that a beginner might need to keep in mind when first starting to think about properly composing and framing up their images. Good news, if you have made the step to start making your images with deliberate intention, that means you already have your feet on the path to becoming a better photographer.

Pick a few key items from this composition checklist that apply to your style of photography and try to remember them deliberately everytime you shoot. Eventually, it will become so automatic, you adjust for them without thinking, your mental muscle memory will have kicked in.

Are there any key concepts you feel should be included in this list?  By all means, let me know in the comments below.

The post Composition Checklist for Beginners appeared first on Digital Photography School.

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April 30, 2018 at 09:05AM

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Nikon manager confirms: New mirrorless system coming by spring 2019

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April 30, 2018 at 08:14AM

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Crystal clear: Inside Nikon's Hikari Glass factory

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Inside Nikon's Hikari Glass factory

Located about 375 miles north of Tokyo in the Akita Prefecture, the Hikari Glass factory is a special place. Opened back in the 1970s, Hikari Glass has been a wholly owned subsidiary of Nikon since 2004. If you shoot with Nikon lenses, the chances are good that they started life right here - as raw powdered glass.

The Akita Prefecture, home of Hikari Glass, lies around 375 miles north of Tokyo.

Nikon invited us to visit Hikari Glass following the CP+ 2018 show in Yokohama, and along with our friends Dave Etchells and William Brawley of Imaging Resource, we were among the first journalists ever allowed inside the facility. During our visit we saw virtually the entire process of glass-making, from raw powder to finished glass 'blanks', ready for shaping and polishing in Nikon's other facilities.

Click through this slideshow for a detailed look - please note that some areas of certain images are blurred at Nikon's request.

Inside Nikon's Hikari Glass factory

Akita and the surrounding area is blanketed with snow for several months a year. We visited on a relatively mild day, but as you can probably tell from the ice buildup on this building, 'mild' is a relative term.

Our tour guide, Akio Arai is the Corporate Vice President and Production General Manager of the Akita factory and has been with the company for 11 years. At present, almost all of the Hikari factory's output goes to satisfying Nikon's requirements for high-quality glass, but Mr Arai hopes that in future his facility will be in a position to supply even more glass to companies other than Nikon.

Inside Nikon's Hikari Glass factory

This powder contains several different ingredients (the biggest portion being quartz, but the exact mix is secret) which are mixed, melted, and eventually turned into finished glass.

The combining of the raw material happens in batches of around 500kg (~1100 lb) in a pair of very large mixers. The precision achieved in the mixing process is somewhere in the region of 1 part to 50,000. It's vitally important that the mixture is exactly right, because Hikari is aiming for glass with a very specific refractive index.

Inside Nikon's Hikari Glass factory

This tub of powder (roughly the size of a small hotel bathtub) is the raw material for Nikon's famed ED glass, used in a great many of the company's high-performance lenses. Hikari makes 125 different kinds of optical glass, including 20 types of 'specialty glass' for molded lens elements.

Once the powder has been mixed, it is melted. There are two types of melting process, depending on the types of glass. The simpler of the two is called 'direct melting', and the more complex is called 'pre-melting' and 'fine melting'. We watched the latter.

Inside Nikon's Hikari Glass factory

The pre-melting process begins with the raw powder being heated inside a quartz or platinum crucible (depending on the exact type of glass), in a furnace at a temperature of more than 1000 degrees Celsius. The furnaces are on platforms raised several feet above the factory floor. The mixture is added to the crucibles by machines very gradually. If all the powder were dumped in at once, only the surface of the mixture would melt.

With quartz crucibles, some of the quartz inevitably melts into the mixture. This is accounted for in the formula, but since they become thinner over time as the quartz melts, the crucibles have a limited lifespan - in some cases, this can be as short as two days. We weren't allowed to show the crucibles in this article, but the ones we were shown were roughly the size of a small domestic water boiler.

Once the glass is fully melted, a hole is opened into the bottom of the crucible to allow the molten glass to escape into a large tank of water, positioned underneath the furnace at floor level. That's what you can see in the image above.

Inside Nikon's Hikari Glass factory

As the glass continues to drain, eventually the water that it's draining into becomes so hot that it starts to boil.

The remainder of the heated glass is drained into the tank, and once everything is cooled down, workers will assess whether or not the crucible in the furnace can be used again, or needs to be retired. In the old days, glass used to be melted in clay crucibles, and for every 2,500 kilos of glass, only about 500 kilos was usable. The modern method is far less wasteful.

A small water jet to the right of the stream of molten glass helps break the stream up into small droplets which cool to form what are called 'frit'.

Inside Nikon's Hikari Glass factory

And here is the frit - they look like little flakes of snow, but that's where the similarity ends. In the pre-melting process, the frit aren't meant to have exactly the exact refractive qualities of the finished glass - it's still basically a raw material. And there's some variation in the flakes of frit, too. Depending on where the glass was positioned inside the crucible, the makeup of each frit might be slightly different (i.e., it might contain more or less quartz, thanks to the melting of the crucibles during the process).

Inside Nikon's Hikari Glass factory

The frit is mixed in these giant machines (it's hard to get a sense of scale, but the fan on the far right is basically just a domestic room fan if that helps). If these look like modified and repurposed cement mixers, that's because they are.

One of the major modifications over a standard cement mixer is inside the drums, which are lined with natural rubber to prevent any metal particles from the mixer contaminating the glass.

Inside Nikon's Hikari Glass factory

Here's a closer view of the rubberized interior of the mixing drum. Any rubber particles that make it into the mix will burn off harmlessly in the next major process - 'fine melting'.

In order to hit exactly the right target refractive index for a particular kind of glass, Hikari prepares two batches of frit, one batch with a refractive index deliberately on one side of the target value, and one with a refractive index on the other. The two batches are then remixed and fine-melted together in just the right way to produce glass with the exact target refractive index value.

The direct melting process skips this pre-melting step, making it less time-consuming. The difficult part is that the glass must have exactly the right refractive index from the get-go, which requires absolute purity of the raw materials, and gives much less margin for fine-tuning.

Inside Nikon's Hikari Glass factory

The fine melting process is one of the two most critical stages in the entire glass-making process, and takes place in platinum crucibles inside very high-tech furnaces. The exact details of the fine melting furnaces (even their external appearance) are highly protected by Hikari Glass, and we weren't allowed to take photographs of them.

That's OK, because to the untrained eye they don't look like much anyway. More interesting is what they produce - long, long bars of glass, called ingots, which roll out from the machines very, very slowly on a very, very long conveyor belt in a process called 'casting'.

Inside Nikon's Hikari Glass factory

A skilled worker marks and precisely breaks the cast ingot at specific intervals. This particular ingot is destined for use in Nikon lenses, while glass for prisms and other purposes are processed in a different building.

Inside Nikon's Hikari Glass factory

Once the ingot has been broken up into bars, each bar undergoes a quick inspection for any obvious major flaws or defects. If there is an apparent defect, these extruded glass bars are either recycled, if possible, or rejected.

Inside Nikon's Hikari Glass factory

The glass bars are further checked for any bubbles or unevenness in an adjoining room. This is most often done visually, using a lightbox. Bubbles show up as bright specs, and 'distortions' (areas of substantially different refractive index) show up as wrinkles in the image projected onto the screen (left).

Inside Nikon's Hikari Glass factory

Here, a worker points out a defect in a demonstration bar of glass.

During the decades that Hikari Glass has been operating, optical technology has changed a lot, and so has the legislation governing substances like lead and arsenic, which used to be commonly used in glass manufacturing. Over the years, Hikari Glass has refined its processes accordingly.

Inside Nikon's Hikari Glass factory

To ascertain the exact refractive qualities of a piece of glass, Hikari Glass technicians turn to machines. To measure refractive index, a small test block of glass is cut, and a special liquid with the expected refractive index is then painted onto the glass. Technicians then load the painted cube of glass into this machine and look for variations in light transmission as light is shone through.

As well as the 'final' glass cast from the fine-melting furnaces, these machines are used to establish the refractive index of test batches of glass made from the frit we saw earlier.

Inside Nikon's Hikari Glass factory

Once they've passed this quality control step, the bars of glass are split into slim rods, using heat. A heating coil warms the bar, and after a predetermined period of time, a small drop of cold water applied to the end of the bar causes it to split neatly in two with a very satisfying "pink" sound.

This bar has just been split into two rods - the bars to the right, in the background are awaiting their turn.

Inside Nikon's Hikari Glass factory

The glass rods are then cut into smaller...

Inside Nikon's Hikari Glass factory

...and smaller cubes, called 'dice' using a circular saw. You'll notice there's no glass dust anywhere to be seen in these images and that's because the 'saw' doesn't have a cutting surface (you could put your hand right on it, without any fear of injury). It works by friction - the spinning disc heats the glass at the point of contact, creating a clean break.

Each cube is slightly bigger than it ultimately needs to be, so that there's scope for its weight to be precisely adjusted in the next stage of the process - grinding.

Inside Nikon's Hikari Glass factory

The cubes of glass are weighed and placed into four categories, according to their approximate target weight. Their weight is then adjusted by grinding stones, in a very noisy machine called a tumbler (pictured above, and there's a video of it in operation, below).

The cubes of glass that are heaviest are added to the tumbler first, followed by the second-heaviest cubes, then the third and finally the fourth. In this way, the cubes of glass that need most weight shaved from them are processed for longer, and they all come out weighing roughly the same.

Inside Nikon's Hikari Glass factory

After hanging out in the tumbler for a while, the cubes look like pieces of beach glass.

A skilled employee then inspects each one by hand and performs any necessary additional grinding to make sure that any small chips are smoothed out, and the weight falls within the desired parameters.

This particular piece has a chip (marked in red), which is big enough that unfortunately it's reached the end of the line and will be rejected.

Inside Nikon's Hikari Glass factory

Several areas of the Hikari factory are dusted with white powder, but it isn't glass dust, it's boron nitride - a heat-resistant compound of boron and nitrogen which is used in several industries, including cosmetics. At the Hikari factory, it's used to stop the cakes of glass from sticking to their casts when they're pressed into shape.

A welcome effect of the roughening of the glass surface in the tumblers is that it makes the boron nitride adhere more effectively.

Inside Nikon's Hikari Glass factory

And now the pressing begins!

The blocks of glass, covered in boron nitride, are placed into their ceramic trays and sent on a conveyer belt through a furnace - which not coincidentally, makes this area one of the warmer sections of the Hikari facility. The aim is to soften the glass, but not quite to melting point.

Inside Nikon's Hikari Glass factory

The very, very hot piece of glass is moved by hand (well, by tongs) and tipped into a heated mold. The molds for lens elements like these are pretty simple, but we're told that it takes much longer to prepare the molds for glass destined for DSLR and binocular prisms.

Inside Nikon's Hikari Glass factory

Once the glass is in the mold, a worker then activates a foot pedal to press the cake of glass into shape. A clock serves as a rough point of reference for the length of time each cake of glass is pressed, but an experienced press operator can also make this call by assessing the hardness of the glass based on how the mold feels in his hands.

Inside Nikon's Hikari Glass factory

After pressing, and cooling, the cakes of glass (which are now in their puck-shaped final form) are collected for inspection.

Inside Nikon's Hikari Glass factory

Each cake of glass is inspected by hands for any obvious defects resulting from pressing.

This large piece of glass is destined for one of Nikon's high-end telephoto lenses, and pieces like this go through extra inspection steps because they're produced in a lower volume.

Inside Nikon's Hikari Glass factory

Last but not least is the annealing process - the second most critical phase in the glass-making process, after fine melting. Like fine melting, the exact details of the annealing process are highly confidential. Essentially, annealing is a precisely-regulated heating and cooling process, which takes place over a long period of time - often several days. The goal is to make the internal density of the glass blanks completely consistent, and to eliminate any remaining bubbles and to adjust the refractive index. Generally speaking, lengthier cooling cycles result in denser glass with a higher refractive index, and shorter cycles produce less dense, higher RI glass.

The specific temperature brackets - and the period of time over which those temperatures are sustained - is critical (and secret) and depends on the exact type of glass. The huge plates of glass used in industrial steppers might spend up to two months in the annealing furnace.

The green chalkboard on the front of this furnace is used by workers to record the 'recipe' for the particular trays of glass blanks that have been loaded in. This furnace isn't being used, which is why there's nothing written on the board (and why we were allowed to take pictures of it).

Inside Nikon's Hikari Glass factory

After all that, at long last, we have a finished 'blank.' These blanks are packaged and sent off to other Nikon facilities in Japan, China and Thailand for polishing and coating, before finally making their way into NIKKOR lenses.

Inside Nikon's Hikari Glass factory

And that's it! Here, finished blanks of glass are placed into plastic pallets ready for dispatch.

To recap, here are the major stages in the entire process from beginning to end, with links:

1. Initial mixing of the raw materials to make glass powder LINK
2. Pre-melting of the glass to make 'frits', which are intentionally created to have either a positive or negative R.I. (direct melting is a simpler process, that we did not observe) LINK
3. Mixing the frits LINK
4. Fine melting of the frits (not pictured) to achieve the target refractive index, and extrusion and cutting of the glass ingots into bars LINK
5. Inspection of the glass for defects LINK
6. Cutting into blocks into rods and dice LINK
7. Adjusting the weight of the glass dice in the grinding machine LINK
8. Heating and pressing the glass dice into molds LINK
9. Annealing of the resulting blanks, to eliminate distortions in the glass and fine-tune the refractive index LINK
10. Inspection and measurement of the finished glass blanks

We hope you enjoyed this look inside Nikon's Hikari glass factory. If you're eager to learn even more, our friend Dave Etchells over at Imaging Resource has published an even more detailed account of our visit here.

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April 30, 2018 at 08:06AM

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Mastering Low Light Portraits

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Even though the word photography means ’’writing with light’’, it turns out that the lack of light can be a rather inspiring obstacle for those who don’t like it simple and easy.

Portraiture and low light conditions can go hand in hand very well, provided that a photographer has both solid technical knowledge and some extraordinary ideas.

The versatility of low key portraits is astounding because the puzzling atmosphere they possess can oscillate between dreamlike intimacy and raw directness, depending on the source of natural or artificial light that breaks through the darkness.

Strikingly beautiful low light images can be found in any genre of portraiture – fashion, editorial, documentary, even wedding, engagement, and maternity photography.

The key to successful ’’dark portraits’’ is the ability to understand what kind of environments and models have the best potential to rise and shine in less than ideal light conditions. The following tips can help you recognize some patterns and clues that lead to great low key images.

Natural Light And A Tripod Are Often All You Need

The majority of reputable DSLR cameras made in the last 5 years behave well in low light, even at moderately high ISO.

This means you don’t need any seriously expensive gear in order to make great looking portraits after dark. However, a tripod is a must!

The only way to avoid blurriness at longer exposures (except if you have a wonderful gift of exceptionally steady hands) is using a tripod or monopod. The slowest shutter speed for a handheld camera is not a universal number, but it’s usually between 1/60s and 1/30s, which is good to have in mind when shooting low light portraits.

Even though you can use any lens for this type of portrait sessions, it’s really helpful to have a fast lens such as a 35mm or 50mm, f/1.8. These lenses can save your time and nerves because they allow you to shoot even in quite dark environments.

Experiment With Multiple Light Sources

Of course, if you like playing with various light sources (flashes, LED lamps, studio lights or even some kind of homemade experimental lamps), you don’t have to be minimalist and stick strictly to natural light.

Having an additional light source means you probably won’t have to use a tripod all the time and this gives you a certain freedom of creativity.

If you’re shooting outdoors, interesting results can be obtained by combining street lighting (illuminating the top of your model’s head) with a flash or a small LED lamp you can position anywhere you want.

Another great option would be to combine candlelight with some subtle artificial light if shooting indoors; candles are often too weak to light up the entire room and they can use some help from another light source.

Using Light-Reflecting Surfaces Can Alter The Atmosphere

Mirrors, glasses, polished metal surfaces or a body of water – they can be your best friends while shooting in the dark! They help you multiply or alter the effects of your light source and they also create the illusion of more space.

Depending on the purpose of your photo shoot, you can create eerie effects when using candles and mirrors, elegant yet ominous atmosphere when working with water and candles or a sci-fi appeal when combining a cold, bluish shade of artificial light with metal surfaces.

Either way, the fun is guaranteed and you will certainly learn something new about the nature of light and how to tame it.

Unusual Or Contrasting Patterns And Shapes Can Enrich Dimly-Lit Portraits

When you run out of your photographic ideas, try to think like a graphic designer and incorporate some abstract shapes and interesting color combinations into your low light portraiture.

Photographs that are very dark, even if executed gorgeously, often lack a pinch of something special and it’s vital to spice up your work in order to make it stand out.

For instance, if you’re shooting your model outdoors, try to find some ’’errors in pattern’’, such as unusually stained walls or plants with vibrant flowers in the middle of the urban jungle. These details truly matter!

Not Every Model Looks Fantastic In Low Light – It’s Ok To Be Picky

Take this with a grain of salt, but it seems that not everybody has the necessary appeal to ’’glow’’ in the dark.

Some people simply make better daylight models, while others show the full complexity of their beauty when the lights are low.

The best way to discover what works for your models is to take time to shoot them both during the day and at night. Also, some specific features, such as light blond hair, red hair or very pale complexion can look particularly bold and expressive in low light conditions.

If you’re interested in making the most out of your portrait sessions, it’s great to hire a good make-up artist who can help you transform your models.

Compared with daytime portraiture, low light sessions tend to be more demanding and more technical; there are usually more parameters and possible limitations you have to take into account.

At the same time, working with models in such challenging conditions can bring your creativity to a whole new level; isn’t it truly exciting to stand in the middle of a deep forest right after the sunset, with your camera, tripod, and models, trying to make something otherworldly beautiful?

The post Mastering Low Light Portraits appeared first on Light Stalking.

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April 30, 2018 at 08:01AM