Film photographers are used to options slowly fading away, but today we have news of the opposite variety: a film company making a dramatic return to the game. Originally announced via blog post in July of last year, Italian film company FILM Ferrania is finally preparing to start making film again in mid-September.
Canon is celebrating the 25th anniversary of the EOS-1 series, the company’s flagship range of SLR cameras, which began with the launch of the EOS-1 film SLR in 1989. CPN recently got the unique opportunity to talk to two of the key men behind the development of the EOS-1 series and EOS System – Tsunemasa Ohara and Yoshiaki Sugiyama of Canon Inc. in Tokyo.
Continue reading The men behind the EOS-1 series SLRs.
Originally posted on Ming Thein | Photographer:
Escape from yourself: clouds are like thoughts, the clear blue sky is freedom, and the person left behind is your ego. The car represents your way out, and the road is the constraints of your mind, complete with bright areas, order, logic, and dark, unconscionable ones.
I’ve often been accused of making images that are precise, cold and soulless; the more I look at images from other photographers, I’m inclined to agree. Taken in context with the opening title of this article, that probably doesn’t bode well for impressions of me as a person. It did get me thinking, though: since the act of photographing is really one of conscious exclusion in which we eliminate all of the elements that are distracting or unnecessary to the subject/ story, what does this say about us?
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Ever since the invention of photography, we’ve been deeply fascinated by cameras and the images they produce. Historically, we’ve used them to capture portraits for sharing with families and followers alike, as well as to document political upheavals and our visits around the world; more recently, we’ve come to use tiny cameras in our phones for selfies, cats, and coffee porn. As cameras have become increasingly ubiquitous (at least in the West), many of us have forgotten what a recent invention they are. Looking through these advertisements from 1848 onwards, we can see how different the technology was back then, a familiar impulse to document, and what the camera meant to society when it was still new.
Continue reading The First 100 Years of Camera Advertising.
The Pavilhão de Portugal in Parque das Nações features a simple yet distinctive design that resembles a sheet of paper placed on top of two bricks. The overall effect is as if the concrete roof is bent under its own weight. This minimalist yet expressive construction makes the pavilion a rather interesting building to photograph. But what attracted me most were the building’s simple and strong lines accentuated by the bright Portuguese sun.
Nikomat FTn, Nikon GN Auto NIKKOR 45mm f/2.8, Ilford XP2 Super 400
Parque das Nações covers a large area full of interesting stuff to see and do, and by the time we made it to the building, my wife and I were pretty exhausted. So I didn’t really have the energy to thoroughly “work” the pavilion, and I had to make do with a few hasty shots, including the one I post here for your viewing pleasure.
Originally posted on Ming Thein | Photographer:
There comes a point in the growth of every photographer where they reach a ‘hump’ which appears to be insurmountable in any obvious way: you just don’t think you can get any better, no matter what you do. This may be at a very low level, or a very high one; depending on your natural visual aptitude. But it happens to everybody – it’s happened to me several times in the past. Today I’d like to talk about things you can do to move past it and up your game. After all, everybody wants to make better images, right?
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Although I’ve been busy scribbling articles, I did manage to add a couple of new features to Mejiro. Firstly, it’s now possible to rebuild thumbnails. To do this, append the ?r parameter to the URL as follows:
This empties the photos/thumbs directory inside the Mejiro installation and prompts you to reload the main page to regenerate thumbnails. This feature can come in useful if some thumbnails get corrupted.
Mejiro now includes an upload form that makes it possible to upload photos and accompanying description files directly from the main page. To show the form, use the ?u parameter (e.g., http://127.0.0.1/mejiro/?u).
The good news is that you don’t have to remember all the parameters. The Help link in the footer shows a box listing all the available parameters and their brief descriptions.
Inclusion of the <meta name=”viewport” content=”width=device-width” /> tag now makes Mejiro slightly more mobile-friendly, and the app uses Fira Sans as its default font. As an exercise, I also cobbled together a simple Chrome (and Chromium) extension for use with Mejiro. The extension adds a button which opens Mejiro in a new tab. By default, the extension points to a Mejiro demo, but you can easily edit the URL. The extension is not available on Google Web Store, so you have to install it manually from its GitHub repository.
As always, you can find the latest version of Mejiro at the project’s GitHub page.