Equipment Used in Industrial Photography

Industrial photography is an exciting and broad-ranged field that includes photographic images made both inside and outside the workplace or factory. Often, large-format cameras are used to take the picture, and it is important to remember that a high-quality black and white image can tell the story just as well as a color picture.

Outside the Building

Workplace buildings are for the most part functional structures, which are built so the task at hand can be accomplished with the maximum of ease. The design of such a building can vary greatly from a tall high-rise filled with small cubicles to a one-story factory or warehouse that covers as much ground as a football field. Photographing a building from the outside takes a lot of effort and a careful study of the lighting conditions. For commercial purposes, many photographers use cameras that take a larger size of film than the standard 35mm, and they often mount the camera on a tripod before taking the picture.

Interior Shots

Interior pictures can vary greatly from making close-up pictures of manufactured products to revealing the interior space of various types of commercial buildings. Again, larger format cameras are preferred for still shots, but a 35mm camera is sometimes used for scenes that involve human activity. It is also possible to use a handheld camera that takes 120-roll film for indoor pictures with people. These are intermediate cameras in which the film size has been increased, but the camera can still be handheld to make clear pictures. Cameras that use plate film need to be set on a tripod.

Interior Lighting

Natural lighting may be used in some instances, but much interior photography requires the use of artificial lighting. When shooting indoors, it is usually best to set up your own lights that create a situation where you can still use daylight film. This means your lights need to be the same temperature as daylight film. In a few instances, it might be better to use a Tungsten film rather than setting up your own lighting system. For instance, if you are shooting in a large, indoor space with no natural lighting, then you might consider using the Tungsten film.

Tripod

A tripod will, by necessity, become an important item for the industrial photographer to use, whether he is shooting indoors under artificial lights or outside during daylight hours. The tripod is a three-legged stand that supports the camera while the film is being exposed. By mounting a camera to a tripod (each item should have the appropriate mounts and inserts to make this possible), the photographer lessens the chance of camera movement and a blurry picture. As the film sizes increase, the more imperative it is to use a tripod to support and stabilize the camera. Also note that, with a tripod, it is possible to set a camera at many different angles or to adjust the height of the camera.

Digital

Digital cameras have increased dramatically in their ability to produce a high-quality image. The digital cameras that are used for professional purposes are the more expensive SLR (single lens reflex) models. These cameras look a lot like their film counterparts except the image is stored in a digital format. For professional quality, it is usually necessary to purchase a camera that stores the image in the RAW format.

---

Industrial photography is an exciting and broad-ranged field that includes photographic images made both inside and outside the workplace or factory. Often, large-format cameras are used to take the picture, and it is important to remember that a high-quality black and white image can tell the story just as well as a color picture.

Outside the Building

Workplace buildings are for the most part functional structures, which are built so the task at hand can be accomplished with the maximum of ease. The design of such a building can vary greatly from a tall high-rise filled with small cubicles to a one-story factory or warehouse that covers as much ground as a football field. Photographing a building from the outside takes a lot of effort and a careful study of the lighting conditions. For commercial purposes, many photographers use cameras that take a larger size of film than the standard 35mm, and they often mount the camera on a tripod before taking the picture.

Interior Shots

Interior pictures can vary greatly from making close-up pictures of manufactured products to revealing the interior space of various types of commercial buildings. Again, larger format cameras are preferred for still shots, but a 35mm camera is sometimes used for scenes that involve human activity. It is also possible to use a handheld camera that takes 120-roll film for indoor pictures with people. These are intermediate cameras in which the film size has been increased, but the camera can still be handheld to make clear pictures. Cameras that use plate film need to be set on a tripod.

Interior Lighting

Natural lighting may be used in some instances, but much interior photography requires the use of artificial lighting. When shooting indoors, it is usually best to set up your own lights that create a situation where you can still use daylight film. This means your lights need to be the same temperature as daylight film.

Enhance your photography skill,The Top Secret Photography Techniques

. In a few instances, it might be better to use a Tungsten film rather than setting up your own lighting system. For instance, if you are shooting in a large, indoor space with no natural lighting, then you might consider using the Tungsten film.

Tripod

A tripod will, by necessity, become an important item for the industrial photographer to use, whether he is shooting indoors under artificial lights or outside during daylight hours. The tripod is a three-legged stand that supports the camera while the film is being exposed. By mounting a camera to a tripod (each item should have the appropriate mounts and inserts to make this possible), the photographer lessens the chance of camera movement and a blurry picture. As the film sizes increase, the more imperative it is to use a tripod to support and stabilize the camera. Also note that, with a tripod, it is possible to set a camera at many different angles or to adjust the height of the camera.

Digital

Digital cameras have increased dramatically in their ability to produce a high-quality image. The digital cameras that are used for professional purposes are the more expensive SLR (single lens reflex) models. These cameras look a lot like their film counterparts except the image is stored in a digital format. For professional quality, it is usually necessary to purchase a camera that stores the image in the RAW format.

---

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How to Use a Circular Polarizer

A circular polarizing filter works by changing the beams of polarized light that enter your cameras lens when youre taking a photograph. Polarized light enters the lens directly in certain situations, creating glare or reducing the natural color in a picture. When a circular polarizer is on your lens, you can rotate it back and forth to block the direct beams of polarized light, giving you a better photograph in outdoor lighting shots.

Instructions

1

Choose a circular polarizer by looking at the size of your lens. Lenses run in common sizes, such as 55mm or 52mm, and this number will be on your lens. You will need to obtain the same size when buying the filter.

2

Attach the circular polarizing filter to your lens and head outside on a sunny day. The best way to learn how to use the filter is to experiment with it. Reflections on water and clouds against a blue sky make two good learning situations.

3

Point your camera towards a reflection in the water and look through the viewfinder. With the hand that you do not use to depress the shutter, slowly turn your circular polarizer 90 degrees. Notice if portions of the shot darken slightly. If there is a lot of bright sun, it may be difficult to witness the change in the viewfinder, so take one shot each of each position to study later when you are indoors.

4

Change your position in relation to the reflection. This is often the most confusing aspect for a new user of a circular polarizer. When you understand that the polarized beams of light are reflecting in a specific direction, due to the angle of the sun, you will begin to see that knowing where to stand to get the shot is the key.

5

Try an easy trick when learning where to stand in relation to the suns rays. Hold your hand as if youre making a pretend gun, with your index finger pointed at the reflection and your thumb held upward at a 45-degree angle from your finger.Walk around until you can rotate your hand, while keeping the same finger alignment, so your thumb points at the sun while your index finger is still pointing at the reflection. From this position, rotate your hand from one side to the other, still pointing at the reflection. The place your thumb points to on either side is optimal for standing when photographing the reflection.

6

Take more practice shots of the reflection from the designated spots and view them indoors to see the difference. Use that technique anytime the sun is shining and you want to reduce reflections with your circular polarizer.

---

A circular polarizing filter works by changing the beams of polarized light that enter your cameras lens when youre taking a photograph. Polarized light enters the lens directly in certain situations, creating glare or reducing the natural color in a picture. When a circular polarizer is on your lens, you can rotate it back and forth to block the direct beams of polarized light, giving you a better photograph in outdoor lighting shots.

Instructions

1

Choose a circular polarizer by looking at the size of your lens. Lenses run in common sizes, such as 55mm or 52mm, and this number will be on your lens. You will need to obtain the same size when buying the filter.

2

Attach the circular polarizing filter to your lens and head outside on a sunny day. The best way to learn how to use the filter is to experiment with it. Reflections on water and clouds against a blue sky make two good learning situations.

3

Point your camera towards a reflection in the water and look through the viewfinder. With the hand that you do not use to depress the shutter, slowly turn your circular polarizer 90 degrees. Notice if portions of the shot darken slightly. If there is a lot of bright sun, it may be difficult to witness the change in the viewfinder, so take one shot each of each position to study later when you are indoors.

4

Change your position in relation to the reflection. This is often the most confusing aspect for a new user of a circular polarizer. When you understand that the polarized beams of light are reflecting in a specific direction, due to the angle of the sun, you will begin to see that knowing where to stand to get the shot is the key.

5

Try an easy trick when learning where to stand in relation to the suns rays. Hold your hand as if youre making a pretend gun, with your index finger pointed at the reflection and your thumb held upward at a 45-degree angle from your finger.Walk around until you can rotate your hand, while keeping the same finger alignment, so your thumb points at the sun while your index finger is still pointing at the reflection. From this position, rotate your hand from one side to the other, still pointing at the reflection.

Enhance your photography skill,The Top Secret Photography Techniques

. The place your thumb points to on either side is optimal for standing when photographing the reflection.
6

Take more practice shots of the reflection from the designated spots and view them indoors to see the difference. Use that technique anytime the sun is shining and you want to reduce reflections with your circular polarizer.

---

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How to Photograph Rock Stacks

The art of rock balancing came to Maui in the 1960s according to a park ranger at Haleakala Summit. We had seen these rock mounds all over Maui and thought maybe it was some Menehune burial ritual, but apparently, in the 1960s a bunch of hippies moved to Maui and they began stacking rocks around the island. I have since learned that this hobby is not at all limited to Maui, but practiced all around the world. There are even rock balancing artists (see links in Resources below). Who knows, maybe even Stonehenge was created by some prehistoric rock-balancing artist. Read on for some of my tips--and the next time you find one of these in the woods--get your camera out and take a picture.

Instructions

1




We were returning from driving to Honokohau on the west side of the island of Maui when we noticed a field of rock stacks from the road and pulled over. I call this "Graveyard of the Pacific." I don't know if the photograph does this place justice since it was close to noon and the sun was very bright. We have seen individual rock stacks in different parks, but never anything like this. There were hundreds spread out over maybe two or three acres.

2




We noticed there were different forms of rock stacking and some were very creative like the one on the round rock in the left of this image. Some were also mundane and boring like the one in the center of this image. The center stack looks like something in my backyard. This is not a good photograph and proves that just because you have a unique subject, it doesn't necessarily mean you will get a good photograph.

3




This one, however, is a good photograph, which proves you should take a lot of pictures. The large stacking and small stack in front are both interesting natural sculptures. I also think the level blue horizon frames the image appropriately. The top of the large stacking looks like a sombrero to me and makes me think the little rock was added later and is really out of place. I wanted to take it off, but this was before we found out it wasn't religious.

4




You may find these in the most unexpected places. This one is at the edge of Haleakala Summit. Maybe it isn't spiritual, but I think you would need to be a Menehune to stack this. It is, as you can see, at the edge of a cliff. They may not be spiritual in nature, but I think I just might start to collect them. Now that I am aware of them I am on the lookout for unusual rock stackings everywhere.

---

The art of rock balancing came to Maui in the 1960s according to a park ranger at Haleakala Summit. We had seen these rock mounds all over Maui and thought maybe it was some Menehune burial ritual, but apparently, in the 1960s a bunch of hippies moved to Maui and they began stacking rocks around the island. I have since learned that this hobby is not at all limited to Maui, but practiced all around the world. There are even rock balancing artists (see links in Resources below). Who knows, maybe even Stonehenge was created by some prehistoric rock-balancing artist. Read on for some of my tips--and the next time you find one of these in the woods--get your camera out and take a picture.

Instructions

1




We were returning from driving to Honokohau on the west side of the island of Maui when we noticed a field of rock stacks from the road and pulled over. I call this "Graveyard of the Pacific." I don't know if the photograph does this place justice since it was close to noon and the sun was very bright. We have seen individual rock stacks in different parks, but never anything like this. There were hundreds spread out over maybe two or three acres.

2




We noticed there were different forms of rock stacking and some were very creative like the one on the round rock in the left of this image. Some were also mundane and boring like the one in the center of this image. The center stack looks like something in my backyard. This is not a good photograph and proves that just because you have a unique subject, it doesn't necessarily mean you will get a good photograph.

3




This one, however, is a good photograph, which proves you should take a lot of pictures. The large stacking and small stack in front are both interesting natural sculptures. I also think the level blue horizon frames the image appropriately. The top of the large stacking looks like a sombrero to me and makes me think the little rock was added later and is really out of place. I wanted to take it off, but this was before we found out it wasn't religious.

4




You may find these in the most unexpected places. This one is at the edge of Haleakala Summit. Maybe it isn't spiritual, but I think you would need to be a Menehune to stack this.

Enhance your photography skill,The Top Secret Photography Techniques

. It is, as you can see, at the edge of a cliff. They may not be spiritual in nature, but I think I just might start to collect them. Now that I am aware of them I am on the lookout for unusual rock stackings everywhere.

---

• 
  

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How to Develop Kodak Black and White Film

Developing Kodak black-and-white film on your own can be a tricky process, but with the required knowledge, skill and some practice, anyone can process their own film to create stunning black-and-white photographs.

Instructions

Developing Black and White Film

1

Inside your pitch-black darkroom, use the can opener to pry open the lid of your Kodak film canister. Holding the film by the edges, carefully unwind the entire roll of film.

2

Load the film onto the reel, careful to not let the film surface touch your fingers, another part of the film or your clothes. This is usually the most difficult step, as successfully protecting the surface of the entire film in the dark takes practice.

3

Place the loaded film reel into the film tank and close the lid tightly to ensure that no light can reach the film. You may now turn on the light for the remaining steps.

4

Pour developer into the pour spout of the film tank until nearly full, then cover the spout. Agitate the film tank once every minute by flipping the tank upside down and then right side back up, tapping the tank a few times to make sure air bubbles don't rest on the film. Continue this process for six minutes, or the specific time noted on the film packaging. Six minutes is the suggested time for 400 ISO film. Please check the instructions on the film's packaging for different developing times.

5

Pour out the developer, and then run water through the tank spout for one full minute. This will halt the film developer's effects.

6

Empty the water from the tank and fill it with fixer. Repeat the same agitation process as with the developer, flipping the tank around and tapping it to remove bubbles once every minute. Continue this process for five to 10 minutes, depending on the instructions for your brand of fixer.

7

Empty the fixer from the tank. Your film will no longer be sensitive to light, so you may remove the tank lid and fill the entire tank with cold water to rinse lingering chemicals. Run water over the exposed film for five minutes.

8

Empty water from the tank, and then pour in hypo eliminator chemical, replace the lid, repeating the agitation process for two minutes. This will ensure that your film will not contain white traces from the fixer chemical.

9

For a final wash, remove the tank lid and run water over the exposed film for five full minutes.

10

Empty the water out of the tank and remove the film reel. Unroll the film from the reel, careful to only touch the edges of the film. Place clips or clothespins on the edges and hang in a safe and dry place for one to two hours.

11

Cut the dry, processed film into strips. A common length to use is six negatives long for placement in clear plastic negative pages.

---

Developing Kodak black-and-white film on your own can be a tricky process, but with the required knowledge, skill and some practice, anyone can process their own film to create stunning black-and-white photographs.

Instructions

Developing Black and White Film

1

Inside your pitch-black darkroom, use the can opener to pry open the lid of your Kodak film canister. Holding the film by the edges, carefully unwind the entire roll of film.

2

Load the film onto the reel, careful to not let the film surface touch your fingers, another part of the film or your clothes. This is usually the most difficult step, as successfully protecting the surface of the entire film in the dark takes practice.

3

Place the loaded film reel into the film tank and close the lid tightly to ensure that no light can reach the film. You may now turn on the light for the remaining steps.

4

Pour developer into the pour spout of the film tank until nearly full, then cover the spout. Agitate the film tank once every minute by flipping the tank upside down and then right side back up, tapping the tank a few times to make sure air bubbles don't rest on the film.

Enhance your photography skill,The Top Secret Photography Techniques

. Continue this process for six minutes, or the specific time noted on the film packaging. Six minutes is the suggested time for 400 ISO film. Please check the instructions on the film's packaging for different developing times.
5

Pour out the developer, and then run water through the tank spout for one full minute. This will halt the film developer's effects.

6

Empty the water from the tank and fill it with fixer. Repeat the same agitation process as with the developer, flipping the tank around and tapping it to remove bubbles once every minute. Continue this process for five to 10 minutes, depending on the instructions for your brand of fixer.

7

Empty the fixer from the tank. Your film will no longer be sensitive to light, so you may remove the tank lid and fill the entire tank with cold water to rinse lingering chemicals. Run water over the exposed film for five minutes.

8

Empty water from the tank, and then pour in hypo eliminator chemical, replace the lid, repeating the agitation process for two minutes. This will ensure that your film will not contain white traces from the fixer chemical.

9

For a final wash, remove the tank lid and run water over the exposed film for five full minutes.

10

Empty the water out of the tank and remove the film reel. Unroll the film from the reel, careful to only touch the edges of the film. Place clips or clothespins on the edges and hang in a safe and dry place for one to two hours.

11

Cut the dry, processed film into strips. A common length to use is six negatives long for placement in clear plastic negative pages.

---

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