Starting:

sometime in October, my wife and i found out that she was (is) pregnant.  the true shock came in the form of it being twins.  not much can prepare you for the doctor telling you your wife is carrying twins.  that single moment was filled with shock, joy, fear, and almost every other (minus anger) emotion possible.  my first thought after this was “i need to change my work situation.”

as a business owner and photographer, i spent upto 14 hours per day, 7 days per week working in some form on the biz.  either i was processing photos, working on paperwork, doing R&D, advertising, contacting vendors or clients, panicking and attempting to figure out where our next paychecks were going to come from.  that is a life that, with a small amount of modification, can adapt to one child being born.  but two?  you have to be kidding me.  so i went on the job hunt.

Changing:

by the middle of December, i had started my new job working for a small tech company in Edmonds as their graphic designer.  the new job, plus some family emergencies meant that December/beginning of January were a little bit of a blur.  and so here we are.  prepping to move to a new place, me working full-time, my wife teaching and both of us supporting f/8.3 photography and preparing for the birth of our two kiddos in May/June.  this leads me to the next point.

Ending:

f/8.3 photography is downsizing.  now that we no longer need weddings for the paycheck, we are cutting down our work load.  drastically.  we will be maxing out at one wedding per month – absolutely no more than that.  clients who have already booked us, obviously you are not affected by this, so don’t worry.  if you have been thinking about hiring us, you better act fast.  many months are already booked, several others have people who are interested and some months – like December – will not be accepted period.  we also won’t be accepting many personal portraits.  you have to really convince me your portrait will be fun/interesting for it to happen.

two other changes happening are the end of the video blog as well as the regular blog.  blog.f83photo.com has one more post coming, but after that it will go inactive and eventually come down.

i feel a little nostalgic about what our past few years have been.  to all of our past and current clients:  thank you so much!  you are fantastic people and we are honored to be part of your lives.  i believe we have worked hard and done the best that we could, and i am somewhat sad to see it end.  the sadness only lasts a little while:  when i think of out two children that are on the way, i’m just stoked!

life is about priorities.  our priority is our family.  always.  if you came here considering us for family portraits/wedding photography, then you obviously understand that.

just kidding.  not really.  well sort of.  this requires an explanation.

i have worked in a big professional portrait studio before.  i have trained to photograph children for yearbooks and ID tags, and i will tell you now, there is no job in portrait photography that is less artistically fulfilling than that.  you set up the lights and background, seat the kids on the little bench, have them put their feet on the mark, look at the camera and you have them say ridiculous phrases like ‘wiggly worms’ to get them to smile pretty for the camera.  when they do, you snap your photo and move on to the next kid.  yeah.  the height of awesome.

there have been a bunch of other portraits through the years as well.  the basic formula is put the person in a situation, have them look at the camera and smile.  there are 4 standard poses for senior portraits and after the third time of following this formula you want to throw your camera in the ocean and walk away.  well.  artists do.  it takes a special kind of person to deal with studio portrait photography.  i am not that person.

standard portrait poses make me gag, smile and look at the camera makes me hurl and people locking me in a creative box and not allowing me to be an artist makes me hate them.  so i decided to cut down on my portrait work this year and start looking for people who are less interested in ID tags and more interested in creating a story or a piece of art.  with this change in mood, i have also changed the game plan to start focusing on film photography for my portrait work.  film is always something i have loved to work with and have used on occasion during photo shoots.  i decided to make the changeover after a senior portrait session in which the few frames that i captured on film were some of my favorite shots from the day.  now the plan is to use film as the primary and add digital for test frames and secondary/backup equipment.

we raised our rates as well (that is a psychological change more than anything else).  if you want people to stop treating you like the big box studios, you have to separate yourself from them (we’re still competitively priced with some of the other studios in the area though!).  by keeping our prices competitive with the box studios we were losing money and i was losing my patience.  by pricing higher than them we can weed out those people who just want the ‘standard’ stuff.  now the people who knock on our door looking for portraits are looking for art or a story to be told.  and we supply it.

this camera is a surprise for me.  i wasn’t expecting to love it as much as i do.  i have had rangefinder style cameras before, but they have been a petri 7 (completely manual with no metering and a decent, but very green rangefinder spot), yashica electro 35 (aperture priority auto exposure camera with a very yellowish RF spot), fuji 645 folding (can’t really use because the bellows need repair) and the argus C3 (the most difficult to use, really old, separate rangefinder and viewfinder windows).  oh and of course the polaroid auto land 250…

when i picked the canonet up from my favorite local camera shop, i was surprised to see how nice the rangefinder spot was and then also the metering system inside the viewfinder.  it has some quirks that i’m not a huge fan of…it does not meter in any other mode than auto – which essentially sets the camera to shutter priority and shows the aperture in the viewfinder.  it is kind of nice that if there is not enough light or way too much light it locks the shutter release.  it can also be annoying, but in those instances you can usually pick your aperture and shutter speed and shoot manually.

this camera is going to be my street photography camera.  it’s very small, black so it’s not flashy and relatively quiet.  there isn’t any sort of sound dampening buit in, it simply uses a leaf shutter which tend to be much quieter than the film plane, curtain shutters.  i would love to own a leica, but some of us aren’t made of money.  i think my digital upgrade will be a fuji finepix x100 (or the interchangable lens version that is rumored to come out).  until then, just keep a steady supply of ilford HP5 coming through and i will be happy.

#4 – Mamiya C3

the two things i love about TLR (twin lens reflex) cameras:  square format and waist level finders.  it is surprising how much a waist level viewfinder changes your perspective.  suddenly you see completely different images and fall in love with them.  don’t get me wrong, they can be challenging.  if you have never used a WLF, it will catch you off guard at first and take a little practice to get used to.  square format is another perspective changer too.  no more need to rotate a camera, and while you can crop the image to a 4:3 or 2:6 style framing…why?  play with the square!  use the corners.  center your subject.  just have fun with it!

if you like to travel light, i would not recommend the Mamiya C3.  the Yashica Mat 124G is a much more ‘compact’ TLR which is still affordable – unlike the Rolleiflex TLR’s which can cost over twice as much.  like much of Mamiya’s camera equipment, the C3 uses a bellows style focusing rig which allows for much closer focusing, although with a TLR, you need the parallax adapter and a tripod to get any sort of close focusing.  and although i currently don’t take advantage of it, the C3 does have interchangable lenses.  i would love to get the 50 or 65mm focal lengths to do some landscape photos with it.

the final little toy i have for my C3 is the metered chimney.  there are many different focusing hoods/prisms available, some are easier to find than others, this Cds metered chimney was a lucky find for me, and was relatively inexpensive.  it’s not a super common item to find, although it’s more common than the Mamiya eye-level prism is.  there is another eye-level ‘prism’ available called the ‘porroflex’ although if you can find the actual prism, you will be much happier.  the porroflex uses mirrors to create an eye-level viewfinder which is similar to a 35mm SLR, the issue with that is the viewfinder is generally a little darker than with a prism.

this camera is a joy to take out and work with, but it doesn’t happen as often as i would like.  i hope to change that in 2012!

#3 – Holga

my first film camera.  ever.  i love my holga.  it is epic and has become more so with the addition of dozens of little stickers.

for a while, i was really interested in the lomographic effects – light leaks, vignetting, plastic lens effects, et cetera – and would spend hours in photoshop trying to make my digital images look like they were taken on a holga.  then one day i bought one and have been having a blast with it ever since!

it’s an unusual camera to work with, there are two shutter speeds – normal (roughly 1/125 of a second…i think) and bulb (as long as you can hold it open).  there is one are two apertures (the aperture selection doesn’t actually do anything.  they can say all that they want. if you actually look through the camera while switching apertures you will see that it will not change anything.  there is a fixed aperture, then when you switch to the sunny setting, a little window swings behind the fixed aperture that is ‘smaller.’  but it’s not small enough to really change anything unless you drill out the fixed aperture…which is on my todo list.

plastic lens = chromatic abberations and soft images
poor build quality = light leaks + heavy vignetting
all of the inherent issues = completely unpredictable output = fun

#2 – Mamiya 645AFD II

love.  but let’s rewind and see how we got here.  back in the day i bought a bronica ETRs which is actually a pretty nice little 6×4.5 SLR.  it had the ‘quick winder’ which is a thumb lever winder that takes care of the two stage winding process (one crank to reset the mirror and one crank to advance the film).  it also had a metering prism which was nice.  the camera was great, but it had limitations, one of which being the inability to link to a digital back (sometime in the future).  i really liked this camera, but the time came and i had to move on.  for a while i was medium format SLRless and then i came across a Mamiya 645 Pro-TL with the selling point being an 80mm f/1.9 lens.  the fastest medium format on the market.  so i bought it (it was a good price).  after a little time with that camera, i came across a mamiya 645 AFDII at my favorite local camera store.  and it was on.

after a trade in and a little cash, i finally had my landing point for medium format photography.  the AFDII not only has auto-focus lenses as well as the ability to use manual focus mamiya lenses, it is also ready to go for digital backs right now.  no adapters.  no extra cables.  ready to go.

the AFD II has all of the perks of modern cameras – spot and average metering, exposure bracketing, auto-advance including continuous fire mode.  and general awesomeness.  i like that until i have the cash to get a digital back, i can use the camera as originally intended with film and still get use out of some amazing glass.  hassy fans will claim their glass is the best, but i really don’t think so.  i think Mamiya’s glass is as good as, if not better than the hasselblad stuff and without the nasty ‘you’re paying for the name’ price tag.  don’t get me wrong, Mamiya ain’t cheap!  medium format requires a lot of glass to make an f/2.8 lens.

i started taking this camera with me to photo shoots and portraits just as an alternate camera to play with.  after several portrait sessions being used as backup equipment, it is now my primary camera for portraits.  put a roll of kodak porta 400nc in it and i’m set.  you will see much more from this camera in the next 12 months, i promise that!

#1 – Canon 5D Mark II

come on.  you aren’t surprised.  this was something you knew the answer to since the countdown started.  but i want to clarify why this camera is number one for me.  i’m not a canon fanboy – i am an enthusiast of canon’s equipment yes, but i have thought several times of switching to nikon, and have great respect for their equipment (photographers/companies who say the camera is the most important part of the equation are idiots).  changing systems requires a lot of money.  the reason this camera is number one is because it has become a game changer for us.  on two fronts:

1.  low light sensitivity:  before the 5D2, i had a hard time photographing in wedding ceremonies since i don’t use strobes for ceremonies (duh) and they are often not very well lit.  on the 5D as soon as you hit ISO 1600, you will have a lot of post processing work ahead of you to repair the noise.  with the 5D2 i can now crank it up to ISO 6400 easily and not worry about anything.

shooting in candlelight is no longer impossible, dimly lit churches are not scary, and hand-holding a 300mm f/2.8 IS at f/2.8, 1/90th and ISO 6400 does not mean ‘bad photo’ (yup, that happened.  and yes, it was awesome).  game changer.  we can do more with less light.  awesome.  #winning

2.  video:  i have always wanted to be a filmmaker and this camera has allowed me to actually follow through with that.  growing up, the only options for filmmaking was bulky, expensive equipment or really cheap, dumpy stuff.  all of it was tape when i was younger and required specialty equipment to do any editing, but now i can shoot HD films on my work camera and compile them using something as simple as free software that comes with my computer, or for a small investment i can purchase high quality editing software and make something that will rival any independent film out there.

making cinema accessible to any person who has a few thousand to invest or a few hundred to rent means we will see a new level of films.  sure we will see more garbage now (just like we see more garbage in photography with the ease of use and quality of entry-level DSLR’s), but the flip side is that all of those indie filmmakers who could not afford it before can actually try to be discovered!

while i do not consider myself to be one of the top wedding videographers out there and will not attempt to go toe-to-toe with guys like my pal Brian over at Willowcraft Media, my vision holds its own and we can create beautiful and moving works of art using a media that was once not an option.  with our first couple of wedding films and mixed photo/video packages we have created VERY happy and loyal customers.

conclusion:

in the end, it really doesn’t matter what you shoot with.  as long as you find something that helps you to create the vision in your head, who cares what it requires.  some people’s vision requires a holga.  some people need a kodak aero ektar 7″ f/2.5 lens on a Speed Graphic (p.s. i’m one of those people, but can’t afford it).  some people are nikon users, some are canon users and everyone laughs at sony users (i kid…mostly…KIDDING).  in the end, it’s the eye and technical facility of the photographer that creates an awesome photo.  don’t let anyone tell you otherwise.  these are just MY tools of the trade

so you are telling me that there is an adobe app for my android tablet that allows me to ‘shop’ images.  sure.  i bet it’s a cute little app that does fake tilt-shifting, mosaics and hipster effects.  WRONG.

i saw chase jarvis’ post a month or so ago about the photoshop touch app and a quick little composite that he put together.  it wasn’t print worthy, but he didn’t spend much time on it and the fact is:  he was able to do it.  and i’m sure with more time, it would have been impossible to tell that he made the composite on a tablet.  so i decided to try my hand at the photoshop touch app and do a quick composite of my own.  just a simple texture composite, nothing terribly difficult.  the stain was unintentional…but it works…i could add a few more to make it look even more worn

the original image (left) is a frame off of my Mamiya 645 AFDII.  the edited image (right) involves 2 texture layers, 2 color overlays, and 3 layers of the primary image.

this video offers a quick explanation of the layers used in this image:

final image is here:

when you edit on the tablet, you do seem to lose some resolution. it imports the photo with 72dpi, i haven’t looked to see if it is recoverable to 300dpi, and this may be something that is corrected in the future. that being said, the processing power that is available in this first release is impressive. there are many options i wish were available, but by the time i start paying attention to those wishes, i might as well just grab a laptop and use CS5. i will have to use it more and try different things in order to see if the functionality would be useful to me in the future, but for now if i need to create images for web or small-scale print quickly while away from my home computer, this will work just fine.

is it perfect?  no.  is it still pretty darn cool and useful?  YES!  and at very least, it’s $10. skip a couple of cups of coffee and buy the app.

- free head shots for veterans for their job applications or linkedin profiles
- holiday photos of the families of deployed soldiers who won’t be home for the holidays this year
- photojournalism of returning soldiers meeting with their loved ones again – followed by a portrait session

we have many more ideas, and will only charge for the cost of prints ordered.  if you or someone you know fits into what we are looking for, if you are a part of a non-profit organization to support the soldiers, if you just know how to help, please send us an email!

arguably one of the most important things that happened for our company this year was the creation of our photo booth.  it started as an idea, downloaded some software and then became more and more real.  it started as my desktop printer, attached to our laptop, attached to a camera.  i learned quickly that this was way too big and slow of a setup.  so we got a 4×6 sub-dye printer.  but that didn’t work well.  so we got a 4×6 inkjet.  but that still required too much attention.  so we got the end-all-be-all printer for event photography.  and we were in love.  but ironically the printer is now larger and heavier than the first one!  but it’s also better

the lighting has also changed a lot.  in the first run of the photo booth (in my office, during a party) we had three lights.  THREE.  a key light, a side light, and a background light.  yeah.  that isn’t going to fly.  it’s all about making the setup time quick and taking up little space (Keep It Simple, Stupid).  so we got a ring flash.  perfect.  i made a custom mounting bracket for our auxiliary monitor and attached it to the tripod.  finally we bought the worlds largest pelican case to house and transport everything.  it is big enough to carry an elephant sled dog team all of our gear and has wheels to boot (which is good since it weighs the same as an elephant sled dog team small automobile).  it barely fits in our little subaru.  but it fits.

after a half-dozen events with the photo booth we now have it down to a science.  we can stroll in, put it up in 10-20 minutes and have it ready to roll.  we have definitely finished the troubleshooting stage of the photo booth’s existance and are excited now to be booking it for company holiday parties.  we have taken it from prototype to final product with the bugs worked out in less than 6 months (thanks to a lot of blood, sweat and seed money tears!)

we hope to take this product to more charitable events in 2012, if you have one in mind send us an email and we would gladly talk about it more with you!  thanks to all of our wonderful wedding clients who tested out the photo booth this year for us and helped us to refine the product!  hopefully you had as much fun with it as we have!

#10 – Calumet 4×5 Monorail

if you want the full photographic experience, shoot with a large format view camera.  this is a camera that takes longer to set up than you can even imagine.  generally with a camera, you see your target, frame, fire and move on.  with a view camera, you see your target, set up your tripod, set your base focus, adjust the movements (rise, tilt, swing, shift), then bust out the loupe to get some fine tuning of your focus and movements, then make sure your aperture and shutter speed are set right (after metering, since they don’t come with built in meters), load with 1 sheet of film.  stand back and fire.

why does it matter?  back in the day, larger format was equivalent to more megapixels.  if you needed a billboard photo made, you shot on an 8×10.  there is also the whole ‘i can control every aspect of this photo to make it look perfect.’  people use perspective control lenses now (tilt/shift) to do the same thing that was done with LF cameras.  architecture – taking out the distortion of tall buildings.  macro – making an entire flat surface be in focus instead of just a sliver.  the list goes on…

i like using this camera, because i love the control.  but the film is UBEREXPENSIVE, and it weighs a ton.  if i had a field camera (folds into a smaller package and is easier to lug around – hence, “field” camera) i am sure i would use it more with a roll film back attached.  but that’s for future jason to dream about

#9 – Polaroid SX-70

the polaroid SLR.  before digital, the only way to get instant gratification from a photograph was to use a polaroid camera.  so here we have all of the perks of an SLR (closer focus than a rangefinder, more accurate preview since you are seeing exactly what will go on the film, et cetera) and instant feedback.  the problem:  film for it is expensive…more expensive than 4×5 film.  yikes!

part of the reason it is expensive is because polaroid stopped making film – they started again with the release of the polaroid 300, which is basically a rebranded Fuji Instax.  a group called the “impossible project” bought polaroid’s old manufacturing equipment and has been trying to reverse engineer the instant film.  it’s experimental so the results are ‘artistic,’ and it is also expensive for the same reason.  we’re talking $20+ for a pack of 8 (count them, EIGHT) frames.  it’s fun, but extremely painful.  so it doesn’t happen very often.

#8 – Argus C3

the culprit.  this is the camera that started the whole problem.  it was formerly Cari’s grandfather’s camera and after he passed, it was handed down to me – since of the family, they figured i would appreciate it the most.  everyone figured it was broken, but after careful deconstruction and cleaning, it seems to work just fine and i put a roll of film through it to boot.  it could use a professional CLE, but until i can afford that, it will have to wait.

i call it ‘the culprit’ because it kickstarted my appreciation for vintage photography equipment and in a manner of months i had already begun collecting more and more cameras.  i think the last thing i am going to do with it is a full on restoration.  the CLE will correct all technical issues, but i want to make it look like new again by replacing the leatherette.  then when it is done we can place it in a more prominent location to show off all of its American made glory!

#7 – Canon AT-1

my second film camera.  this is actually my dad’s camera, but he let me borrow it.  i think there was a specific reason i was borrowing it, but it has been in my posession ever since.  it has been a fantastic learning tool for me, because of the fact that it is a completely manual camera with a linked Cds exposure meter built in (needle matching style!).

when i say ‘manual’ i mean MANUAL.  manual focus lenses on a camera with a manual film advance lever and manual exposure.  no auto-exposure here!  for those who aren’t familiar with how that works, you set the ISO of the film on the camera, then you can adjust the aperture ring on the lens and shutter speed dial on the camera body, then when the needles in the viewfinder line up, you are ready to fire!  click.  wind.  done.  i love it.

#6 – Polaroid Automatic Land

the polaroid automatic land 250 is an interesting camera.  i wanted the 250 specifically because the viewfinder and rangefinder are linked instead of having a separate rangefinder and viewfinder.  the framelines do have the standard parallax correction as well which is nice!  the auto land camera uses the peel apart style film which is a lot of fun to work with and offers many other options than the standard instant films.

when you peel the film apart you have two sides, one is the print and the other has the negative on it.  usually you throw the negative side away since without any alteration, there is nothing left to do with it.  but that’s where i’m different.  i am one of those crazy people who likes to save the negative and then strip the black backing off of it.  once you have the backing stripped off you are left with a standard negative which can be put through a film scanner.  although you lose the sense of “this frame is magic because it is the only print that will ever exist of this image” it can be nice to save a great frame as well as create a new work based on the stripped negative (when you strip a polaroid negative, interesting things can happen).

other than the peel apart film, the 250 is a pretty standard rangefinder camera although because of the bellows and the size it quickly becomes a conversation starter.

come back next week for the top 5 cameras in the countdown!  there will be no surprises as to what my number 1 camera is…

when i first started f/8.3 photography, i did a lot of research on how to start a wedding photography business.  included in this was “how much do i charge?”  just about every wedding photography company i have ever seen has the same sort of pricing structure:  small, medium, large.  on top of this is a bunch of extras like albums, prints, et cetera.  i never really loved these pricing plans, i always felt they were kind of arbitrary…so i’m changing ours.  here’s a quick tour of our new plans!

all plans include

• online proof viewing and secure ordering.  there are changes in the works for how this happens, but that is for future Jason to worry about and announce.
• up to 7 hours of coverage.  we don’t want to do less than that so we aren’t offering discounts for less than that.  if you have ever tried to cram 7 hours of work into 4 hours of time, you know exactly what happens: quality is compromised.  that is unacceptable
• engagement session is COMPLIMENTARY.  the engagement session isn’t just for getting you pretty pictures of yourself.  it’s a chance for us to get to know each other.  the best and most successful weddings we have had are the ones where we feel like we’re old friends with the bride and groom.  that doesn’t happen accidentally, if we can get a camera in your face early, you will trust us more later.  if you choose to not use it, that is your choice.  but we prefer it!
• disc of images printable at 5×7.  up front we give 5×7′s.  take us seriously, we’re not just snapping photos for fun so don’t expect to get our artwork in full resolution at the beginning.  you can get the full size images one year after your wedding.  just give us a call when you’re ready!

the new plans we are offering are listed as follows:

fine art photojournalism

not much explanation needed here.  this is what we do.  we are photographers and photojournalists.  we get the portraits you want, including posing if needed and then use our skills as ninjas to capture the real emotions of your wedding day.  when we do bride and groom portraits, we get the couple in the general vicinity of where we want them, then let them do their thing and be themselves.  often the best photo we get is the one right after the one they set up for.  included in this plan is one of our deluxe photo albums.  ask to see a sample!  base price is $2,250

the filmmaker

maybe you are looking for something in between full photography AND full videography coverage.  this is your plan!  with this plan we spend our time on the wedding day shooting a combination of stills and HD video.  during your ceremony we will have a camera on a tripod for a ‘base angle’ of the action while i run around with the 5D mark II capturing stills and alternate video angles of the ceremony during the important sections (you know…the kiss, ring exchange, et cetera).  we do not use wireless mics for this, but we can tap into a soundboard and record straight off of that.  otherwise we will use shotgun style microphones to collect the audio.  don’t expect your film to have much talking though, it’s more of a montage set to music.  this film is usually around the 10-15 minute mark.  not as long or in-depth as a full wedding film.

the other thing to note about this plan is that the engagement session is turned into something we call “the engagement story.”  where we will create a short (2-5 minute max) film about you and your engagement.  it’s great for playing at the reception or posting on your wedding website!  for this we will ask you questions and record your answers for voice-overs.  base price is $2,700

the party monster

you are all about seeing friends and family and having a good time.  you need a photo booth at your wedding.  this is for you.  we take a standard wedding package and toss in some photo booth coverage for a GREAT price.  we will show up with our photo booth and our props and set it up during the first part of dinner or just after the ceremony, then have it run for up to 4 hours.  if you haven’t seen the photo booth, you are missing out.  go check out www.f83photo.com/photobooth to learn more about it.  base price is $2,625

note:  one plan is not greater/better than the other.  they are different.  i have now moved from:

• plan with one apple
• plan with two apples
• plan with three apples

I had a great time hanging out with rani and the love of her life, lenny.  lenny the ukulele.  the theme for the shoot was just that: rani and her uke.

the fun part of this photo shoot was that the primary purpose was to spend time working with film cameras.  two cameras were used, the first being a Mamiya 645 AFD II and the second being the Mamiya C3.  there’s a pattern here, right?  i like Mamiya.  the frame above was taken on my 645AFD along with the following frame:

the 645 system is nice because you get some of that medium format goodness (smaller depth of field, et cetera) while still shooting an economical frame.  if i had the disposable income, i would work more in 6×7, but you get far fewer frames shooting 6×7 on 120 film than 6×4.5 (6×7 = 10 frames/120 roll, 6×4.5 = 16 frames/120 roll).

for a journalist, 645 is the better route.  but someday i will have my precious – Mamiya RZ 67 Pro IID…mmm…tasty.

the following frames were from the C3:

square format goodness.  also shooting with an f/2.8 lens (80mm) wide open.  in the top frame you can see an anomaly of the older lens styles.  the blurred background area has kind of a ‘swirly’ effect to it, older or cheaper lenses tend to showcase this style of bokeh a little bit more.  i like it though, so i’m not going to complain.

thanks again to Rani for letting me play with some film!  i will probably share some of the photos after final edits have been made, the images in here are merely the rough drafts ‘straight out of the camera’ if you will!  cheers!