#jtinseoul

[jtinseoul]

Workshop Announcement April 2024

iPhone X It’s been a while! At the end of 2023 I was in a bad car accident. It was about as fun as it sounds. Spending months in the hospital I had lots of time to think. Think about where I’d been and where I should be going. One thing I was certain about, I need to focus more on photography going forward. I love teaching. My day job is teaching. I love photography, too. That’s why I love…

[thingsdavidlikes]

by (Jt) https://flic.kr/p/247Jytw

[whiterabbitstories]

Shibuya, Tokyo, Japan. 2011.

[seowebdev-blog1]

1 UI 2.0 beta hitting Samsung Galaxy S10 family

Based on an official article on Samsung's community forums before today, the 1 UI 2.0 beta -- predicated on Android 10 -- is coming quite soon (through @jtinseoul on Twitter). Samsung verified that South Korean variations of the Samsung Galaxy S10 family are the first to utilize the beta. For [...]

Read full article here 📄 👉 http://bit.ly/35hvSHh

https://www.seowebdev.co/1-ui-2-0-beta-hitting-samsung-galaxy-s10-family/

[perfectnewgadgets]

Samsung Galaxy S10 series will get One UI 2.0 beta first, coming very soon

Samsung Galaxy S10 series will get One UI 2.0 beta first, coming very soon

According to an official post on Samsung’s community forums earlier today, the One UI 2.0 beta — based on Android 10 — is coming very soon (via @jtinseoul on Twitter). Samsung confirmed that South Korean variants of the Samsung Galaxy S10 family will be the first to use the beta.

For the sake of clarity, the Galaxy S10 family will include the Samsung Galaxy S10, S10 Plus, and S10e. The Galaxy…

[cybeout]

Galaxy S10: arriva la beta One UI 2.0 con Android 10

Galaxy S10: arriva la beta #OneUI 2.0 con #Android10

La notizia è stata confermata da netizen @ jtinseoul su Twitter, che condivide uno screenshot del lancio vicino a One UI 2.0 su Galaxy S10e, S10 e S10 +: il programma beta dell’overlay Samsung che porterà Android 10 su gli smartphone compatibili iniziano in Corea del Sud, prima sull’iterazione S10. Ciò conferma le informazioni che stavate condividendo quest’estate, spiegando che Samsung stava…

[lilyyiphotography]

Jtinseoul

I came across his website which is more like a blog than website while doing my research as well, and at first when i looked through his articles the photographs to me were just like any photographs, but upon reading his articles they slowly started to be more personal, like a vlog. he was documenting his day through photographs and little texts here and there to explain the image, which i felt was great because i was able to understand the way the artist or photographer thought when they wanted to capture that image and for what reason did they feel like this image was great or that moment needed to be captured. one article or vlog that he did that stood out to me was labeled 2019: Roll 3. The vlog featured a lot of street photography which was common throughout his other vlogs but these ones were raw, majority of them were of people he didnt know or had pose in front of him like his other ones. and with these ones they looked nice, they drew my attention in and the editing he does feels soft and vintage like. it may have been edited or not, could have been just the film he used but they gave a soft appearance, the contrast of black and white wasnt strong so there were hints of grey tones which was a nice balance. the image although had no colour but because of a wider range of tones that it had I was able to imagine what the colours would've looked like. I could imagine what colour scarf or what colour jacket the subjects were wearing.

jtinseoul.”2019: Roll 3″, jtinseoul, 2019, https://jtinseoul.com/2019/02/05/2019-roll-3/.

i also came upon another article of his where he talked about his time as a street photographer and how much hes changed over time. He talked about his reasons for street photography, what made him enjoy street photography, what made him take the images in the ways that he did, the emotions he wanted to show to the audiences. Reading this article really allowed me to understand photographers, I’m able to understand why he got into street photography, why he thought those subjects were perfect subjects or why he felt that emotion was great and reading all his thoughts i started to think about my own photography and what i wanted to portray through them, did I wanted to express my thoughts and emotions through my photographs? Why did i choose to do street photography? all these questions that I’m still unable to figure out, i hope will be answered as i go through my own photographic journey.

jtinseoul.”I used to be good″, jtinseoul, 2019, https://jtinseoul.com/2019/07/23/i-used-to-be-good/.

[pauldeckerus]

How to Bring Something New to Film Photography

A very common piece of advice for photographers looking to take their work to the “next level” is that they must invest time in themselves in the process of developing a “style.” A photographic style can mean many things; a theme within the subject matter, a specific color palette, a certain compositional approach, and anything else that leaves the artist’s work with a distinct “fingerprint.”

I think it’s fantastic that there are simply so many ways for a photographer to take the tools, both in gear and approach, and create something truly distinct. However, I think that many newcomers to photography may overlook film as a viable medium on which to develop their aesthetic.

Of course, there are very few things inherent to film that cannot be replicated on a digital camera, but when looking at digital gear it can be difficult to get over the idea that some great breakthrough is just around the corner. One of the wonderful things I find in analog photography is that the best film camera for you already exists.

There is very little in the way of new film cameras being manufactured or innovated, so we are left with almost a “complete” range to choose from. There will be nothing new to look forward to, so the concentration moves from gear to simply producing the best work with that gear as you can.

When looking at film cameras, you have the choice of everything from the simplest of light-tight boxes to the most complex electronic SLRs, with specs that rival even today’s flagship digital options. This caters to the needs of the majority of photographers, but especially for hobbyists, enthusiasts, and fine art artists who don’t need to worry about the possible shortcomings of film photography.

Film is known as having its own “look,” which is why different emulsions are good for different applications and different stocks preferred for different genres. However this is not the entire truth: as with analog film, many of the factors involved in exposing, developing, and printing are subjective when compared to certain digital manipulation techniques, including most Photoshop uses.

I think that many film photographers have started to embrace the sheer diversity of what a particular film can offer depending on the way it is shot, developed, and printed — it’s far beyond the recommended ISO or development chemicals. This is opening the possibilities for visual styles that are truly unique for an individual photographer, as no one else will process their film (at every stage) in the same way. One emulsion offers not just one look but as many as the photographer has patience and time to work on.

For example, Portra 400 is known as being an incredibly flexible film with a very distinctive and “trendy” look when shot overexposed by a couple of stops and developed at normal. However, very rarely is this look shared with the exact look of that negative — rather, it will have been edited digitally to some extent as well.

I think that analog purists would prefer to keep their experimentation in the darkroom rather than doing much digitally, but as always, it’s the results that matter. For myself, I find that creativity in analog photography comes from its limitations. When I first learned that ISO in film represented only the opinion of the manufacturer as to what it offers its “best” results at, I felt almost liberated.

I’ve never liked the idea of “correct exposure,” especially for black and white photography, and this leaves open the possibility to tailor a specific type of exposure for my look. This means I can deliberately blow out the highlights in a street portrait for minimal context, or expose only for the highlights and leave the rest as deep blacks.

Using the fantastic latitude of films like Tri-X means being able to push-develop these films to ISOs of up to 10000 while still obtaining aesthetically beautiful results. This gives you an incredible range of “looks” that can be achieved by any one film stock. Any combination of over/under-exposure, paired with any available mainstream or experimental development chemical, and the capacity to develop at any time that suits you, using any amount of agitation, means an almost infinite amount of options to work with sheerly on the chemical side of things.

One of the most famous “looks” in film belongs to Kodachrome, which is known for its wonderful rendition of color and now ultimate nostalgic aesthetic. One of the most famous photographers who incorporated Kodachrome in their workflow is Steve McCurry, who made it his own simply by often underexposing his shots by one stop in order to obtain “richer, more saturated colors” that add a “somber feel” to his photos.

I really enjoy learning about how different photographers make film work for them because it informs the way I can apply those techniques, or adapt them, to my own workflow. Some techniques are subtle and fairly simple, like the way that Benjamin Gordon will expose for a portrait to really bring out the soul in the eyes.

View this post on Instagram

Let this be your fighting spirit.

A post shared by benjamin gordon (@benjamingordon__) on Jul 11, 2018 at 11:40pm PDT

Other photographers are more comfortable with really decimating their film, pushing it both literally and figuratively to its limits, and shooting in a very carefree manner. Josh White is one of my favorite examples of this, and his ethereal results never cease to captivate me.

View this post on Instagram

The weekends go so fast. In #Iksan #익산, South #Korea. . . . #andthelastwaves #jtinseoul #ourstreets #deathb4digital #filmisnotdead #leica_camera #ilfordfilm

A post shared by JT White (@jtinseoul) on Aug 5, 2018 at 8:21pm PDT

He goes into detail discussing the way he handles his Ilford films over on his blog.

Winston Duke is a photographer I like to compare to Josh, not in style or content as they are very different, but as he also blitzes his film while shooting, and again when developing, but he prefers to use Kodak stock.

View this post on Instagram

⚪⚫

A post shared by Winston Duke (@waltzinthedark) on Nov 13, 2018 at 5:25am PST

Winston also plays around with his film after shooting, although I’m unsure of his exact process. I know he’s experimented with double exposures while printing and applying different textures to the film to really give them a depth I haven’t encountered anywhere else.

In my own efforts, I have been working with Delta 400 to make bright exposures with detail in all areas. To do this I have been overexposing by three stops and shooting in as bright conditions as I have access to, normally against the sun. Delta 400 is a T grain film, which means my results are normally very sharp and easy to work with once scanned. Once I am comfortable with my exposure methods, I will hopefully start to play around with my images in print and see what kind of effect I’m able to bring out — probably best used for portraiture.

I’ve also enjoyed using films that have something of their own aesthetic, which I can manipulate and incorporate into my images. There are some lovely special effect films with pre-exposed aspects and shapes, and I also love films with a bit of “volatility” and unpredictability like Cinestill 800, which is one of the best “film-looking” films available today.

I think that black-and-white and experimental films have been the most rewarding to me when it comes to playing around with light, chemistry, and the physicality of the medium. I think that this kind of experimental quality is one of the reasons film and the film community has managed to remain so resilient; the fact that there are so many possibilities when it comes to shooting and manipulating film, whether you emphasize its strengths through dynamic range and treatment of highlights, or play into a darker, grainier aesthetic.

I’ve been really enjoying the results from my recent film experiments and really look forward to sharing more of my work as it unfolds. Despite being a progenitor of photography, film still has so much to offer for as long as there are photographers willing to work within its rules to produce unique results.

I really hope that anyone who has started to shoot film and perhaps found it underwhelming gives it a second chance, this time doing a little more than shooting it “safely.” New cameras rarely offer anything truly new, but film has constantly given, and will hopefully continue to give, me and many other artists unexpected, organic, and exceptional results.

About the author: Simon King is a London based photographer and photojournalist, currently working on a number of long-term documentary and street photography projects. The opinions expressed in this article are solely those of the author. You can follow his work on Instagram and you can read more of his thoughts on photography day-to-day over on his personal blog. Simon also teaches a short course in Street Photography at UAL, which can be read about here.

from Photography News https://petapixel.com/2019/04/22/how-to-bring-something-new-to-film-photography/

[sailorrrvenus]

How to Bring Something New to Film Photography

A very common piece of advice for photographers looking to take their work to the “next level” is that they must invest time in themselves in the process of developing a “style.” A photographic style can mean many things; a theme within the subject matter, a specific color palette, a certain compositional approach, and anything else that leaves the artist’s work with a distinct “fingerprint.”

I think it’s fantastic that there are simply so many ways for a photographer to take the tools, both in gear and approach, and create something truly distinct. However, I think that many newcomers to photography may overlook film as a viable medium on which to develop their aesthetic.

Of course, there are very few things inherent to film that cannot be replicated on a digital camera, but when looking at digital gear it can be difficult to get over the idea that some great breakthrough is just around the corner. One of the wonderful things I find in analog photography is that the best film camera for you already exists.

There is very little in the way of new film cameras being manufactured or innovated, so we are left with almost a “complete” range to choose from. There will be nothing new to look forward to, so the concentration moves from gear to simply producing the best work with that gear as you can.

When looking at film cameras, you have the choice of everything from the simplest of light-tight boxes to the most complex electronic SLRs, with specs that rival even today’s flagship digital options. This caters to the needs of the majority of photographers, but especially for hobbyists, enthusiasts, and fine art artists who don’t need to worry about the possible shortcomings of film photography.

Film is known as having its own “look,” which is why different emulsions are good for different applications and different stocks preferred for different genres. However this is not the entire truth: as with analog film, many of the factors involved in exposing, developing, and printing are subjective when compared to certain digital manipulation techniques, including most Photoshop uses.

I think that many film photographers have started to embrace the sheer diversity of what a particular film can offer depending on the way it is shot, developed, and printed — it’s far beyond the recommended ISO or development chemicals. This is opening the possibilities for visual styles that are truly unique for an individual photographer, as no one else will process their film (at every stage) in the same way. One emulsion offers not just one look but as many as the photographer has patience and time to work on.

For example, Portra 400 is known as being an incredibly flexible film with a very distinctive and “trendy” look when shot overexposed by a couple of stops and developed at normal. However, very rarely is this look shared with the exact look of that negative — rather, it will have been edited digitally to some extent as well.

I think that analog purists would prefer to keep their experimentation in the darkroom rather than doing much digitally, but as always, it’s the results that matter. For myself, I find that creativity in analog photography comes from its limitations. When I first learned that ISO in film represented only the opinion of the manufacturer as to what it offers its “best” results at, I felt almost liberated.

I’ve never liked the idea of “correct exposure,” especially for black and white photography, and this leaves open the possibility to tailor a specific type of exposure for my look. This means I can deliberately blow out the highlights in a street portrait for minimal context, or expose only for the highlights and leave the rest as deep blacks.

Using the fantastic latitude of films like Tri-X means being able to push-develop these films to ISOs of up to 10000 while still obtaining aesthetically beautiful results. This gives you an incredible range of “looks” that can be achieved by any one film stock. Any combination of over/under-exposure, paired with any available mainstream or experimental development chemical, and the capacity to develop at any time that suits you, using any amount of agitation, means an almost infinite amount of options to work with sheerly on the chemical side of things.

One of the most famous “looks” in film belongs to Kodachrome, which is known for its wonderful rendition of color and now ultimate nostalgic aesthetic. One of the most famous photographers who incorporated Kodachrome in their workflow is Steve McCurry, who made it his own simply by often underexposing his shots by one stop in order to obtain “richer, more saturated colors” that add a “somber feel” to his photos.

I really enjoy learning about how different photographers make film work for them because it informs the way I can apply those techniques, or adapt them, to my own workflow. Some techniques are subtle and fairly simple, like the way that Benjamin Gordon will expose for a portrait to really bring out the soul in the eyes.

View this post on Instagram

Let this be your fighting spirit.

A post shared by benjamin gordon (@benjamingordon__) on Jul 11, 2018 at 11:40pm PDT

Other photographers are more comfortable with really decimating their film, pushing it both literally and figuratively to its limits, and shooting in a very carefree manner. Josh White is one of my favorite examples of this, and his ethereal results never cease to captivate me.

View this post on Instagram

The weekends go so fast. In #Iksan #익산, South #Korea. . . . #andthelastwaves #jtinseoul #ourstreets #deathb4digital #filmisnotdead #leica_camera #ilfordfilm

A post shared by JT White (@jtinseoul) on Aug 5, 2018 at 8:21pm PDT

He goes into detail discussing the way he handles his Ilford films over on his blog.

Winston Duke is a photographer I like to compare to Josh, not in style or content as they are very different, but as he also blitzes his film while shooting, and again when developing, but he prefers to use Kodak stock.

View this post on Instagram

⚪⚫

A post shared by Winston Duke (@waltzinthedark) on Nov 13, 2018 at 5:25am PST

Winston also plays around with his film after shooting, although I’m unsure of his exact process. I know he’s experimented with double exposures while printing and applying different textures to the film to really give them a depth I haven’t encountered anywhere else.

In my own efforts, I have been working with Delta 400 to make bright exposures with detail in all areas. To do this I have been overexposing by three stops and shooting in as bright conditions as I have access to, normally against the sun. Delta 400 is a T grain film, which means my results are normally very sharp and easy to work with once scanned. Once I am comfortable with my exposure methods, I will hopefully start to play around with my images in print and see what kind of effect I’m able to bring out — probably best used for portraiture.

I’ve also enjoyed using films that have something of their own aesthetic, which I can manipulate and incorporate into my images. There are some lovely special effect films with pre-exposed aspects and shapes, and I also love films with a bit of “volatility” and unpredictability like Cinestill 800, which is one of the best “film-looking” films available today.

I think that black-and-white and experimental films have been the most rewarding to me when it comes to playing around with light, chemistry, and the physicality of the medium. I think that this kind of experimental quality is one of the reasons film and the film community has managed to remain so resilient; the fact that there are so many possibilities when it comes to shooting and manipulating film, whether you emphasize its strengths through dynamic range and treatment of highlights, or play into a darker, grainier aesthetic.

I’ve been really enjoying the results from my recent film experiments and really look forward to sharing more of my work as it unfolds. Despite being a progenitor of photography, film still has so much to offer for as long as there are photographers willing to work within its rules to produce unique results.

I really hope that anyone who has started to shoot film and perhaps found it underwhelming gives it a second chance, this time doing a little more than shooting it “safely.” New cameras rarely offer anything truly new, but film has constantly given, and will hopefully continue to give, me and many other artists unexpected, organic, and exceptional results.

About the author: Simon King is a London based photographer and photojournalist, currently working on a number of long-term documentary and street photography projects. The opinions expressed in this article are solely those of the author. You can follow his work on Instagram and you can read more of his thoughts on photography day-to-day over on his personal blog. Simon also teaches a short course in Street Photography at UAL, which can be read about here.

source https://petapixel.com/2019/04/22/how-to-bring-something-new-to-film-photography/

[erikstouffer-blog]

The next three go out to @jtinseoul and @aikbengchia (at Bellagio Fountains)

[jtinseoul]

Back to the Streets

Seoul, 2023. In 2022, I was given a commission to work on a street photography project. I’d not spent time in the streets of Seoul for years. Corona, pregnancy, baby, life, work. Doesn’t make it easy. Seoul, 2023. I’m a depressed photography. I always thought my turmoil fueled my creativity. The happier I got, the harder it was to walk. The harder it was to move. The harder to pick up a…

[thoughtsaboutboys]

Untitled by Josh Via Flickr: Toronto, 2013. From the project: jtinseoul.wordpress.com/the-culture/

[thedakini]

Josh To see the project in entirety: jtinseoul.wordpress.com/newfoundland/

[japanmonochrome]

[cosmic-sad-dreamer]

Sin título por Josh Por Flickr: From a soon to be available book I did with a couple of photographers. More info later ;) Seoul, South Korea. jtinseoul.wordpress.com

[jtinseoul]

3GB

From Busan to Shimonoseki, 2023 It’s been a while. I’ve an excuse. Like, a legitimate excuse. I guess I ran out of space on my WordPress and there’s no easy upgrade path from Korea. 3GB used to seem like a lot. I remember the days that a 1GB hard drive was the dream. A lot has changed. My daughter was born in 2021, May. I last posted in June, 2021. No coincidence there. Things get put on the…