It’s been a long time we don’t post a new Conversations with Friends Episode. There are too many reasons, but what matters is that today we have a new Episode (number 8). We met with Carlos Fuchs, a professional filmmaker based in Frankfurt, lighting expert, and old friend. I had the privilege to walk Photokina for one day with him, and as we saw and played with many new and amazing technologies, he mentioned that “the more things change, they stay the same.” Watch the short clip below to learn what’s his take on new camera and lighting technologies. My apologies in advance for the crappy sound. I brought a sound recorder with me, but didn’t have my trusted Rode mics with me.
We had exactly 30 minutes to shoot this conversation, and I’m glad we made it happen. Prost!
It doesn’t get more serendipitous than this. After Hurricane Sandy passed through Brooklyn leaving behind floods, fires, and a long trail of destruction, this was the first image I saw when I woke up. I had several cameras handy planning (unsuccessfully) to document the hurricane from our window. Two images later, the clouds covered the rainbow and it was gone!
New York City, 1975 (photo: Joel Meyerowitz)
In honor of the 50th anniversary of when he first took up a camera, photographer Joel Meyerowitz has compiled hundreds of his favorite images for a new two-volume collection.
See more photos here.
Artist Jay Mark Johnson uses slit-scan photography to capture unique images that emphasize time rather than space.
Johnson discovered this photographic technique by accident, after purchasing a slit-scan camera that he intended to use for high-resolution panoramas. Instead, he was fascinated by the effect of objects moving past the sliver of space captured by his lens. Rather than move his camera to capture a large swatch of space, as he would if he were taking traditional panoramas, he keeps the camera in a fixed position to photograph whatever moves across his narrow field.
Learn more about his technique and see additional images on his website.
After three jam-packed weeks attending Photokina, the Glimpse Conference,Cloudforce, and PhotoPlus Expo, I have something to confess: the most interesting and inspiring gadget/technology/trend I saw was NOT Samsung’s innovative Galaxy Camera or Fuji’s slick X-E1 or Blackmagic’s Cinema Camera or a new powerful software.
It was a Mutoscope I saw at Frankfurt’s Film Museum. “A what?” you may ask.
The Mutoscope, an early motion picture device, was patented by Herman Casler in 1894. Cheaper and simpler than Edison’s Kinetoscope, it did NOT project on a screen, and it provided viewing to only one person at a time. The system was marketed by the American Mutoscope Company and quickly dominated the coin-in-the-slot “peep-show” business.
I am in love with the simplicity of this device, the way the viewer interacts with the story by using a hand crank. And story is the keyword. In under 60 seconds (the “movie” starts below at 00:34) we get to see a “crazy wheel” running free through a small town, and the villagers trying to catch it. See, this is about storytelling, not technology. It’s not about sensor size, firmware updates, bigger-is-better, or faster-is-better. It is about the story, something I feel we have been loosing at an ever-increasing speed.
Events like hurricane Sandy make us revalue some of our priorities, the real significance of things we often take for granted, like running water, electricity, and true friends. In a similar way the Mutoscope hit a nerve. For some strange reason, the idea of producing something simply for fun or pleasure is becoming obsolete. We should, and we will, go back to the basics. Work harder on telling more engaging stories, developing new angles, communicating better ideas and asking deeper questions. Technology is great, but it is not the be-all and end-all that most photographers assume it to be. I’m sure some of you feel the same way. It would be great if you would share your thoughts below.