DIY Canon SLR remote timer

Check out Rob‘s DIY 555-based remote timer for Canon SLRs! He says:

Canon makes a SLR camera remote timer that sells for a couple hundred dollars. Using inspiration from various web sites I built one for myself using about $15 worth of parts from RadioShack.

First, it is a simple wired camera remote control. Just plug the cable into the remote jack on the Canon SLR camera and the black button on top will trigger the camera auto focus, while the red button will focus then take a picture.

Second, it is a timer than can be used for time lapse photography…

Continue reading the plans at his blog, My Name Is Rob.

Via MAKE Blog

Podcast interview about Kodak’s new T-MAX 400 film

Photo News Today‘s Dennis Hays says:

After meeting both John Sexton and [Kodak’s] Scott DiSabato at the 2007 Photoplus Expo in New York, I sit down with them and discuss the introduction of the new [see previous post] T-MAX-400 B&W film. John goes into some detail regarding the films ability and his impressions from use.

As more and more digital cameras are introduced, I wanted to find what Kodak’s thinking was in introducing a new film and who the possible users are. Also, John discusses his workflow with the film and how and why he uses film for his work. A fascinating chat with two ends of the spectrum—a film manufacturer and a film user.

Listen: Direct MP3 link or podcast page (length: 31:56)

Insane new image colorization interface & algorithm

Here’s the abstract of a paper by Anat Levin, Dani Lischinski, and Yair Weiss:

Colorization is a computer-assisted process of adding color to a monochrome image or movie. The process typically involves segmenting images into regions and tracking these regions across image sequences. Neither of these tasks can be performed reliably in practice; consequently, colorization requires considerable user intervention and remains a tedious, time-consuming, and expensive task.

In this paper we present a simple colorization method that requires neither precise image segmentation, nor accurate region tracking. Our method is based on a simple premise: neighboring pixels in space-time that have similar intensities should have similar colors. We formalize this premise using a quadratic cost function and obtain an optimization problem that can be solved efficiently using standard techniques. In our approach an artist only needs to annotate the image with a few color scribbles, and the indicated colors are automatically propagated in both space and time to produce a fully colorized image or sequence. We demonstrate that high quality colorizations of stills and movie clips may be obtained from a relatively modest amount of user input.

Both the interface and the results are rather amazing. Tons of examples and Matlab source code included.

Solarizing developer

Solarization is overexposure to the point of tonal reversal, where areas on the film that would be totally black (the sun, for example) start to get lighter again. You can achieve the same thing printing in the darkroom by turning on the lights during developing. (Technically doing it in camera is called soliarization and in the darkroom it’s the Sabatier Effect, but the terms are used more or less interchangeably.)

I thought that was it, until Tom Persinger of f295 pointed me to this article by Ed Buffaloe at Freestyle—it turns out you can do it chemically with thiosulfate developer.

Includes recipe and examples.