Podcasts about C41

EP166 Interview With Mark & Simon From Elinchrom UK I sit down with Mark Cheatham and Simon Burfoot from Elinchrom UK to talk about the two words that matter most when you work with light: accuracy and consistency. We dig into flash vs. continuous, shaping light (not just adding it), why reliable gear shortens your workflow, and Elinchrom's new LED 100 C—including evenly filling big softboxes and that handy internal battery. We also wander into AI: threats, tools, and why authenticity still carries the highest value.   Links: Elinchrom UK store/info: https://elinchrom.co.uk/ LED 100 C product page: https://elinchrom.co.uk/elinchrom-led-100-c Rotalux Deep Octa / strips: https://elinchrom.co.uk/elinchrom-rotalux-deep-octabox-100cm-softbox/ My workshop dates: https://masteringportraitphotography.com/workshops-and-mentoring/ Transcript: Paul: as quite a lot of, you know, I've had a love affair with Elinchrom Lighting for the past 20 something years. In fact, I'm sitting with one of the original secondhand lights I bought from the Flash Center 21 years ago in London. And on top of that, you couldn't ask for a nicer set of guys in the UK to deal with. So I'm sitting here about to talk to Simon and Mark from Elinchrom uk. I'm Paul and this is the Mastering Portrait Photography podcast. Paul: So before we get any further, tell me a little bit about who you are, each of you and the team from Elinchrom UK Mark: After you, Simon. Simon: Thank you very much, mark. Mark: That's fine. Simon: I'm, Simon Burfoot. I have, been in the industry now for longer than I care to think. 35 years almost to the, to the day. Always been in the industry even before I left school because my father was a photographer and a lighting tutor, working for various manufacturers I was always into photography, and when he started the whole lighting journey. I got on it with him, and was learning from a very young age. Did my first wedding at 16 years old. Had a Saturday job which turned into a full-time job in a retail camera shop. By the time I was 18, I was managing my own camera shop, in a little town in the Cotswolds called Cirencester. My dad always told me that to be a photographic rep in the industry, you needed to see it from all angles, to get the experience. So I ended up, working in retail, moving over to a framing company. Finishing off in a prolab, hand printing, wedding photographers pictures, processing E6 and C41, hand correcting big prints for framing for, for customers, which was really interesting and I really enjoyed it. And then ended up working for a company called Leeds Photo Visual, I was a Southwest sales guy for them. Then I moved to KJP before it became, what we know now as Wex, and got all of the customers back that I'd stolen for them for Leeds. And then really sort of started my career progressing through, and then started to work with Elinchrom, on the lighting side. Used Elinchrom way before I started working with them. I like you a bit of a love affair. I'd used lots of different lights and, just loved the quality of the light that the Elinchrom system produced. And that's down to a number of factors that I could bore you with, but it's the quality of the gear, the consistency in terms of color, and exposure. Shooting film was very important to have that consistency because we didn't have Photoshop to help us out afterwards. It was a learning journey, but I, I hit my goal after being a wedding photographer and a portrait photographer in my spare time, working towards getting out on the road, meeting people and being involved in the industry, which I love. And I think it's something that I'm scared of leaving 'cause I dunno anything else. It's a wonderful industry. It has its quirks, its, downfalls at points, but actually it's a really good group of people and everyone kind of, gets on and we all love working with each other. So we're friends rather than colleagues. Paul: I hesitate to ask, given the length of that answer, to cut Simon: You did ask. Mark: I know. Paul: a short story Mark: was wondering if I was gonna get a go. Paul: I was waiting to get to end into the podcast and I was about to sign off. Mark: So, hi Mark Cheatham, sales director for Elinchrom uk this is where it gets a little bit scary because me and Simon have probably known each other for 10 years, yet our journeys in the industry are remarkably similar. I went to college, did photography, left college, went to work at commercial photographers and hand printers. I was a hand printer, mainly black and white, anything from six by four to eight foot by four foot panels, which are horrible when you're deving in a dish. But we did it. Paul: To the generation now, deving in a dish doesn't mean anything. Simon: No, it doesn't. Mark: And, and when you're doing a eight foot by four foot print and you've got it, you're wearing most of the chemistry. You went home stinking every night. I was working in retail. As a Saturday lad and then got promoted from the Saturday lad to the manager and went to run a camera shop in a little town in the Lake District called Kendall. I stayed there for nine years. I left there, went on the road working for a brand called Olympus, where I did 10 years, I moved to Pentax, which became Rico Pentax. I did 10 years there. I've been in the industry all my life. Like Simon, I love the industry. I did go out the industry for 18 months where I went into the wonderful world of high end commercial vr, selling to blue light military, that sort of thing. And then came back. One of the, original members of Elinchrom uk. I don't do as much photography as Simon I take photos every day, probably too many looking at my Apple storage. I do shoot and I like shooting now and again, but I'm not a constant shooter like you guys i'm not a professional shooter, but when you spent 30 odd years in the industry, and part of that, I basically run the, the medium format business for Pentax. So 645D, 645Z. Yeah, it was a great time. I love the industry and, everything about it. So, yeah, that's it Paul: Obviously both of you at some point put your heads together and decided Elinchrom UK was the future. What triggered that and why do you think gimme your sales pitch for Elinchrom for a moment and then we can discuss the various merits. Simon: The sales pitch for Elinchrom is fairly straightforward. It's a nice, affordable system that does exactly what most photographers would like. We sell a lot of our modifiers, so soft boxes and things like that to other users, of Prophoto, Broncolor. Anybody else? Because actually the quality of the light that comes out the front of our diffusion material and our specular surfaces on the soft boxes is, is a lot, lot more superior than, than most. A lot more superior. A lot more Mark: A lot more superior. Paul: more superior. Simon: I'm trying to Paul: Superior. Simon: It's superior. And I think Paul, you'll agree, Paul: it's a lot more, Simon: You've used different manufacturers over the years and, I think the quality of light speaks for itself. As a photographer I want consistency. Beautiful light and the effects that the Elinchrom system gives me, I've tried other soft boxes. If you want a big contrasty, not so kind light, then use a cheaper soft box. If I've got a big tattoo guy full of piercings you're gonna put some contrasty light to create some ambience. Maybe the system for that isn't good enough, but for your standard portrait photographer in a studio, I don't think you can beat the light. Mark: I think the two key words for Elinchrom products are accuracy and consistency. And that's what, as a portrait photographer, you should be striving for, you don't want your equipment to lengthen your workflow or make your job harder in post-production. If you're using Elinchrom lights with Elinchrom soft boxes or Elinchrom modifiers, you know that you're gonna get accuracy and consistency. Which generally makes your job easier. Paul: I think there's a bit that neither of you, I don't think you've quite covered, and it's the bit of the puzzle that makes you want to use whatever is the tool of your trade. I mean, I worked with musicians, I grew up around orchestras. Watching people who utterly adore the instrument that's in their hand. It makes 'em wanna play it. If you own the instrument that you love to play, whether it's a drum kit a trumpet a violin or a piano, you will play it and get the very best out of your talent with it. It's just a joy to pick it up and use it for all the little tiny things I think it's the bit you've missed in your descriptions of it is the utter passion that people that use it have for it. Mark: I think one of the things I learned from my time in retail, which was obviously going back, a long way, even before digital cameras One of the things I learned from retail, I was in retail long before digital cameras, retail was a busier time. People would come and genuinely ask for advice. So yes, someone would come in and what's the best camera for this? Or what's the best camera for that? Honestly there is still no answer to that. All the kit was good then all the kit is good now. You might get four or five different SLRs out. And the one they'd pick at the end was the one that they felt most comfortable with and had the best connection with. When you are using something every day, every other day, however it might be, it becomes part of you. I'm a F1 fan, if you love the world of F1, you know that an F1 car, the driver doesn't sit in an F1 car, they become part of the F1 car. When you are using the same equipment day in, day out, you don't have to think about what button to press, what dial to to turn. You do it. And that, I think that's the difference between using something you genuinely love and get on with and using something because that's what you've got. And maybe that's a difference you genuinely love and get on with Elinchrom lights. So yes, they're given amazing output and I know there's, little things that you'd love to see improved on them, but that's not the light output. Paul: But the thing is, I mean, I've never, I've never heard the F1 analogy, but it's not a bad one. When you talk about these drivers and their cars and you are right, they're sort of symbiotic, so let's talk a little bit about why we use flash. So from the photographers listening who are just setting out, and that's an awful lot of our audience. I think broadly speaking, there are two roads or three roads, if you include available light if you're a portrait photographer. So there's available light. There's continuous light, and then there's strobes flash or whatever you wanna call it. Of course, there's, hybrid modeling and all sorts of things, but those are broadly the three ways that you're gonna light your scene or your subject. Why flash? What is it about that instantaneous pulse of light from a xenon tube that so appealing to photographers? Simon: I think there's a few reasons. The available light is lovely if you can control it, and by that I mean knowing how to use your camera, and control the ambient light. My experience of using available light, if you do it wrong, it can be quite flat and uninteresting. If you've got a bright, hot, sunny day, it can be harder to control than if it's a nice overcast day. But then the overcast day will provide you with some nice soft, flat lighting. Continuous light is obviously got its uses and there's a lot of people out there using it because what they see is what they get. The way I look at continuous light is you are adding to the ambient light, adding more daylight to the daylight you've already got, which isn't a problem, but you need to control that light onto the subject to make the subject look more interesting. So a no shadow, a chin shadow to show that that subject is three dimensional. There are very big limitations with LED because generally it's very unshapable. By that I mean the light is a very linear light. Light travels in straight lines anyway, but with a flash, we can shape the light, and that's why there's different shapes and sizes of modifiers, but it's very difficult to shape correctly -an LED array, the flash for me, gives me creativity. So with my flash, I get a sharper image to start with. I can put the shadows and the light exactly where I want and use the edge of a massive soft box, rather than the center if I'm using a flash gun or a constant light. It allows me to choose how much or how little contrast I put through that light, to create different dynamics in the image. It allows me to be more creative. I can kill the ambient light with flash rather than adding to it. I can change how much ambient I bring into my flash exposure. I've got a lot more control, and I'm not talking about TTL, I'm talking about full manual control of using the modifier, the flash, and me telling the camera what I want it to do, rather than the camera telling me what it thinks is right. Which generally 99% of the time is wrong. It's given me a beautiful, average exposure, but if I wanted to kill the sun behind the subject, well it's not gonna do that. It's gonna give me an average of everything. Whereas Flash will just give me that extra opportunity to be a lot more creative and have a lot more control over my picture. I've got quite a big saying in my workshops. I think a decent flash image is an image where it looks like flash wasn't used. As a flash photographer, Paul, I expect you probably agree with me, anyone can take a flash image. The control of light is important because anybody can light an image, but to light the subject within the image and control the environmental constraints, is the key to it and the most technical part of it. Mark: You've got to take your camera off P for professional to do that. You've got to turn it off p for professional and get it in manual mode. And that gives you the control Paul: Well, you say that, We have to at some point. Address the fact that AI is not just coming, it's sitting here in our studios all the time, and we are only a heartbeat away from P for professional, meaning AI analyzed and creating magic. I don't doubt for a minute. I mean, right now you're right, but not Mark: Well, at some point it will be integrated into the camera Paul: Of course it will. Mark: If you use an iPhone or any other phone, you know, we are using AI as phone photographers, your snapshots. You take your kids, your dogs, whatever they are highly modified images. Paul: Yeah. But in a lot of the modern cameras, there's AI behind the scenes, for instance, on the focusing Mark: Yeah. Paul: While we've, we are on that, we were on that thread. Let's put us back on that thread for a second. What's coming down the line with, all lighting and camera craft with ai. What are you guys seeing that maybe we're not Simon: in terms of flash technology or light technology? Paul: Alright. I mean, so I mean there's, I guess there's two angles, isn't there? What are the lights gonna do that use ai? What are the controllers gonna do, that uses ai, but more importantly, how will it hold its own in a world where I can hit a button and say, I want rebrand lighting on that face. I can do that today. Mark: Yeah. Simon: I'm not sure the lighting industry is anywhere near producing anything that is gonna give what a piece of software can give, because there's a lot more factors involved. There's what size light it is, what position that light is in, how high that light is, how low that light is. And I think the software we've all heard and played with Evoto we were talking about earlier, I was very skeptical and dubious about it to start with as everybody would be. I'm a Photoshop Lightroom user, have been for, many years. And I did some editing, in EEvoto with my five free credits to start with, three edits in, I bought some credits because I thought, actually this is very, very good. I'll never use it for lighting i'd like to think I can get that right myself. However, if somebody gives you a, a very flat image of a family outside and say, well, could you make this better for me? Well, guess what? I can do whatever you like to it. Is it gonna attack the photographer that's trying to earn a living? I think there's always a need for people to take real photographs and family photographs. I think as photographers, we need to embrace it as an aid to speed up our workflow. I don't think it will fully take over the art of photography because it's a different thing. It's not your work. It's a computer generated AI piece of work in my head. Therefore, who's responsible for that image? Who owns the copyright to that image? We deal with photographers all the time who literally point a camera, take a picture and spend three hours editing it and tell everyone that, look at this. The software's really good and it's made you look good. I think AI is capable of doing that to an extent. In five years time, we'll look back at Evoto today and what it's producing and we'll think cracky. That was awful. It's like when you watch a high definition movie from the late 1990s, you look at it and it was amazing at the time, but you look at it now and you think, crikey, look at the quality of it. I dunno if we're that far ahead where we won't get to that point. The quality is there. I mean, how much better can you go than 4K, eight K minus, all that kind of stuff. I'm unsure, but I don't think the AI side of it. Is applicable to flash at this moment in time? I don't know. Mark: I think you're right. To look at the whole, photography in general. If you are a social photographer, family photographer, whatever it might be, you are genuinely capturing that moment in time that can't be replaced. If you are a product photographer, that's a different matter. I think there's more of a threat. I think I might be right in saying. I was looking, I think I saw it on, LinkedIn. There is a fashion brand in the UK at the moment that their entire catalog of clothing has been shot without models. When you look at it on the website, there's models in it. They shoot the clothing on mannequins and then everything else is AI generated they've been developing their own AI platform now for a number of years. Does the person care Who's buying a dress for 30 quid? Probably not, but if you are photographing somebody's wedding, graduation, some, you know, a genuine moment in someone's life, I think it'd be really wrong to use any sort of AI other than a little bit of post-production, which we know is now quite standard for many people in the industry. Paul: Yeah, the curiosity for me is I suspect as an industry, Guess just released a full AI model advert in, Vogue. Declared as AI generated an ai agency created it. Everything about it is ai. There's no real photography involved except in the learning side of it. And that's a logical extension of the fact we've been Photoshopping to such a degree that the end product no longer related to the input. And we've been doing that 25 years. I started on Photoshop version one, whatever that was, 30 years More than 33. So we've kind of worked our way into a corner where the only way out of it is to continue. There's no backtracking now. Mark: Yeah. Paul: I think the damage to the industry though, or the worry for the industry, I think you're both right. I think if you can feel it, touch it, be there, there will always be that importance. In fact, the provenance of authenticity. Is the high value ticket item now, Simon: Mm-hmm. Paul: because you, everything else is synthetic, you can trust nothing. We are literally probably months away from 90% of social media being generated by ai. AI is both the consumer and the generator of almost everything online Mark: Absolutely. Paul: Goodness knows where we go. You certainly can't trust anything you read. You can't trust anything you see, so authenticity, face-to-face will become, I think a high value item. Yeah. Mark: Yeah. Paul: I think one problem for us as an industry in terms of what the damage might be is that all those people that photograph nameless products or create books, you know, use photography and then compositing for, let's say a novel that's gone, stock libraries that's gone because they're faceless. Simon: Mm-hmm. Paul: there doesn't have to be authentic. A designer can type in half a dozen keywords. Into an AI engine and get what he needs. If he doesn't get what he needs, he does it again. All of those photographers who currently own Kit are gonna look around with what do we do now? And so for those of us who specialize in weddings and portraits and family events, our market stands every chance of being diluted, which has the knock on effect of all of us having to keep an eye on AI to stay ahead of all competitors, which has the next knock on effect, that we're all gonna lean into ai, which begs the question, what happens after Because that's what happened in the Photoshop world. You know, I'm kind of, I mean, genuinely cur, and this will be a running theme on the podcast forever, is kind of prodding it and taking barometer readings as to where are we going? Mark: Yeah. I mean, who's more at threat at the moment from this technology? Is it the photographer or is it the retouch? You know, we do forget that there are retouchers That is their, they're not photographers. Paul: I don't forget. They email me 3, 4, 5 times a day. Mark: a Simon: day, Mark: You know, a highly skilled retouch isn't cheap. They've honed their craft for many years using whatever software product they prefer to use. I think they're the ones at risk now more so than the photographer. And I think we sort of lose sight of that. Looking at it from a photographer's point of view, there is a whole industry behind photography that actually is being affected more so than you guys at the moment. Simon: Mm-hmm. Paul: Yeah, I think there's truth in that, but. It's not really important. Of course, it's really important to all of those people, but this is the digital revolution that we went through as film photographers, and probably what the Daguerreotype generators went through when Fox Tolbert invented the first transfer. Negative. You know, they are, there are always these epochs in our industry and it wipes out entire skillset. You know, I mean, when we went to digital before then, like you, I could dev in a tank. Yeah. You know, and really liked it. I like I see, I suspect I just like the solitude, Mark: the dark, Paul: red light in the dark Mark: yeah. Paul: Nobody will come in. Not now. Go away. Yeah. All that kind of stuff. But of course those skills have gone, has as, have access to the equipment. I think we're there again, this feels like to me a huge transition in the industry and for those who want to keep up, AI is the keeping up whether you like it or not. Mark: Yeah. And if you don't like it, we've seen it, we're in the middle of a massive resurgence in film photography, which is great for the industry, great for the retail industry, great for the film manufacturers, chemical manufacturers, everything. You know, simon, myself, you, you, we, we, our earliest photography, whether we were shooting with flash, natural light, we were film shooters and that planes back. And what digital did, from a camera point of view, is make it easier and more accessible for less skilled people. But it's true. You know, if you shot with a digital camera now that's got a dynamic range of 15 stops, you actually don't even need to have your exposure, that accurate Go and shoot with a slide film that's got dynamic range of less than one stop and see how good you are. It has made it easier. The technology, it will always make it. Easier, but it opens up new doors, it opens up new avenues to skilled people as well as unskilled people. If you want, I'm using the word unskilled again, I'm not being, a blanket phrase, but it's true. You can pick up a digital camera now and get results that same person shooting with a slide film 20 years ago would not get add software to that post-production, everything else. It's an industry that we've seen so many changes in over the 30 odd years that we've been in it, Simon: been Mark: continue Simon: at times. It exciting Mark: The dawn of digital photography to the masses. was amazing. I was working for Olympus at the time when digital really took off and for Olympus it was amazing. They made some amazing products. We did quite well out of it and people started enjoying photography that maybe hadn't enjoyed photography before. You know, people might laugh at, you know, you, you, you're at a wedding, you're shooting a really nice wedding pool and there's always a couple of guests there which have got equipment as good as yours. Better, better than yours. Yeah. Got Simon: jobs and they can afford it. Mark: They've got proper jobs. Their pitches aren't going to be as good as yours. They're the ones laughing at everyone shooting on their phone because they've spent six grand on their new. Camera. But if shooting on a phone gets people into photography and then next year they buy a camera and two years later they upgrade their camera and it gets them into the hobby of photography? That's great for everyone. Hobbyists are as essential, as professional photographers to the industry. In fact, to keep the manufacturers going, probably more so Simon: the hobbyists are a massive part. Even if they go out and spend six or seven or 8,000 pounds on a camera because they think it's gonna make them a better photographer. Who knows in two years time with the AI side, maybe it will. That old saying, Hey Mr, that's a nice camera. I bet it takes great pictures, may become true. We have people on the lighting courses, the workshops we run, the people I train and they're asking me, okay, what sessions are we gonna use? And I'm saying, okay, well we're gonna be a hundred ISO at 125th, F 5.6. Okay, well if I point my camera at the subject, it's telling me, yeah, but you need to put it onto manual. And you see the color drain out their faces. You've got a 6,000 pound camera and you've never taken it off 'P'. Mark: True story. Simon: And we see this all the time. It's like the whole TTL strobe manual flash system. The camera's telling you what it wants to show you, but that maybe is not what you want. There are people out there that will spend a fortune on equipment but actually you could take just as good a picture with a much smaller, cheaper device with an nice bit of glass on the front if you know what you're doing. And that goes back to what Mark was saying about shooting film and slide film and digital today. Paul: I, mean, you know, I don't want this to be an echo chamber, and so what I am really interested in though, is the way that AI will change what flash photography does. I'm curious as to where we are headed in that, specific vertical. How is AI going to help and influence our ability to create great lip photography using flash? Mark: I think, Paul: I love the fact the two guys side and looked at each other. Mark: I, Simon: it's a difficult question to answer. Mark: physical light, Simon: is a difficult question to answer because if you're Mark: talking about the physical delivery of light. Simon: Not gonna change. Mark: Now, The only thing I can even compare it to, if you think about how the light is delivered, is what's the nearest thing? What's gotta change? Modern headlamps on cars, going back to cars again, you know, a modern car are using these LED arrays and they will switch on and switch off different LEDs depending on the conditions in front of them. Anti dazzle, all this sort of stuff. You know, the modern expensive headlamp is an amazing technical piece of kit. It's not just one ball, but it's hundreds in some cases of little arrays. Will that come into flash? I don't know. Will you just be able to put a soft box in front of someone and it will shape the light in the future using a massive array. Right? I dunno it, Simon: there's been many companies tested these arrays, in terms of LED Flash, And I think to be honest, that's probably the nearest it's gonna get to an AI point of view is this LED Flash. Now there's an argument to say, what is flash if I walk into a living room and flick the light on, on off really quickly, is that a flash? Mark: No, that's a folock in Paul: me Mark: turn, big lights off. Paul: Yeah. Mark: So Simon: it, you, you might be able to get these arrays to flush on and off. But LED technology, in terms of how it works, it's quite slow. It's a diode, it takes a while for it to get to its correct brightness and it takes a while for it to turn off. To try and get an LED. To work as a flash. It, it's not an explosion in a gas field tube. It's a a, a lighter emitting diode that is, is coming on and turning off again. Will AI help that? Due to the nature of its design, I don't think it can. Mark: Me and s aren't invented an AI flash anytime soon by the looks of, we're Simon: it's very secret. Mark: We're just putting everyone off Paul, Simon: It's alright. Mark: just so they don't think Simon: Yeah, Mark: Oh, it's gonna be too much hard work and we'll sort it. Paul: It's definitely coming. I don't doubt for a minute that this is all coming because there's no one not looking at anything Simon: that makes perfect sense. Paul: Right now there's an explosion of invention because everybody's trying to find an angle on everything. Simon: Mm-hmm. Paul: The guys I feel the most for are the guys who spent millions, , on these big LED film backdrop walls. Simon: Yep. Mark: So you can Paul: a car onto a flight sim, rack, and then film the whole lot in front of an LED wall. Well, it was great. And there was a market for people filming those backdrops, and now of course that's all AI generated in the LED, but that's only today's technology. Tomorrow's is, you don't need the LED wall. That's here today. VEO3 and Flow already, I mean, I had to play with one the other day for one of our lighting diagrams and it animated the whole thing. Absolute genius. Simon: Mm-hmm. Paul: I still generated the original diagram. Mark: Yeah, Paul: Yeah, that's useful. There's some skill in there still for now, but, you gotta face the music that anything that isn't, I can touch it and prod it. AI's gonna do it. Mark: Absolutely. If you've ever seen the series Mandalorian go and watch the making of the Mandalorian and they are using those big LED walls, that is their backdrop. Yeah. And it's amazing how fast they shift from, you know, they can, they don't need to build a set. Yeah. They shift from scene to scene. Paul: Well, aI is now building the scenes. But tomorrow they won't need the LED wall. 'cause AI will put it in behind the actors. Mark: Yeah. Say after Paul: that you won't need the actors because they're being forced to sign away the rights so that AI can be used. And even those that are standing their ground and saying no, well, the actors saying Yes. Are the ones being hired. You know, in the end, AI is gonna touch all of it. And so I mean, it's things like, imagine walking into a studio. Let's ignore the LED thing for a minute, by the way, that's a temporary argument, Simon: I know you're talking about. Paul: about today's, Simon: You're about the. Mark: days Paul: LEDs, Simon: we're in, We're in very, very interesting times and. I'm excited for the future. I'm excited for the new generation of photographers that are coming in to see how they work with what happens. We've gone from fully analog to me selling IMACON drum scanners that were digitizing negatives and all the five four sheet almost a shoot of properties for an estate agent were all digitized on an hassle blood scanner. And then the digital camera comes out and you start using it. It was a Kodak camera, I think the first SLRI used, Paul: Yeah. Simon: and you get the results back and you think, oh my God, it looks like it's come out of a practica MTL five B. Mark: But Simon: then suddenly the technology just changes and changes and changes and suddenly it's running away with itself and where we are today. I mean, I, I didn't like digital to start with. It was too. It was too digital. It was too sharp. It didn't have the feel of film, but do you know what? We get used to it and the files that my digital mirrorless camera provide now and my Fuji GFX medium format are absolutely stunning. But the first thing I do is turn the sharpness down because they are generally over sharp. For a lovely, beautifully lit portrait or whatever that anybody takes, it just needs knocking back a bit. We were speaking about this earlier, I did some comparison edits from what I'd done manually in Photoshop to the Evoto. Do you know what the pre-selected edits are? Great. If you not the slider back from 10 to about six, you're there or thereabouts? More is not always good. Mark: I think when it comes to imagery in our daily lives, the one thing that drives what we expect to see is TV and most people's TVs, everything's turned up to a hundred. The color, the contrast, that was a bit of a shock originally from the film to digital, crossover. Everything went from being relatively natural to way over the top Just getting back to AI and how it's gonna affect people like you and people that we work with day to day. I don't think we should be worried about that. We should be worried about the images we see on the news, not what we're seeing, hanging on people's walls and how they're gonna be affected by ai. That generally does affect everyone's daily life. Paul: Yeah, Mark: Yeah. But what Paul: people now ask me, for instance, I've photographed a couple head shots yesterday, and the one person had not ironed her blouse. And her first question was, can we sort that out in post? So this is the knock on effect people are becoming aware of what's possible. What's that? Nothing. Know, and the, the smooth clothing button in Evoto will get me quite a long way down that road and saves somebody picking up an eye and randomly, it's not me, it's now actually more work for me 'cause I shouldn't have to do it. But, you know, this is my point about the knock on effect. Our worlds are different. So I didn't really intend this to be just a great sort of circular conversation about AI cars and, future technology. It was more, I dunno, we ended up down there anyway. Simon: We went down a rabbit hole. Mark: A Paul: rabbit hole. Yeah Mark: was quite an interesting one. Simon: And I'm sorry if you've wasted your entire journey to work and we Paul: Yeah. Simon: Alright. It wasn't intended to be like that. Paul: I think it's a debate that we need to be having and there needs to be more discussion about it. Certainly for anybody that has a voice in the industry and people are listening to it because right now it might be a toddler of a technology, but it's growing faster than people realize. There is now a point in the written word online where AI is generating more than real people are generating, and AI is learning that. So AI is reading its own output. That's now beginning to happen in imagery and film and music. Simon: Well, even in Google results, you type in anything to a Google search bar. When it comes back to the results, the first section at the top is the AI generated version. And you know what, it's generally Paul: Yep. Simon: good and Paul: turn off all the rest of it now. So it's only ai. Simon: Not quite brave enough for that yet. No, not me. Mark: In terms Paul: of SEO for instance, you now need to tune it for large language models. You need to be giving. Google the LLM information you want it to learn so that you become part of that section on a website. And it, you know, this is where we are and it's happening at such a speed, every day I am learning something new about something else that's arriving. And I think TV and film is probably slightly ahead of the photography industry Mark: Yeah. Paul: The pressures on the costs are so big, Simon: Yes. Paul: Whereas the cost differential, I'm predicting our costs will actually go up, not down. Whereas in TV and film, the cost will come down dramatically. Mark: Absolutely. Simon: They are a horrifically high level anyway. That's Paul: I'm not disputing that, but I watched a demo of some new stuff online recently and they had a talking head and they literally typed in relight that with a kiss light here, hairlight there, Rembrandt variation on the front. And they did it off a flat picture and they can move the lights around as if you are moving lights. Yes. And that's there today. So that's coming our way too. And I still think the people who understand how to see light will have an advantage because you'll know when you've typed these words in that you've got it about right. It doesn't change the fact that it's going to be increasingly synthetic. The moment in the middle of it is real. We may well be asked to relight things, re clothe things that's already happening. Simon: Yeah. Paul: We get, can you just fill in my hairline? That's a fairly common one. Just removing a mole. Or removing two inches round a waist. This, we've been doing that forever. Simon: Mm-hmm. Paul: And so now it'll be done with keyword generation rather than, photoshop necessarily. Simon: I think you'll always have the people that embrace this, we can't ignore it as you rightly say. It's not going away. It's gonna get bigger, it's gonna feature more in our lives. I think there's gonna be three sets of people. It's gonna be the people like us generally on a daily basis. We're photographers or we're artists. We enjoy what we do. I enjoy correctly lighting somebody with the correct modifier properties to match light quality to get the best look and feel and the ambience of that image. And I enjoy the process of putting that together and then seeing the end result afterwards. I suppose that makes me an artist in, in, in loose terms. I think, you know, as, as, as a photographer, we are artists. You've then got another generation that are finding shortcuts. They're doing some of the job with their camera. They're making their image from an AI point of view. Does that make up an artist? I suppose it still does because they're creating their own art, but they have no interest 'cause they have no enjoyment in making that picture as good as it can be before you even hit the shutter. And then I think you've got other people, and us to an extent where you do what you need to do, you enjoy the process, you look at the images, and then you just finely tune it with a bit of AI or Photoshop retouching so I think there are different sets of people that will use AI to their advantage or completely ignore it. Mark: Yeah. I think you're right. And I think it comes down, I'm going to use another analogy here, you, you know, let's say you enjoy cooking. If you enjoy cooking, you're creating something. What's the alternative? You get a microwave meal. Well, Paul Simon: and Sarah do. Mark: No. Paul: Sarah does. Simon: We can't afford waitress. Mark: You might spend months creating your perfect risotto. You've got it right. You love it. Everyone else loves it. You share it around all your friends. Brilliant. Or you go to Waitrose, you buy one, put it three minutes in the microwave and it's done. That's yer AI I Imagery, isn't it? It's a microwave meal. Paul: There's a lot of microwave meals out there. And not that many people cook their own stuff and certainly not as many as used to. And there's a lesson. Simon: Is, Mark: but also, Simon: things have become easier Mark: there Simon: you go. Mark: I think what we also forget in the photographic industry and take the industry as a whole, and this is something I've experienced in the, in the working for manufacturers in that photography itself is, is a, is a huge hobby. There's lots of hobbyist photographers, but there's actually more people that do photography as part of another hobby, birdwatching, aviation, all that sort of thing. Anything, you know, the photography isn't the hobby, it's the birds that are the hobby, but they take photographs of, it's the planes that are the hobby, but they take photographs. They're the ones that actually keep the industry going and then they expand into other industries. They come on one of our workshops. You know, that's something that we're still and Simon still Absolutely. And yourself, educating photographers to do it right, to practice using the gear the right way, but the theory of it and getting it right. If anything that brings more people into wanting to learn to cook better, Paul: you Mark: have more chefs rather than people using microwave meals. Education's just so important. And when it comes to lighting, I wasn't competent in using flash. I'm still not, but having sat through Simon's course and other people's courses now for hundreds of times, I can light a scene sometimes, people are still gonna be hungry for education. I think some wills, some won't. If you wanna go and get that microwave risotto go and microwave u risotto. But there's always gonna be people that wanna learn how to do it properly, wanna learn from scratch, wanna learn the art of it. Creators and in a creative industry, we've got to embrace those people and bring more people into it and ensure there's more people on that journey of learning and upskilling and trying to do it properly. Um, and yes, if they use whatever technology at whatever stage in their journey, if they're getting enjoyment from it, what's it matter? Paul: Excellent. Mark: What a fine Paul: concluding statement. If they got enjoyment outta it. Yeah. Whatever. Excellent. Thank you, Mark, for your summing up. Simon: In conclusion, Paul: did that just come out your nose? What on earth. Mark: What Paul: what you can't see, dear Listener is the fact that Mark just spat his water everywhere, laughing at Si. It's been an interesting podcast. Anyway, I'm gonna drag this back onto topic for fear of it dissolving into three blokes having a pint. Mark: I think we should go for one. Simon: I think, Paul: I think we should know as well. Having said that with this conversation, maybe not. I was gonna ask you a little bit about, 'cause we've talked about strobes and the beauty of strobes, but of course Elinchrom still is more than that, and you've just launched a new LED light, so I know you like Strobe Simon. Now talk about the continuous light that also Elinchrom is producing. Simon: We have launched the Elinchrom LED 100 C. Those familiar with our Elinchrom One and Three OCF camera Flash system. It's basically a smaller unit, but still uses the OCF adapter. Elinchrom have put a lot of time into this. They've been looking at LED technology for many years, and I've been to the factory in Switzerland and seen different LED arrays being tested. The problem we had with LEDs is every single LED was different and put out a different color temperature. We're now manufacturing LEDs in batches, where they can all be matched. They all come from the same serial number batch. And the different colors of LED as well, 15 years ago, blue LEDs weren't even possible. You couldn't make a blue LED every other color, but not blue for some unknown reason. They've got the colors right now, they've got full RGB spectrum, which is perfectly accurate a 95 or 97 CRI index light. It's a true hundred watts, of light as well. From tosin through to past daylight and fully controllable like the CRO flash system in very accurate nth degrees. The LED array in the front of the, the LEDA hundred is one of the first shapeable, fully shapeable, LED arrays that I've come across and I've looked at lots. By shapeable, I mean you put it into a soft box, of any size and it's not gonna give you a hotspot in the middle, or it's not gonna light the first 12 inches of the middle of the soft box and leave the rest dark. I remember when we got the first LD and Mark got it before me And he said, I've put it onto a 70 centimeter soft box. And he said, I've taken a picture to the front. Look at this. And it was perfectly even from edge to edge. When I got it, I stuck it onto a 1 3 5 centimeter soft box and did the same and was absolutely blown away by how even it was from edge to edge. When I got my light meter out, if you remember what one of those is, uh, it, uh, it gave me a third of a stop different from the center to the outside edge. Now for an LED, that's brilliant. I mean, that's decent for a flash, but for an LED it's generally unheard of. So you can make the LED as big as you like. It's got all the special effects that some of the cheaper Chinese ones have got because people use that kind of thing. Apparently I have no idea what for. But it sits on its own in a market where there are very cheap and cheerful LEDs, that kind of do a job. And very expensive high-end LEDs that do a completely different job for the photographer that's gone hybrid and does a bit of shooting, but does a bit of video work. So, going into a solicitor's or an accountant's office where they want head shots, but also want a bit of talking head video for the MD or the CEO explaining about his company on the website. It's perfect. You can up the ISO and use the modeling lamp in generally the threes, the fives, the ones that we've got, the LEDs are brilliant. But actually the LED 100 will give you all your modifier that you've taken with you, you can use those. It's very small and light, with its own built-in battery and it will give you a very nice low iso. Talking head interview with a lovely big light source. And I've proved the point of how well it works and how nice it is at the price point it sits in. But it is our first journey into it. There will be others come in and there'll be an app control for it. And I think from an LED point of view, you're gonna say, I would say this, but actually it's one of the nicer ones I've used. And when you get yours, you can tell people exactly the same. Paul: Trust me, I will. Simon: Yes. Mark: I think Paul: very excited about it. Mark: I think the beauty of it as well is it's got an inbuilt battery. It'll give you up to 45 minutes on a full charge. You can plug it in and run it off the mains directly through the USB socket as well. But it means it's a truly portable light source. 45 minutes at a hundred watt and it's rated at a hundred watt actual light output. It's seems far in excess of that. When you actually, Simon: we had a photographer the other day who used it and he's used to using sort of 3, 2 50, 300 watt LEDs and he said put them side by side at full power. They were virtually comparable. Paul: That is certainly true, or in my case by lots. Simon: I seem to be surrounded Paul: by Elinchrom kit, Which is all good. So for anybody who's interested in buying one of these things, where'd you get them? How much are they? Simon: The LED itself, the singlehead unit is 499 inc VAT. If you want one with a charger, which sounds ridiculous, but there's always people who say, well, I don't want the charger. You can have one with a charger for 50 quid extra. So 549. The twin kit is just less than a thousand quid with chargers. And it comes in a very nice portable carry bag to, to carry them around in. Um, and, uh, yeah, available from all good photographic retailers, and, Ellen crom.co uk. Paul: Very good. So just to remind you beautiful people listening to this podcast, we only ever feature people and products, at least like this one where I've said, put a sales pitch in because I use it. It's only ever been about what we use here at the studio. I hate the idea of just being a renta-voice. You it. Mark: bought it. Paul: Yeah. That's true. You guys sold it to me. Mark: Yeah, Simon: if I gave you anything you'd tell everyone it was great. So if you buy it, no, I've bought Paul: Yeah. And then became an ambassador for you. As with everything here, I put my money where my mouth is, we will use it. We do use it. I'm really interested in the little LED light because I could have done with that the other night. It would've been perfect for a very particular need. So yes, I can highly recommend Elinchrom Fives and Threes if you're on a different system. The Rotalux, system of modifier is the best on the planet. Quick to set up, quick to take down. More importantly, the light that comes off them is just beautiful, whether it's a Godox, whether it's on a ProPhoto, which it was for me, or whether if you've really got your common sense about you on the front of an Elinchrom. And on that happy note and back to where we started, which is about lighting, I'm gonna say thanks to the guys. They came to the studio to fix a problem but it's always lovely to have them as guests here. Thank you, mark. Thank you Simon. Most importantly, you Elinchrom for creating Kit is just an absolute joy to use. If you've enjoyed the podcast, please head over to all your other episodes. Please subscribe and whatever is your podcast, play of choice, whether it's iTunes, Spotify, YouTube, or a other. After you head, if you head across to masteringportraitphotography.com the spiritual home of this, particular, podcast, I will put in the show notes all the little bits of detail and where to get these things. I'll get some links off the guys as to where to look for the kit. Thank you both. I dunno when I'll be seeing you again. I suspect it will be the Convention in January if I know the way these things go. Simon: We're not gonna get invited back, are we? Mark: Probably not. Enough. Paul: And I'm gonna get a mop and clean up that water. You've just sprayed all over the floor. What is going on? Simon: wish we'd video. That was a funny sun Mark: I just didn't expect it and never usually that sort of funny and quick, Simon: It's the funniest thing I've ever seen. Paul: On that happy note, whatever else is going on in your lives, be kind to yourself. Take care.

We are back with Episode 94 of the Camerosity Podcast.  For this episode, we decided to revisit a topic we covered all the way back in Episode 30, which is talking about camera stores with people who work in camera stores. Joining us for the discussion are Meredith and Corey Reinker from Roberts Camera (aka UsedPhotoPro) in Indianapolis, Indiana and Zeb Andrews from Blue Moon Camera and Machine in Portland, Oregon.  Of course, two of the Camerosity hosts, Paul and Stephen both used to work in camera stores too, so between those four, we were well represented. Much has changed in the photography space since we did our last camera store episode.  Releases of new cameras like the Pentax 17, Rollei 35 AF, and recent announcements of a new "film like" digital Yashica SLR have caused a lot of ruckus and it will be interesting to hear how actual camera store people see these latest developments. Joining Paul, Stephen, Theo, Mike, and our special guests was a long list of callers including A.J. Gentile, Betty Ann Cochrane, Brad, Dan Hausman, Hong Lee, Howard Sandler, Larry Effler, Miles Libak, Pat Casey, Shane from  Discord, and Will Pinkham. During the show we ask Meredith, Corey, and Zeb a wide range of questions ranging from what differentiates their stores which has allowed them to remain successful well into the era of digital photography.  We cover what the modern camera store customer looks like today and what makes photography appealing to a younger crowd.  We cover both lab and home developing, what one camera both camera stores wish there was an unlimited amount of, how they acquire their inventory of used cameras, and Zeb shares a cool story about how Blue Moon developed a roll of film which had images of Mount St. Helens erupting. Mike gets excited that he received a bottle of the new Adox Syrup 110 developer and attempts to break down the myth that C41 home developing is difficult.  Theo and Zeb counter that you shouldn't be shamed into developing your own film and that the consistency of a professional lab is worth it. While most episodes are a lot of fun to record, while doing this one, it was amazing how fast the two hours went, and I wish we could have talked to Meredith, Corey, and Zeb longer.  Who knows, maybe we'll return for a third Camera Store episode some day! As always, the topics we discuss on the Camerosity Podcast are influenced by you!  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are into shooting or collecting cameras, no matter how long you've been doing it, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. For our next episode, we don't have a dedicated topic and will open up the Zoom recording to anything you'd like to discuss.  If there have been any questions or topics from previous shows you'd like to revisit, or share with us your latest camera GAS pick up, we'd love to hear from you!  This next one will be a free for all!  We will record Episode 95 on Monday, July 7th at 7pm Central Daylight Time and 8pm Eastern Daylight Time. In This Episode Introducing Roberts Camera / They Used to Sell Jewelry UsedPhotoPro Was Started with Corey and Nelson Kopech in 2011 Blue Moon's Origin Story / Blue Moon's Owner Jake Has a Passion for Vintage Typewriters Blue Moon Slits Their Own Minox Film / They Source New Cartridges Direct from Minox What Does the Typical Camera Store Customer Look Like Today? What Inspires the 18-24 Crowd to Buy a Particular Camera? / Is there an Upgrade Path to a Leica? Mike Breaks Down All Film Shooters into One of Three Broad Categories How Were Roberts and Blue Moon Able to Navigate the Film to Digital Switch When Others Failed? Blue Moon Developed Film from an Argus C3 Showing Mount St. Helens Erupting Robert's Early Experience with Mail Order Helped them be Successful Selling Online How Does Roberts Get Their Used Inventory / Burgess Auction in Carmel, Indiana Recommendations for Local Camera Stores How Hard is it to Get Film Processing Labs Repaired? Everyone Talks About Developing Machines How Common is it For People to Develop Film at Home? Mike Gets a Bottle of the New Adox Syrup 110 Overcoming the Myth that Developing C41 Film at Home is Difficult How Do you Handle Developing So Many Different B&W Films at the Same Time? Camera Stories that Depended on Development and Services Struggled the Most What Camera Do Roberts and Blue Moon Wish they had Unlimited Supply Of? Upcoming Roberts and Blue Moon Events Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. Order Your Very Own Camerosity Podcast T-Shirt! - https://www.zazzle.com/z/tbykl0hg The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Roberts Camera - https://robertscamera.com/ Used Photo Pro - https://usedphotopro.com/ Blue Moon Camera and Machine - https://bluemooncamera.com/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris - https://thisoldcamera.net/ Anthony Rue - https://www.instagram.com/kino_pravda/

A brief talk about using Phoenix colour (C41) film to photograph my new born son, black and white infrared film experience, hacked account and finally competition comments.

一、思想問題：面對末日危機，一般人與基督徒有什麼不同？我們的安慰、盼望在哪裡？ 二、鑰節： 41:10 你不要害怕，因為我與你同在；不要驚惶，因為我是你的　神。我必堅固你，我必幫助你；我必用我公義的右手扶持你。 面對國際情勢的動盪、末日危機的興起，很多人充滿了恐懼膽怯、未知擔憂，但是神兒女卻有平安的確據，這個確據來自於我們認識所信靠的是誰！ 神應許我們，我們要離開害怕、驚惶，因為神要與我們同在，神要堅固、幫助、扶持我們，而誰可以得著這樣的祝福？ v.8要做神的僕人、神的朋友，成為被神揀選與預備的子民；v.20要積極地認識神、思想神，明白神的旨意；這樣的人才能安度末日危機。 三、經文結構： →B41:1-20 超越所有偶像的神，要從東方興起一人。 1-7 波斯審判的君王：1-4神興起審判；5-7眾民、偶像恐懼。 8-20 神對選民的祝福：8-10因神獨特的揀選而勇敢；11-13神除掉敵人；14-16審判列國；17-20供應一切所需。 →→C41:21-42:17 神挑戰偶像，他們能像祂那樣知道將來的事嗎？ 41:21-29 偶像的虛無：無法預測未來。 四、結構亮光： Q：vv.1-4神要興起大有能力的君王來審判，而在這樣的軍事危機中，vv.5-7一般人與vv.8-20神的選民有什麼不同的反應？我們面對末日當有什麼不同的眼光？ A： vv.1-4神要興起一個強大的征服者，就是塞魯士，或稱波斯帝國。參看45:1。 45:1 我─耶和華所膏的塞魯士；我攙扶他的右手，使列國降伏在他面前。我也要放鬆列王的腰帶，使城門在他面前敞開，不得關閉。我對他如此說： 這個國家有強大的武力，v.2將要征服列國、管轄君王，所有反對的勢力在他面前如同灰塵碎秸，不堪一擊；v.3他們安然、穩妥地前行，攻擊列國。 而這毀滅列國的力量，是神預備的，v.1 神呼召列國來辯論，來看神的作為；v.2憑公義召他前來，要刑罰除滅猶大的巴比倫人。v.4從起初到末後，神都掌權且掌管萬物。 面對塞魯士的威脅，對比vv.5-7一般人與vv.8-13神的選民，卻有完全不同的態度，同樣提到了兩個字： 1）害怕：v,5眾海島充滿了懼怕；v.10,13,14神卻再三勉勵選民不要懼怕。 2）壯膽、釘穩、勉勵、攙扶，原文編號都是2388：在危機中，一般人只能自我安慰v.6不要怕、v.7彼此加油，偶像也要釘穩，不要讓它動搖；自己也深知偶像只是人造的，要好好保護，免得它動搖。 但是v.13不是人要保護神，而是神要攙扶我們、保護我們、賜力量給我們，在危難中給我們真實的幫助，這是何等不同的倚靠。 非但如此，神的選民在危難中，被神的愛深深激勵： 1）v,8我們是神的僕人，與神一同服事，也一同得榮耀； 2）是神所揀選的，v.9表明神絕對不會丟棄我們； 3）是神的朋友──亞伯拉罕的後代，這也勉勵我們，當我們效法亞伯拉罕對神的愛與忠，我們就能夠被稱為神的朋友。 v.9我們雖犯罪被擄到天涯海角，神卻要把我們從地極召回，把我們抓回到神的面前，如同神把亞伯拉罕從遙遠的吾珥家鄉帶領出來，把以色列從埃及拯救出來一樣。v.10我們不要懼怕，因為神親自與我們同在，親自堅固、扶持、拯救我們。 vv.11-13神要為我們除掉敵人，向我們發怒的、爭戰欺凌的、打仗的，都要被神消滅，因為神保護並扶持我們。 vv.14-16不只是vv.11-13被神保護、不被攻擊，更是要戰勝列國。 v.14救贖主：通常是指有責任向貧困親人施以援手的「至近的親屬」（利25:25,47-49；得3:12），神以這詞自稱，表明祂與以色列關係密切，必會拯救他們。v.14以色列渺小卑微到如同蟲子般，但是神要興起他們，成為刑罰列國的打穀機，使許多國家如同糠秕被打得粉碎。 利25:25 你的弟兄若漸漸窮乏，賣了幾分地業，他至近的親屬就要來，把弟兄所賣的贖回。 利25:47 「住在你那裏的外人，或是寄居的，若漸漸富足，你的弟兄卻漸漸窮乏，將自己賣給那外人，或是寄居的，或是外人的宗族， 利25:48 賣了以後，可以將他贖回。無論是他的弟兄， 利25:49 或伯叔、伯叔的兒子，本家的近支，都可以贖他。他自己若漸漸富足，也可以自贖。 vv.17-20神要供應我們一切的缺乏：v.17沒有水，v.18神要使沙漠成為水池、乾地變為湧泉；在最困難的地方，卻有植物生長，充滿了生命。在最不可能的地方，神要賜下最頂級的神蹟與祝福；神可以在最不可能的地方工作，祂也要在我們被擄、被挾制的生命中工作。 v.20這一切的神蹟只有一個原因：就是讓人看見神自己的工作！這裡稱呼神為：以色列的聖者（v.14,16,20），表明神的聖潔屬性，是應許要拯救人的神，是我們的神。 Q：vv.21-29提到了偶像與真神，有哪些不同之處？今日我們正在信靠什麼？ A： 偶像與真神的一大差別是：誰可以準確預測未來。 v.22沒有偶像可以清楚說明將來的事、v.23後來的事，v.26沒有人可以指明未來的事。 v.23偶像可給人短暫、表面的福利，但是沒有力量決定人真正的禍福。 v.24,29偶像所做的一切都是虛空、虛無，v.24使得信靠偶像的，也落入憎惡與卑鄙中。 v.26神準確預言未來，v.25神準確地預言將來的國際情勢，有一強大的君王要興起，v.27也清楚預言到錫安將會有好信息，以色列人可以回家；這與偶像的無能無力成為強烈的對比。 v.27和信靠偶像成為虛無作對比，信靠真神才會有真實的好消息、真實的盼望。 更美的是，神樂意向人啟示祂自己，v.20使人們可以看見、可以知道、可以思想、可以明白。神不只是期待我們從心中順服神，更能在認識神當中，主動體貼神的心意，並選擇順服神。 五、反省問題： 身為神的僕人、神所揀選的人、神的朋友，哪一個身分是我最期待的？我曾因此經歷怎樣的恩典？ 我信靠人造的偶像、無力改變人生的偶像，還是創造、預備萬物的神？每一天我是否更多認識神？ －－－－－－－－－－－－－－－－ 講員： 貴格會合一堂 徐坤靖牧師 聖經之鑰-各卷書播放清單： https://thfc.pse.is/3epsdf 【聖經之鑰 相關資源】YouTube： https://thfc.pse.is/3cfams電子書： https://thfc.pse.is/3ccluu Powered by Firstory Hosting

一、思想問題：你我身為神的子民、神的僕人，最重要的使命是什麼？ 二、鑰節： 42:1 看哪，我的僕人─我所扶持所揀選、心裏所喜悅的！我已將我的靈賜給他；他必將公理傳給外邦。 身為神的僕人，是極大的尊貴榮耀，蒙神揀選、扶持，得神的喜悅，並且領受聖靈的大能；神的僕人有個極重要的使命，就是要向人傳揚神的話語、作為，特別是對外邦人。領受聖靈、領受使命的人，要關心那未信之民、未得之民，引導他們走跟隨神、認識神的道路。 三、經文結構： →→C41:21-42:17 神挑戰偶像，他們能像祂那樣知道將來的事嗎？ 42:1-9 神的僕人：1-4神僕人傳揚公理；5-9神以公義呼召。 42:10-17 歡呼神的大能：10-12眾人歡呼；13-17神以大能引導百姓。 →→→D42:18-43:7 中心點：呼喚犯罪的以色列回應神和祂的刑罰。 42:18-25 責備選民的眼瞎耳聾。 四、結構亮光： 以賽亞書中共有四首「僕人之歌」：1）42:1-4；2）49:1-6；3）50:4-9；4）52:13-53:12。 Q：vv.1-9在此處所預言的神僕人領受了哪些恩典？要完成什麼使命？這個預言如何在耶穌的身上成就？ A： 父神給神的僕人什麼恩典？ 1）榮耀稱呼：v.1「神的僕人」，僕人很卑微，但是一加上「神的」就充滿了榮耀；如同保羅，我們也成為至高者的僕人，何等尊貴。 2）蒙神揀選：在事奉的起點，神的僕人絕不是憑著一時衝動、憑著自己的血氣之勇來回應，而是v.1神所揀選、v.6被神所呼召；感謝神！在歷世歷代感動神的僕人起來事奉神。 3）蒙神扶持：在事奉的過程，會有v.4灰心、喪膽的時候，但是神的僕人就是常常領受祝福，可以v.1被神扶持、托住，v,6神的大手攙扶我們的小手，在許多的危難中保守、保護、看顧我們。 4）蒙神喜悅：v.1神大大喜悅神的僕人，在遭遇控告、患難時，神的愛成為我們很大的激勵。 5）領受聖靈：v.1聖靈使我們有能力，把神的真理、正義傳到外邦；聖靈使我們有力量、智慧、權柄來事奉主！賽11:2-3也提到聖靈要賜下的服事恩典與祝福。 而神的僕人要完成什麼使命？ 1）傳揚神的公理：v.1,3重複出現「僕人要把公理傳揚到外邦」；公理就是神的旨意、神的作為、神的話語，我們務要清楚傳遞。 2）謙卑忍耐地事奉：v.2僕人不會大聲嚷嚷、不會張揚，而是謙謙和和地服事；v.4面對挑戰不灰心、面對壓力不沮喪，帶著極大忍耐和愛來服事。 3）憐憫人：v.3他格外顧念壓傷的蘆葦、將殘的燈火，就是那心靈破碎、疾病、困苦、貧窮、無依無靠者；v.7他要打開瞎子的眼睛，帶領被囚的、在黑暗中、監獄裡的人，可以得著自由與平安；神的僕人憐憫顧念人。 太12:18-21完整引用這一段經文，來形容耶穌的事奉；我們所需要的一切恩典，都在耶穌裡面，神必為我們預備。 Q：vv.13-17神的大能、熱心將要為我們成就什麼？vv.10-12我們當如何回應神的拯救？ A： v.13神要用大能急切地來成就神的工作，神要為他的子民報仇，如同勇士、戰士大聲吶喊攻擊仇敵。v.14過去神因著神子民的犯罪，暫時容許外邦巴比倫攻擊猶大，甚至毀滅猶大，彷彿神閉口不言、靜默不語；但是現在要喊叫，急切地為神的百姓申冤。 v.15在神的大能中，大地的景況要改變，為的是迎接神的選民可以回歸。v.16神要引導被擄的子民回家，彷彿瞎子可以走新路，黑暗變成光明，彎曲之路成為平坦正直之路。 v.16神的作為表明了神沒有離開祂的子民，信靠主的人也許會遭遇困境，但是時間將會證明神奇妙的引導與憐憫；相對的v.17倚靠偶像的人，將會如同偶像一般蒙羞抱愧。 vv.10-12用了五個不同的詞，都在強調我們在神面前，應當極力讚美回應神：唱歌、讚美、揚聲、歡呼、吶喊；再再強調我們應當帶著極大的感恩來傳揚神，回應神的愛！ v.11基達位於約旦河東的阿拉伯遊牧地區，代表東方；西拉是以東的首都。不只是神的選民讚美，神讓外邦人也加入讚美的行列。 v.8,12都提到了神的榮耀。v.8神拒絕將任何榮耀給假神偶像，吩咐我們要將榮耀歸給神；榮耀只能歸給神，而神也只使用我們來彰顯神的榮耀。 Q：vv.18-25對神的選民有什麼提醒與責備？ A： 這裡展開新的一段，提到選民拒絕聽神的提醒，責備選民眼瞎耳聾。 v.1提到神所揀選的僕人，將要領受使命與恩典，但是在v.19神的僕人卻是眼瞎耳聾的僕人，v.20明明看見卻視而不見，明明耳朵已經被神打開，卻聽而不聞，因為根本不用心，也不願領受。v.23無人肯側耳聽，無人肯留心聽！ v.21神非常樂意向人啟示祂自己，非常期待人能夠明白神的訓誨，無奈許多人只是表面聆聽，完全不願放在心上。 不聽的結果是：v,22被搶奪、被擄掠！要承受無法抵擋的刑罰，無人可以拯救，無人可說要交還！v.24若非神的同意、許可，無人可以搶奪神的子民──以色列與猶大；但是當人長期拒絕神，神只能透過刑罰來使子民脫離世界黑暗的吸引力，能夠專心聆聽並順服神。 v.25因此神使百姓遭遇極大的困境，神的怒火傾倒在選民的身上，慘烈的戰爭臨到選民，但是神的選民卻絲毫不在意、不知道，完全無感，令人何等悲嘆！ 這裡的「眼瞎耳聾」，應當是指神的選民因被擄、遭受刑罰，以為神對他們的慘狀視若無睹，而發出抱怨。 即便如此，v.21神仍然v.23大聲疾呼，期待百姓能夠聆聽！ 五、反省問題： 這裡提到身為神的僕人有五大祝福，哪個是我曾經歷過的？哪個是我所期待的？我當如何完成神給我的使命？ 蒙恩的你我，是否常常發出對神的讚美？什麼會攔阻我們的讚美呢？ 每一天我是否有聆聽神的時間、安靜的心、順服的耳？當如何改變我的時間表？ －－－－－－－－－－－－－－－－ 講員： 貴格會合一堂 徐坤靖牧師 聖經之鑰-各卷書播放清單： https://thfc.pse.is/3epsdf 【聖經之鑰 相關資源】YouTube： https://thfc.pse.is/3cfams電子書： https://thfc.pse.is/3ccluu Powered by Firstory Hosting

Time, in any story, plays a fundamental meaning. At what point does Sébastien Notre live in the present? A year ago, the French painter came to this place in Milan, where we are hosting, to build his own living and painting environnement. Typical or atypical, the beauty of his involved space is undeniable - the spirit has spread far beyond living. If some days are unfairly difficult, sometimes he perceives it as a freedom to relatively well start a creativity. Let's listen to this classic conversation, this coffee-sharing, this moment of confidence with Sebastien Notre in his own studio space.

00:00-3:08 - Introduction and Germany travels 03:10-05:30 - UFC RECAP5:30-10:45 - Ffion's MMA experience10:45 - 12:30 - Wrestling 12:45 - 20:45 - Ffion's journey to becoming a full-time BJJ athlete and bouncer experience20:45 - 25:45 - Ffion's online/in person strange interactions/ propositions/wiki feet 25:50 - 32:00 - Ffion's transition from Judo to Jiu Jitsu & savage weight cuts, S&C41:51 - 46:51 - Highest % leg entries, Youtube breakdowns47:00 - 54:00 - ADCC Payouts and Female divisions/growing the sport for females54:00 - 01:00:18 - Eoghan/Ffions nutrition and strength training regime01:00:18 - 01:03:15 Savage Heel Hook at EBI discussion 01:03:30 - 01:07:00 - Skincare for the mats 0:1:07:00 - 01:11:40 - Managing Jetlag 01:11:40 -01:15:45 - Kettlebell Training 01:15:45 - 01:16:50 - Defending Kneecuts01:17:00 - 01:20:00 - Ffion watching instructionals/business chat 01:20:00 - 01:26:19 -Banter and UFC Hosted on Acast. See acast.com/privacy for more information.

I meet Marco Cassina in the company's showroom, which has very little of the typical showroom and much of a metaphysical architecture―thanks to the brand renewal designed by Studio Pitsou Kedem Architects. The renewal of a brand is a slow, almost karst work, which in order to be complete and durable, has to move on several fronts: from product to communication, from images to architecture. MDF is investing on various fronts in a deep and delicate way, without breaking that industrious silence that surrounds it.

Maria Teresa Salvati, personal branding consultant and curator of our "My Spot of Beauty" column, meets Marika Zaramella, beauty creative director and make-up artist, better known as Leitalienne. Together they demonstrated how what we may recognize as weakness can instead become our most powerful strength. Fearless self-expression can, in fact, turn into the best form of empowerment.

Garbage Core is a Milan-based brand that works on the concept of upcycled fashion, producing fashion collections from second-hand garments and dead stock materials.

This week on ‘The Stack' we speak with Huw Gwyther, founder of ‘Man About Town' and ‘Wonderland'. Plus: Scott Meslow, author of ‘From Hollywood with Love: The Rise and Fall (and Rise Again) of the Romantic Comedy' and we head to Salone del Mobile to chat to the team behind ‘C41' magazine.

This week on ‘The Stack' we speak with Huw Gwyther, founder of ‘Man About Town' and ‘Wonderland'. Plus: Scott Meslow, author of ‘From Hollywood with Love: The Rise and Fall (and Rise Again) of the Romantic Comedy' and we head to Salone del Mobile to chat to the team behind ‘C41' magazine.See omnystudio.com/listener for privacy information.

Older is a Danish/Italian design company with a multidisciplinary practice, founded by Letizia Caramia and Morten Thuesen. It is specialized in sustainable uniforms that expand the architectural spaces in which they are worn, and radical furniture designs that investigate contemporary culture.

A short little episode where I share about my experience using and processing C41 type colour print film. A little about my first good SLR camera and the Frugal Film Project

The Alfa Romeo F1 2021 car is here! Dubbed the C41, the car was unveiled at the national theatre in Poland! Missed out on the unveiling? Don't worry, got you covered with this episode! And if you watched the unveiling, tag along for the interesting commentary! You know am good company when it comes to F1! Enjoy - Humura Ruth (theformula1amateur@gmail.com)

The Sauber-run Alfa Romeo team launch their car from Warsaw, Poland and, looking into the new season, surely plan to work their way into a more secure midfield position after a difficult 2020 season. With their Ferrari engine hopefully producing a few more prancing horses this time around, Alex and Shane discuss the graceful arrival of the C41.   Find out more at raceperminute.com Follow us on Twitter @Raceperminute, and catch us individually at @Shane57F1 & @CottrellMusic

No 153º episódio do F1Mania Em Ponto, Carlos Garcia e Gabriel Gavinelli trazem alguns dos principais destaques do dia no esporte a motor. A Alfa Romeo apresentou seu desafiante para a temporada 2021 da Fórmula 1, o C41. No segundo bloco, África do Sul quer retornar ao calendário da F1 e a Austrália estuda manter data no fim do ano depois de 2021. Fechando, as "rapidinhas": Fernando Alonso retorna aos treinamentos, Red Bull aposenta o nome RB17 e Tony Kanaan vai disputar a temporada de 2021 pela Full Time na Stock Car.

Alfa Romeo lanceert nieuwe wagen voor 2021 - Link naar de presentatie van de C41 (https://youtu.be/VkgDJvBWWhY) Formule 1 staat stil bij de verjaardag van Niki Lauda Pirelli maakt bandenkeuzes voor het aankomende seizoen bekend - Lijst met bandenkeuzes voor alle races in 2021 (https://twitter.com/pirellisport/status/1362694956205359105?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1362694956205359105%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.gpfans.com%2Fnl%2Fartikelen%2F62046%2Fpirelli-maakt-bandenkeuzes-voor-gehele-f1-seizoen-2021-bekend%2F) Haas F1 voltooit rijdersline-up 2021 Word lid van onze Slack (http://bit.ly/2KEuhCK) en praat de hele week met ons mee over de Formule 1! Petje,af pagina (https://petje.af/poleposition) Facebook Pagina (https://www.facebook.com/polepositionpodcast/) Facebook Groep (https://www.facebook.com/groups/160126424651920/?source_id=2026838254245276) Instagram (https://www.instagram.com/polepositionnl/) Twitter (https://twitter.com/polepositionnl)

Listen to the fifth episode of our podcasts series with Situér Milano, a design duo, interviewed by the talented freelance journalist Marta Galli. Sometimes it's the simple ideas that change the course of things. And it was the simple idea to bend metal instead of welding it that changed the lives of Federica Paoli and Biagio Castellani, the thirty-year-old founders of situér Milano. The brand, which is less than two years old, already had deep roots in the metalworking world however, inherited from Biagio and the family company that produces industrial shelving in Tuscany. You can read the interview with this designer duo also on C41 Issue 10. Soundtrack: Ayce Bio & Prev – Dormi Bene La Notte? (Funclab Records)

C41, through the curatorship of Naomi Accardi, the shots of Leone Balduzzi and the video of Luca A. Caizzi, narrates the extraordinary story of Mr. Jo and her “Bimbe Nel Pallone”. This project launches and baptizes the print ISSUE 10 of C41 Magazine, a meaningful step towards the maturity of the magazine based in Milan and Amsterdam, which has always sustained the enhancement of minorities and true stories. In a neighborhood classified as “dangerous”, Joanna Borella (Mr. Jo) offers girls of all ages the opportunity to play football while having fun and arising her awareness on the concept of equality. “Joanna Borella started throwing the ball at the same time she learned to stand and walk upon her arrival in Italy in the late 1960s. After spending the first year of her life in an orphanage in Bombay, Mister Jo – calling her in the same way she is known in the multicultural neighborhood of NOLO, north of the city of Milan where she lives and works – was welcomed into her new family by two older brothers who introduced her to the beautiful game of football. Football has become part of her daily life and within fifty years she has managed to become a household name in the local women’s football community thanks to her dedication in breaking down the prejudices that spoil the very essence of the game.”

In Italy the Anglo-Saxon term "magazine" is increasingly preferred to "rivista". Magazine recalls the Italian "magazzino" (warehouse) and in fact the etymology confirms the common origin from the Arabic makhazin which means "to conserve, to store". The magazine would therefore be understood as a collection of stories and images, selected and ordered to be first published and then kept by readers. Starting from these premises, the cycle of talks Magazine, dall’Italiano Magazzino wants to generate and store narratives, voices, perspectives, to try to express the charm and complexity of the magazine. In the first talk the guests have discussed about the role of digital and the implications of social platforms, in the second appointment the invited art directors talked about the importance of editorial design and the changes in the publishing industry. The evolution of writing and the predominance of visual culture in the contemporaneity will be the themes of the September talks. The talks are hosted by Reading Room, the Milanese space dedicated to independent periodical publishing, in collaboration with Combo Milano and in media partnership with C41 magazine.

In Italy the Anglo-Saxon term "magazine" is increasingly preferred to "rivista". Magazine recalls the Italian "magazzino" (warehouse) and in fact the etymology confirms the common origin from the Arabic makhazin which means "to conserve, to store". The magazine would therefore be understood as a collection of stories and images, selected and ordered to be first published and then kept by readers. Starting from these premises, the cycle of talks Magazine, dall’Italiano Magazzino wants to generate and store narratives, voices, perspectives, to try to express the charm and complexity of the magazine. In the first talk the guests have discussed about the role of digital and the implications of social platforms, in the second appointment the invited art directors talked about the importance of editorial design and the changes in the publishing industry. The evolution of writing and the predominance of visual culture in the contemporaneity will be the themes of the September talks. The talks are hosted by Reading Room, the Milanese space dedicated to independent periodical publishing, in collaboration with Combo Milano and in media partnership with C41 Magazine.

Listen to the fourth episode of our podcasts series with Chiara Lombardi, photographer and art student. We go through her Cam4shots project, a self-released book that collects several screenshot of people performing live on Cam4 website, also featured on C41 Magazine issue 9 Eros with a special selection of images and an interview. Alice De Santis, our staff editor, did a phone interview with her facing several themes regarding censorship issues, instagram policies and her final graduation essay. Soundtrack: Silla – Argonauta (Robotalco Club Edit)

This episode of C41 features Grade Solomon. A very good episode :)

The third episode of our podcast goes rather introspective. This is a conversation with Gerry Johansson, at Micamera for his exhibition called America so far. On the wall, grouping of images selected from his archive ranging between 1962 and 2018 and framed handmade. With a relaxed chat, Stefania Zanetti, editor of C41 Magazine, digs into his approach of solitary explorations for the development of his glance and the rituals of care that allow the evolution of the tangible outputs. Listen until the end to discover how to sensibilise the self towards nature. Soundtrack: Robotalco – Get Wet, produced by Sebastiano Urcioli https://open.spotify.com/track/7CrvdXGZ83IdIkGwFsDkPb?si=BdPEuJadTN6rfjxr0zjDTw

For the return of C41 I sit down with a friend of mine Gabe Rivera. Gabe has an incredible series of black of white images that he has been creating since moving to New York and the ongoing series captures a personal perspective of the city.

A conversation with Riccardo Fantoni Montana, head of content of C41 Magazine and Molly Matalon, Caroline Tompkins and Jamie Allan Shaw, curator of their show at Micamera, Milan. Soundtrack: Robotalco – TAPE 1, produced by Sebastiano Urcioli. https://open.spotify.com/track/6PMsG7kFIMYe2NbGJlneUC

A conversation with Luca A. Caizzi, director of C41 Magazine and Alessandro Furchino Capria, photographer. Soundtrack: Robotalco – MMFG1, produced by Sebastiano Urcioli

Mike and Andre are joined by Edward Conde (IG edwardconde_ , www.edwardcon.de)! We talk about the Pentax 67, bracketing slide film, Andre's borrowing cameras habit, shooting half frame, Fomapan film, crazy colors when dumping the pre-rinse of film in home developing, and shooting your local area. Next, we discuss questions and topics with Ed from the Negative Positives Facebook Group including podcasting, Lomo LC-A cameras, Lomo 800 film, his "Layover" zine, cross processing slide film, Kodak E100, and C41 black and white films. Finally, we discuss Lomography as a company, manufacturing shutters in new film cameras, Lomography lenses, and Ed and Andre's Catalina trip!

Karl is "working" again this week, but fear not, Simon & Johnny are joined by Hong Kong classic lens photographer, Perry Ge. Get the lowdown on lens dealers that don't want to sell you anything and offer advice instead. A hugely varied podcast this week with discussions covering Dallmeyer, Frankenstax, Hasselblad Xpan, Fan Ho and snoring on a podcast... LISTEN TO THE PODCAST
 Pobean | iTunes | Stitcher | Google ________ PERRY GE  Flickr | Website ________ EPISODE LINKS Fan Ho’s Hong Kong Photography Yashica Y35 Hong Kong & Blade Runner Mathieu Stern’s Lomo T43 40mm f/4 lens Jizzfest  David Chan Company Instant Options Instax Frankencameras Ilford XP2 in BW Chemistry is real! CineStill’s kick-ass C41 datasheet!! Homemade Camera Podcast Mythbusters PONF Camera Large Format Photography Podcast on Facebook  Andrew Bartram, The Lensless Podcast Negative Positives Film Photo Podcast  Sunny16 Podcast  Dr. Emmet Brown, Podcast Tart Emulsive ________ SUPPORT THE PODCAST
 Donate on Ko-fi  CONTACT Send ideas & questions for the podcast  EMAIL LIST Sign-up to receive an email when each podcast goes live INSTAGRAM
 BestVintageLens | #classiclenses | #bestvintagelens  FOLLOW THE HOSTS
 Karl Havens Flickr | Instagram  Johnny Sisson Instagram | Central Camera Company  Simon Forster Website | Ebay | Flickr | Facebook | Instagram | Twitter PODCAST THEME
 Octoblues Royalty Free Music by Kevin Macleod 

Chris has a call for help all the Kiwis out there. Well, several. About rental cars, workshop locations and ground support. Hugh wonders if the very special film that he exposed 20 years ago and never developed is still good to take to a lab to see what’s on it. And it’s not C41 color … Continue reading "843 Kiwis to the Rescue" The post 843 Kiwis to the Rescue appeared first on PHOTOGRAPHY TIPS FROM THE TOP FLOOR.

A rare Mike Sunday solo show due to the hurricane in North Carolina! Topics include preparing for my big art show, the HP instant ink program, my first pinhole shots with the Holga Wide Pinhole camera on Kodak Tmax 100, my first black and white roll in the Pentax 67, my appreciation of medium format over 35mm, an update on the APS Revival, emails from Ian Fleming about the B's processor from www.bounetphoto.com, Sherry Christensen about C41 developing and black and white developing for someone who doesn't shoot a lot of black and white, and Daniel Novak about the cost of film vs. digital shooting. Also, call ins from Federico Quaglino about the future of new color negative film, and Graham Young of the Homemade Camera Podcast about Ultrafine Extreme film. Finally, huge thanks to the Facebook group, and a new film podcast called Uncle Jonesy's Cameras!

Mike and Andre are joined by Mike Padua of shootfilmco.com! Topics include the Kodak Brownie Hawkeye, Fanny Packs, the APS Revival taking the world by storm, Mike Padua's first experience shooting Tri-X, Ultrafine Extreme 400 film, film rebranding, bulk roll color film, C41 faster to develop than black and white. Also, questions to Mike Padua from the facebook group including where would you like to shoot film, favorite color film, why film shooters like pins and patches, his design process, film photo memo notebook, film rolls app on IPhone, his product descriptions and best applications he's seen of his products, about whether shootfilmco is his primary gig, and about 3D printing legendary photographer action figures! Finally, emails from Daniel Novak about travelling lighter on photo shoots, Jennifer Zehner about her community darkroom in NJ called obscuradarkroom.com, Sean Portnoy about post processing, and Jr Wyatt. Lastly a discount code for Neg Pos listeners at Shootfilmco!

In this episode I talk my way through my home C41 developing process - including the chemicals and eqipment required - in the hope that I can show you guys that its really quite easy to do it yourself. -Apologies for the low level audio...! --- Send in a voice message: https://anchor.fm/sootandwhitewash/message

Joined by Em from Emulsive.org who will be joining us once a month on the podcast! Topics include Andre's future permanent employment at Cinestill, the Nikon FM3a, Mike's local Konica purchases, modern solutions for cameras that use old mercury batteries for light meter operation, a formula about how much to increase development time for rolls using the Unicolor C41 kit courtesy of 120studio.com, bleach bypass C41 process, news of the Emulsive Secret Santa for 2018, and questions for Em from the Negative Positives Film Photography Podcast Facebook Group!

Hola y bienvenidos, un día más, a Aprender Fotografía – el podcast. Soy Fran Valverde y como siempre me acompaña Pere Larrègula. Hoy sigue con nosotros Juan Carlos Olmos con el que vamos a tratar en profundidad el proceso y el encanto de hacer fotos con película química.  Recordaros también que hemos creado la red social aprenderfotografía.online. El principal motivo para que te unas a la red social es que vas a aprender fotografía, recibirás videos con consejos y trucos que hemos ido grabando. Cuando te suscribas recibirás un mail con estos videos. Conocerás a mucha gente con tus mismos gustos. Recibirás feedback de tus trabajos. Te enterarás de las quedadas que se organicen y podrás participar en ellas. Si te gusta el podcast, éste es otro motivo por el que apuntarte. Y además es gratuita. Dentro de la red social, hay una sección en el foro donde nos podéis hacer sugerencias para el podcast. La sección es "Proponer temas para los podcasts". Dentro de la red social aprenderfotografía.online hemos montado la plataforma de cursos online, con conceptos muy básicos hasta más avanzados. Actualmente tenemos disponibles doce cursos, de diez lecciones cada uno. Cada mes vamos subiendo de uno a tres cursos. El último curso que hemos subido es el Curso de composición La suscripción a los cursos es de 10 euros al mes, da acceso a todo el contenido y se pueden ver tantas veces como se desee. No hay restricciones de contenido ni distintas cuotas. Os podéis dar de baja cuando queráis. Los cursos que están actualmente en la web son: Curso de iniciación a la fotografía digital Curso de gestión de modelos Curso de iluminación en estudio básico Curso de Adobe Lightroom básico Curso básico de marketing para fotógrafos Curso de cómo montar tu propio estudio fotográfico Curso de flash de zapata Curso práctico de iniciación a la fotografía digital Curso de retrato de carácter Curso de Boudoir Curso de desnudo artístico   Recordaros también que ya están abiertos los dos canales de Telegram: Canal de Telegram: https://t.me/aprenderfotografia Grupo de Telegram donde podemos conversar con vosotros y entre vosotros. https://t.me/aprenderfotografianoticias Canal de difusión de Telegram donde estaréis informados de todas las novedades de Aprender Fotografía El Podcast, cursos, nuevos podcasts, etc. En éste no podéis interactuar.     Fotografía química y películas para el revelado ¿Qué cambia a la hora de fotografiar con película o fotografía química? Cambia la mentalidad pero no la técnica, la luz es la luz, y eso no cambia. Cambian algunos aspectos de la técnica. En digital es lineal, pero en químico no, la respuesta de la película no lo es. Os recomendamos a todos los usuarios que no lo hayan probado este tipo de fotografía a hacer fotos con película química, os daréis cuenta que con un equipo muy sencillo se pueden obtener resultados mucho mejores que lo que se consigue con digital. La resolución óptica es muy elevada. Cuando hablamos de hacer una foto con química hablamos de hacer fotos con cámaras de química de hoy. Actualmente no se fabrican cámaras químicas de 35 mm. Parece que la fotografía digital haya superado a la química pero no es cierto. Os animamos a comprar una película en blanco y negro, hacer la película entera e ir a un laboratorio y escoger dos, tres o cuatro fotos y positivizar a 20x30 y posteriormente  comprobar el resultado con una lupa, es increíble. La película se puede comprar en un sólo rollo, por ejemplo en Casanova, si se reside en Barcelona. Puede costar alrededor de unos 7 € pero no os dará problemas. Hay que añadir después el revelado del negativo que puede ser unos 8 o 9 €. El resultado en color es independiente del revelado. Sólo hay dos revelados estándar, uno es para película positiva de color y el otro es para diapositiva. El de diapositiva es el E6 y el otro es el C41, que utiliza los mismos líquidos siempre, la misma temperatura, es estándar.   Paso de blanco a negro

Jr Wyatt emails about drying spots on C41 negatives. My thoughts on my first roll out of my Diana Mini camera and Epson V800 scanner.

  Darin: Tour nach Sibirien zum Baikalsee (Fotos) – cut 11:00 – Im Angebot: EOS 5D Mark II – C41 – Belichtungsmesser (Selen) – Sunny 16 -Nikon FE2, FM2 – Minox 35 – Olympus Pen EE-S – Kaufberatung: Alte Kameras auf Ebay – Kleinbildfilm – Rollfilm – Agfa Billy – Entwickeln: Farbnegativ, Farbdia, S/W-Negativ (FilmDev, Massive Dev […]

 Join us today at 9:30PM EST as we sit down with the heavyweight beast himself, Mr. Adrian Henderson! A frequent guest on the show and in the Conflict cage, Henderson returns October 1st in his hometown at C41 for one of the best HW showdowns in the Southeast. His opponent; regional elite and local legend Tomar Washington.What a show, what a MAIN EVENT fight, and what a card! Be sure to check in with Conflict MMA on Facebook (CLICK HERE) for everything YOU need to have yourself in Columbia for what many are hailing as the best Southeast MMA card of 2016!It all starts now, on the Season 4 debut of Conflict Radio!Main Fight CardMain Event Heavy Weight title Adrian Henderson vs Tomar WashingtonCo-main Grappling Superfight Guybson Sa vs Rodney WallaceFeature Bout @135lbs Alexa Conners vs Stacey Sigala145lb Pro MMASolon LaVonne Staley vs Jayson Jones170lb pro MMA Michael Hazzard vs Smith Amisial155lb pro MMA Kobe Wall vs John HenningPrelim. Fight Card145 title -Mark Trader vs Jose Gabriel Majano135 title -Charleston Pou vs John Sweeney125 title -David Davant (champ) vs Devin Nguyen125 Women's TitleLaniesha Vinson vs Shannon Goughary135lbs Cade Dement vs TBd135lb Anna Toole vs Erica Zaveta Women's Muay Thai 145lb James Dunn vs Kenny Porter145lb Ivan Loupachanski vs Isaiah Monroe 155lb Detrick Keys vs James White 170lb Kevin Holmes vs Lawrence Buck125lb Jai Rogers vs TBD105lb Cayden Matthews vs tbd grappling (9yrs old) 

 Join us today at 9:30PM EST as we sit down with the heavyweight beast himself, Mr. Adrian Henderson! A frequent guest on the show and in the Conflict cage, Henderson returns October 1st in his hometown at C41 for one of the best HW showdowns in the Southeast. His opponent; regional elite and local legend Tomar Washington.What a show, what a MAIN EVENT fight, and what a card! Be sure to check in with Conflict MMA on Facebook (CLICK HERE) for everything YOU need to have yourself in Columbia for what many are hailing as the best Southeast MMA card of 2016!It all starts now, on the Season 4 debut of Conflict Radio!Main Fight CardMain Event Heavy Weight title Adrian Henderson vs Tomar WashingtonCo-main Grappling Superfight Guybson Sa vs Rodney WallaceFeature Bout @135lbs Alexa Conners vs Stacey Sigala145lb Pro MMASolon LaVonne Staley vs Jayson Jones170lb pro MMA Michael Hazzard vs Smith Amisial155lb pro MMA Kobe Wall vs John HenningPrelim. Fight Card145 title -Mark Trader vs Jose Gabriel Majano135 title -Charleston Pou vs John Sweeney125 title -David Davant (champ) vs Devin Nguyen125 Women's TitleLaniesha Vinson vs Shannon Goughary135lbs Cade Dement vs TBd135lb Anna Toole vs Erica Zaveta Women's Muay Thai 145lb James Dunn vs Kenny Porter145lb Ivan Loupachanski vs Isaiah Monroe 155lb Detrick Keys vs James White 170lb Kevin Holmes vs Lawrence Buck125lb Jai Rogers vs TBD105lb Cayden Matthews vs tbd grappling (9yrs old) 

“Formal education will make you a living; self-education will make you a fortune.” Jim Rohn.C41 processing: tanks purchased. Just have to get chemical kit. Scans of the Zeiss Ikon are up. I had to redo them. I'm pleased with the results.The Aftermath Project