Conveying Photographic Moods through Images of the Weather


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Photographic Moods

A photography enthusiast, Benjamin (Ben) Perlin prefers using film cameras and enjoys exploring traditional darkroom techniques. When taking photos, Benjamin Perlin seeks to capture ephemeral moments that convey a fleeting mood or expression.

At the center of creating mood in photography is lighting. For example, when capturing outdoor scenes, dramatic effects and emotional effects can be enhanced by shifts in the weather. A frame that captures clouds moving or approaching darkness may offer a sense of foreboding, while light breaking through the clouds can evoke a mood of hope.

Taking outdoor shots with intensified mood often requires patience and a tripod. With turbulent weather conditions in play, interesting light effects that emerge will require a steady camera and slow shutter speeds to clearly capture the moment. Timing is also critical to outdoor photography. When the ideal conditions for an intended mood appear, work quickly to take that perfect shot before the specific lighting effect disappears.


Types of Lighting in a Darkroom

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Benjamin Perlin works as an independent photographer in Nashville, Tennessee. Benjamin Perlin maintains a lasting passion not only for the art of photography, but also for the chemistry of film image capture and development.

To properly develop black-and-white film, you first need a space from which you can seal out external light. The first task is to cover any noticeable light sources, close the door to the room, and stay there for 20 to 30 minutes. This will give you enough time to see any light leaks and block them off, possibly with a towel or a cut piece of cardboard.

Once you are sure that you can make your darkroom completely dark, you can bring in the specialized lighting that you will need. The first is the safe light, which allows you to see your work without exposing the film. This type of light typically casts a brown or red glow.

Some photographers also choose to have a special enlarger light, which would allow you to focus the device that transforms your negative into a larger-sized print. Some choose to forego this light, either because they are printing without an enlarger or because their safe light provides enough illumination.

You may also choose to have a traditional “white” light in your darkroom. This you will use for cleanup, to check your final prints, or in any other situation where you do not have unexposed film in the open air. Be sure to turn this light off before starting the developing process.

The Impact of Mobile Photography

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Mobile Photography

Benjamin (Ben) Perlin is a successful photographer in Tennessee. Involved in photography since high school, Benjamin Perlin maintains a strong interest in darkroom development and different types of cameras.

Mobile photography has been a growing trend for a number of years. With the advent of mobile photography, more people are taking pictures and sharing them with others. In fact, more photographs have been taken in the past few years than in the entire history of photography.

While this does not necessarily mean that mobile photography is good photography, many photographers feel that the technology should not be ignored since it will not be disappearing. As with the invention of the digital camera, the mobile camera phone is a technological advance that has continued the evolution of photography.

Consumers also can easily alter their photos with a multitude of apps available on their phones. However, many people choose to pass on apps and improve their photography skills by focusing on composition and other fundamentals.

Sabattier Effect – A Striking Darkroom Technique


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Sabattier Effect

Based in Nashville, Benjamin Perlin maintains a focus on traditional film and darkroom techniques, as he feels these best capture the imprint of physical events. One technique with which Benjamin Perlin has experimented is the Sabattier effect, which describes a print that has not been fixed and becomes half negative and half positive with the passage of time.

Named after Armand Sabattier, the technique involves re-exposing a print to light, such that it acts as the negative on the unexposed silver. Highlights that would otherwise appear white are now grey, as they receive a certain amount of exposure. At the same time, striking white Mackie lines are created between the shadows and highlights.

Sabattier effects can be accomplished in a darkroom by turning on the lights three-quarters of the way through the development process. The technique is also useful in creating photograms that do not involve a camera. Instead, objects are placed directly on enlarger paper, with these prints emerging as silhouettes or shadow pictures. Various opaque and translucent pieces can be set in the light and taken off at various stages of the development process for a complex, subtle result.